發(fā)布時間：2018-06-13 06:50

  本文選題：中國古典舞 + 教學體系　； 參考：《山東師范大學》2009年碩士論文

【摘要】： 筆者這里所論及的“中國古典舞”是一個特指的舞種概念,它產(chǎn)生于20世紀50年代,故在之前冠以“當代”二字。它是在從中國傳統(tǒng)舞蹈中提取典型性的舞蹈美學原則,經(jīng)過現(xiàn)代人的發(fā)展創(chuàng)造,結(jié)合當代技術(shù)特點和審美特征,廣采博收了諸多文化基因,借助中華文化母體孕育而生的舞蹈新品種。表達了當代中國舞蹈工作者們的創(chuàng)造精神和對傳統(tǒng)的一種重新詮釋與審美追求。 中國古典舞發(fā)展到現(xiàn)在,可謂繁花似錦,佳作不斷。涌現(xiàn)出一批批優(yōu)秀的古典舞編導,創(chuàng)造出了很多優(yōu)秀的作品。這些作品的成功不是偶然的。早在五十年代“中國古典舞”這一舞種的創(chuàng)始者們就開始在戲曲舞蹈中探尋、摸索著從內(nèi)涵到外延都真正符合舞蹈藝術(shù)本體概念的中國古典舞真跡。“身韻”為中國古典舞劇目提供了豐富的動作語匯,它的出現(xiàn)成就了中國古典舞劇目的高度發(fā)展。隨著“身韻”的不斷完善,出現(xiàn)了四種不同類型的古典舞劇目,逐漸拓寬了古典舞的發(fā)展空間,使得古典舞在舞蹈史上畫下了精彩的一筆。 本碩士論文以中國古典舞的劇目為關(guān)注對象,以時間為序,進行縱向梳理和橫向比較研究,對其進行深入地探索。通過對中國古典舞劇目歷史積淀的梳理到對其當代建樹的呈現(xiàn)及分析,力圖揭示中國古典舞劇目的發(fā)展脈絡和現(xiàn)存狀況的實質(zhì)意義。全文共有三章。 第一章,闡述五、六十年代中國古典民族舞劇的發(fā)展概況。從最早的中國古典民族舞劇談起,詳述戲曲、芭蕾、民間舞等對中國古典民族舞劇的影響,通過比較分析其成就和弊端。第二章,以七十年代末至八十年代初為階段點,詳述“身韻”的產(chǎn)生對古典舞劇目產(chǎn)生的作用和這一階段敘事型古典舞劇目的發(fā)展概況。第三章,以本體型、現(xiàn)代型、仿古型古典舞劇目為著眼點,對八十年代末至今中國古典舞劇目的發(fā)展概況做詳細的分析與探究并對這一階段古典舞劇目的發(fā)展進行思考,肯定其成就,討論其不足,探索其未來的發(fā)展走勢。
[Abstract]:"Chinese classical dance" is a special concept of dance, which originated in the 1950s, so it was preceded by the word "contemporary". It is to extract typical dance aesthetic principles from Chinese traditional dance, through the development and creation of modern people, combined with the characteristics of contemporary technology and aesthetic features, it has collected a lot of cultural genes. With the help of the Chinese culture mother-body birth of new varieties of dance. It expresses the creative spirit of contemporary Chinese dancers and a reinterpretation and aesthetic pursuit of tradition. The development of Chinese classical dance to the present, it can be described as colorful, continuous masterpiece. Batch after batch of excellent choreographers of classical dance emerged, creating a lot of excellent works. The success of these works is no accident. As early as 1950s, the founders of "Chinese Classical Dance" began to explore in the traditional Chinese dance, groping for the authentic Chinese classical dance, which conforms to the concept of dance art Noumenon from connotation to extension. Body rhyme provides rich action vocabulary for Chinese classical dance repertoire, and its appearance has achieved the high development of Chinese classical dance repertoire. With the continuous improvement of body rhyme, four different types of classical dance plays appeared, gradually widening the development space of classical dance, making classical dance draw a wonderful stroke in the history of dance. This thesis focuses on the Chinese classical dance repertoire, taking time as the order, carries on the longitudinal combing and the horizontal comparative research, carries on the thorough exploration to it. Through combing the historical accumulation of Chinese classical dance plays to the presentation and analysis of its contemporary achievements, this paper tries to reveal the development context of Chinese classical dance plays and the essential significance of the existing situation. There are three chapters in this paper. The first chapter expounds the development of classical Chinese folk dance in the fifties and sixties. From the earliest Chinese classical national dance drama, this paper expounds the influence of opera, ballet and folk dance on the Chinese classical folk dance drama, and analyzes its achievements and disadvantages through comparative analysis. The second chapter focuses on the stage from the late 1970s to the early eighties, expounding the function of "body rhyme" on classical dance repertoire and the development of narrative classical dance repertoire in this stage. In the third chapter, focusing on the classical dance repertoire of this type, modern type and archaic type, the author makes a detailed analysis and exploration of the development of Chinese classical dance repertoire from the end of 1980s to the present, and thinks about the development of classical dance repertoire in this stage. Affirm its achievement, discuss its insufficiency, and explore its future development trend.
【學位授予單位】：山東師范大學
【學位級別】：碩士
【學位授予年份】：2009
【分類號】：J722.4

【參考文獻】

相關(guān)期刊論文 前10條

1 于平;第六屆“桃李杯” 舞蹈創(chuàng)作態(tài)勢分析[J];舞蹈;2000年05期

2 趙必純;第六屆“桃李杯”舞蹈比賽觀后隨想[J];舞蹈;2000年06期

3 呂藝生;第六屆“桃”賽舞目創(chuàng)作新趨勢——“桃李杯”賽后評述[J];舞蹈;2001年01期

4 韓瑾,龐丹;“桃李杯”賽后的思考[J];舞蹈;2001年01期

5 袁禾;舞蹈創(chuàng)作應加強時代意識[J];舞蹈;2002年03期

6 金浩;映日荷花別樣紅——從古典舞的三個劇目談起[J];舞蹈;2002年08期

7 王克芬;觀舞雜感[J];舞蹈;1998年04期

8 李熾強;舞蹈審美多維拓展中的思考——觀摩《荷花獎》參賽作品隨筆[J];舞蹈;1998年06期

9 呂藝生;九十年代:舞蹈本體意識的認同——第四屆全國舞蹈(獨雙三)比賽觀后[J];舞蹈;1999年01期

10 于平;中國古典舞的體認與超越——第四屆全國舞蹈比賽感思[J];舞蹈;1999年01期

，

本文編號：2013119