本文選題：中國(guó)古典舞 + 西方芭蕾舞��； 參考：《山東師范大學(xué)》2017年碩士論文

【摘要】：本論文旨在通過(guò)描寫中國(guó)古典舞與西方芭蕾舞的差異性進(jìn)行比較,在中西方舞蹈審美文化上進(jìn)行一番梳理與探索。中國(guó)舞蹈的發(fā)展源遠(yuǎn)流長(zhǎng),但中國(guó)古典舞是自新中國(guó)成立以后在老一輩的舞蹈藝術(shù)工作者的辛勤努力下逐漸發(fā)展起來(lái)的,西方芭蕾舞自路易十四時(shí)期發(fā)展至今已有四百多年的歷史。兩個(gè)不同的舞種在各自文化的影響下形成了無(wú)論在動(dòng)作語(yǔ)匯、情感表達(dá)、審美原則上都不盡相同,究竟是基于怎樣的文化背景造成了兩個(gè)舞種的審美方面產(chǎn)生差異以及差異的表現(xiàn),在今后如何更好的發(fā)展中國(guó)舞蹈,就是本論文研究的重點(diǎn)。自本論文共分為三大章節(jié)進(jìn)行討論:第一章:對(duì)中西方舞蹈發(fā)展的文化背景進(jìn)行分析,按時(shí)期對(duì)中國(guó)古典舞和西方芭蕾舞的劃分,比較研究二者在不同的歷史時(shí)期和文化背景下舞蹈發(fā)展方面的差異性。第一節(jié):分析中國(guó)古典舞產(chǎn)生、復(fù)興、發(fā)展三個(gè)不同時(shí)期的發(fā)展歷程;第二節(jié):分析西方芭蕾舞在早期芭蕾、浪漫芭蕾、古典芭蕾、現(xiàn)代芭蕾、當(dāng)代芭蕾五個(gè)不同時(shí)期的發(fā)展歷程;第三節(jié):分析中國(guó)古典舞與西方芭蕾舞各自產(chǎn)生環(huán)境下中西方舞蹈的美學(xué)原則和審美特征。第二章:從美學(xué)角度入手,探究中國(guó)古典舞與西方芭蕾舞審美差異的外在表現(xiàn)和內(nèi)在原因。第一節(jié):分析中國(guó)古典舞與西方芭蕾舞審美差異的外在表現(xiàn)。從舞蹈形態(tài)上來(lái)看,中國(guó)古典舞以圓為美,西方芭蕾舞追求直線美;從表現(xiàn)形式說(shuō)來(lái)看,中國(guó)古典舞追求含蓄美和意境美,西方芭蕾舞追求形式美和身體美;從舞蹈的創(chuàng)作角度來(lái)看,二者的取材、音樂(lè)、服裝、道具等運(yùn)用都存在差異性。第二節(jié):分析中國(guó)古典舞與西方芭蕾舞審美差異的內(nèi)在原因,主要是由于二者不同文化的影響下造成了中西方對(duì)于集體主義和個(gè)人主義觀點(diǎn)的差異、對(duì)待自然的態(tài)度的差異、以及對(duì)待舞蹈美學(xué)的著眼點(diǎn)和超越度的不同。第三章:立足于全球化的發(fā)展趨勢(shì),中西方舞蹈的碰撞與融合并找到中國(guó)舞蹈的個(gè)性發(fā)展之路。第一節(jié):基于中國(guó)古典舞學(xué)科建設(shè)的發(fā)展建議,培養(yǎng)多元化的舞蹈人,摒棄不成不變的的統(tǒng)一教材,改變教學(xué)模式、發(fā)揚(yáng)地域特色、培養(yǎng)實(shí)踐能力,促進(jìn)中國(guó)古典舞的發(fā)展;第二節(jié):基于舞蹈本身發(fā)展的視角下,看中國(guó)古典舞今后在審美道路上的發(fā)展走向和追求。
[Abstract]:The purpose of this thesis is to compare the differences between Chinese classical dance and western ballet, and to sort out and explore the aesthetic culture of Chinese and western dance. The development of Chinese dance has a long history, but Chinese classical dance has gradually developed since the founding of New China, thanks to the hard work of the older generation of dance artists. Western ballet has a history of more than 400 years since Louis XIV. Under the influence of their respective cultures, the two different kinds of dance have formed different expressions of action, emotion and aesthetic principles. How to develop Chinese dance better in the future is the focus of this thesis. The thesis is divided into three chapters: chapter one: the cultural background of the development of Chinese and western dance is analyzed, and the division of Chinese classical dance and western ballet is made according to the period. The differences of dance development in different historical periods and cultural backgrounds are compared. Section one: analysis of the development process of three different periods of the emergence, revival and development of Chinese classical dance; the second section: the analysis of western ballet in the early ballet, romantic ballet, classical ballet, modern ballet, The development of contemporary ballet in five different periods. The third section: the analysis of the aesthetic principles and aesthetic characteristics of Chinese classical dance and western ballet. The second chapter: from the aesthetic point of view, to explore the aesthetic differences between Chinese classical dance and western ballet external performance and internal reasons. Section one: analyze the aesthetic difference between Chinese classical dance and western ballet. From the aspect of dance form, Chinese classical dance is beautiful by circle, western ballet pursues straight line beauty, Chinese classical dance pursues implicit beauty and artistic conception beauty, western ballet pursues form beauty and body beauty, from form of expression, Chinese classical dance pursues implicit beauty and artistic conception beauty, and western ballet pursues form beauty and body beauty. From the angle of dance creation, there are differences in the use of materials, music, clothing, props and so on. The second section analyzes the internal reasons of the aesthetic difference between Chinese classical dance and western ballet, mainly because of the difference of Chinese and western views on collectivism and individualism, and the difference of attitude towards nature under the influence of different cultures. And the different point of view and transcendence of dance aesthetics. Chapter III: based on the trend of globalization, the collision and integration of Chinese and Western dance and find the way of personality development of Chinese dance. The first section: based on the development suggestions of the discipline construction of classical dance in China, we should train the diversified dancers, abandon the unchangeable unified teaching materials, change the teaching mode, develop the regional characteristics, cultivate the practical ability, and promote the development of the Chinese classical dance. Section two: from the perspective of the development of dance itself, to see the trend and pursuit of Chinese classical dance in the aesthetic road.
【學(xué)位授予單位】：山東師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J701

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