本文選題：三步半 + 一旦一丑�。� 參考：《北京舞蹈學(xué)院》2016年碩士論文

【摘要】：《思情鬼歌》又稱(chēng)《鬼歌子》是株洲市醴陵(縣級(jí)市)的一首家喻戶(hù)曉的民謠,主要表達(dá)青年男女對(duì)愛(ài)情、對(duì)生活的追求和向往,情意綿綿,在民間廣為傳唱。也是體現(xiàn)“湘女多情”的一個(gè)典型。因此筆者挑選此題材,從一個(gè)民謠切入,運(yùn)用地花鼓傳統(tǒng)步法“三步半”的動(dòng)態(tài)(走三步留半步)來(lái)表現(xiàn)“欲擒故縱”在湖南青年男女談情說(shuō)愛(ài)、打情罵俏過(guò)程中的戀愛(ài)方式。本論文以敘寫(xiě)湖南地花鼓典型步法“三步半”在作品《思情鬼歌》中的運(yùn)用來(lái)介紹湖南地花鼓的傳統(tǒng)審美形式以及如何將地方舞蹈動(dòng)態(tài)素材與地方民間文化連接起來(lái)進(jìn)行藝術(shù)作品的創(chuàng)作,并在塑造人物關(guān)系時(shí),將地花鼓“三步半”的動(dòng)作動(dòng)機(jī)與作品中人物的心理動(dòng)機(jī)相結(jié)合,以作品《思情鬼歌》中三段女子對(duì)自己心上人的思念之情為結(jié)構(gòu)進(jìn)行舞段的編排與表演,來(lái)分析與探討民間舞蹈素材與民間舞蹈創(chuàng)作中變與不變的關(guān)系�！叭桨搿痹谧髌贰端记楣砀琛分械倪\(yùn)用,讓筆者就如何能在編創(chuàng)與表演當(dāng)?shù)孛耖g文化舞蹈作品的同時(shí),選取一個(gè)最具代表性的動(dòng)態(tài)元素與作品中的動(dòng)作動(dòng)機(jī)相匹配,以情感主線(xiàn)與動(dòng)作主線(xiàn)為軸,對(duì)傳統(tǒng)地花鼓舞蹈文化進(jìn)行重新梳理,對(duì)舞蹈動(dòng)態(tài)進(jìn)行選擇、調(diào)整、連接,從而對(duì)作品結(jié)構(gòu)進(jìn)行設(shè)計(jì)與編排。在遵循該民間舞蹈審美的前提之下,結(jié)合作品化與舞臺(tái)化的審美要求進(jìn)行再創(chuàng)作。嘗試將原本已消失在人們視野中的民間舞蹈動(dòng)態(tài)素材進(jìn)行挽救與梳理,也期望大眾能對(duì)該地區(qū)民間舞蹈動(dòng)態(tài)文化給予更多的關(guān)注。
[Abstract]:Also known as "Ghost Song", it is a household ballad in Liling, Zhuzhou City, which mainly expresses young men and women's love, pursuit and yearning for life, and is widely sung among the people. It is also a typical embodiment of Hunan woman's love. Therefore, the author chooses this theme, from a folk song cut into, uses the ground flower drum traditional step method "three steps and a half" dynamic (walk three steps to stay half step) to express "hard to get" in the Hunan young man and woman to talk about love, flirts in the process of love. This paper introduces the traditional aesthetic form of Hunan floor flower drum and how to connect the dynamic material of local dance with local folk culture by describing the application of "three steps and a half" in the works of "thinking about Ghost songs". Get up and create works of art, And in shaping the relationship between the characters, the action motivation of "three steps and a half" of the ground flower drum is combined with the psychological motivation of the characters in the works. In order to analyze and discuss the relationship between the material of folk dance and the change and invariance in the creation of folk dance, the structure of the three sections of women's yearning for their beloved is the arrangement and performance of the dance section. The application of "three steps and a half" in the work "thinking about the Ghost Song" allows the author to choose the most representative dynamic element to match the action motivation of the work while compiling and performing local folk cultural dance works. On the axis of emotion and action, the traditional culture of flower drum dance is rearranged, the dynamic dance is selected, adjusted and connected, and the structure of the work is designed and arranged. In accordance with the premise of folk dance aesthetic, combined with the aesthetic requirements of work and stage to re-create. This paper attempts to save and comb the dynamic material of folk dance which has disappeared from people's view, and hopes that the public will pay more attention to the dynamic culture of folk dance in this area.
【學(xué)位授予單位】：北京舞蹈學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2016
【分類(lèi)號(hào)】：J722.212

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