英国剑舞研究

发布时间：2018-04-26 12:27

  本文选题：剑舞 + 英国民间舞蹈　； 参考：《中国艺术研究院》2016年博士论文

【摘要】：在英国,剑舞这种舞蹈形式长期以来并未受到研究者的普遍关注,而这一现象直到20世纪初期才有所改变。关于英国剑舞的起源问题,学界莫衷一是,其中的主要观点可以归结为以下三种：一、以德国学者为代表的“单线起源论”；二、以史料作为依据,将最早形成一定文献规模的低地国家确定为剑舞的“最初家园”；三、通过“多线起源、平行发展”的观点,将欧洲各国的剑舞解释为一种在相同文化圈内分别发生进而相互影响的现象。有限的文献数量和粗略的描述是我们至今无法确切解答英国剑舞诸多问题的主要原因。而造成相关文献缺乏的原因也是多方面的,比如欧洲战火连绵；西方正教对异教活动的排斥；舞者社会地位和受教育程度的低下,致使他们无心也无力将剑舞表演记录于案,而官方的史学家们更不会对这种草根阶层的活动给予任何关注等等。但是,这种“证据的缺失”并不能证明“舞蹈在历史中的缺位”。塞西尔·夏普于1911年出版的《北英格兰的剑舞》就是英国剑舞史上一个标志性的转折点。该书系统地记录了各地传统剑舞的舞蹈、音乐、服装等元素,其中的舞谱记录法成了随后记录剑舞的一种范式。该书的历史贡献在于将英国剑舞这种传统舞蹈用文本的形式保存了下来,进而使它从频临灭绝的危机中解救了出来。同时,以夏普为首的早期剑舞研究者们受到了弗雷泽的《金枝》、泰勒的《原始文化》中文化人类学理论的影响,认为剑舞属于一种远古仪式所“遗留”下来的文化碎片。而相关的研究成果也由于证据过于零散片面、写作方式过于浪漫浮夸等原因,受到当代学者的质疑和批判。当“仪式化”的内涵受到越来越多的关注时,对仪式舞蹈的研究也随之深入起来,因而开始注重仪式的“物质化”、“技术化”、“内部化”、“符号化”、“数据化”等科学指标和功能作用,进而使得这项研究工作更加精细化、准确化。仪式舞蹈研究的重心也因此逐渐从宗教行为研究转化为对人类社会实践经历和经验的深入探讨。当前的英国剑舞对于“仪式”与“艺术”的定位尚不明晰,只能通过“娱乐大众”的方式来勉强维持这种“传统”的延续。当然,民间舞蹈诞生的土壤和娱乐功能决定了它不可能走向“纯形式”的“自律”道路,但却可以成为一种“半自律”的“有意味的形式”。这就要求我们在不断复兴民间舞蹈的过程中,时刻谨记将这些“被发明的传统”置于“模仿论”、“表现论”和“形式论”的理论关照和文化自审中,以便使这样的“仪式”与“艺术”能够进入一个统一的语境,并最终回归到最真实的生活情感之中。
[Abstract]:In Britain, sword dance, a form of dance that has not been widely concerned by researchers for a long time, did not change until the early 20th century. On the origin of British sword dance, there is no consensus in academic circles. The main viewpoints can be summed up as follows: first, the "theory of single-line origin" represented by German scholars; second, based on historical data. The lowland countries that first formed a certain literature scale were identified as the "original homeland" of sword dance; third, through the viewpoint of "multi-line origin, parallel development", The sword dance of European countries is interpreted as a phenomenon which occurs and affects each other in the same cultural circle. The limited amount of literature and rough description are the main reasons why we can not answer the many questions of English sword dance. There are many reasons for the lack of relevant documents, such as the war in Europe, the rejection of pagan activities by Western orthodoxy, the low social status and education of dancers, and their inability to record sword dance performances in the case. And the official historians will not pay any attention to the grassroots activities and so on. However, this lack of evidence does not prove the absence of dance in history. Cecil Sharp's Northern English Sword Dance, published in 1911, was an iconic turning point in the history of English sword dance. The book systematically records the elements of traditional sword dance, such as dance, music, clothing and so on. The historical contribution of the book is that the traditional dance of English sword dance was preserved in the form of text, which saved it from the crisis of imminent extinction. At the same time, the early sword dance researchers, led by Sharp, were influenced by Fraser's Golden Branch and Taylor's Cultural Anthropology Theory in primitive Culture, and considered the sword dance to be a cultural fragment "left behind" by an ancient ritual. The related research results are questioned and criticized by contemporary scholars because the evidence is too scattered and one-sided and the writing style is too romantic and ostentatious. When the connotation of "ritualization" gets more and more attention, the research on ritual dance also goes deep, so it begins to pay attention to the "materialization", "technology", "internalization", "symbolization" of ritual. Scientific indexes and functions, such as "data", make the research more precise and accurate. As a result, the focus of the study of ritual dance has gradually changed from the study of religious behavior to an in-depth study of human social practice and experience. The present English sword dance is still not clear about "ritual" and "art", it can only "entertainment the public" to maintain the continuation of this "tradition". Of course, the soil and entertainment function of folk dance make it impossible to take the "self-discipline" road of "pure form", but it can become a "meaningful form" of "semi-autonomous". This requires us to keep these "invented traditions" in mind in the constant revival of folk dance in the theoretical care and cultural self-examination of "imitation theory", "performance theory" and "form theory". In order to make such "ritual" and "art" into a unified context, and finally return to the most real feelings of life.
【学位授予单位】：中国艺术研究院
【学位级别】：博士
【学位授予年份】：2016
【分类号】：J705
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本文编号：1806026