中国古典舞的节奏问题
发布时间：2018-08-23 08:59
【摘要】：沐浴着西化影响而成长起来的"中国古典舞",其与所继承之母体如戏曲、武术之间在"时间因素"上的断裂感是较为明显的。就是这个"断裂感"让我们在佩服中国古典舞所取得的在"空间因素"上的成就满足之余仍觉得有不够尽兴之处,即其在节奏因素表现上的平庸与乏善可陈。消除这种平庸,使其提升,可以通过两个渠道:一个是舞台,一个是课堂。但理想的节奏形式,并不会凭空而至。因应着中国戏曲和武术而发展起来的中国古典舞,重新思考戏曲和武术的独特节奏方式,应该会获得一定的灵感。其次,凡是中国传统的舞动经验中的有效节奏成分,譬如民间舞中,积淀着大量的具有"唯一性"和"独特性"的节奏型,都是可以汲取的。再次,凡是存在于中国文化语境中的任何节奏源,比如,中国古典音乐中的一些特有乐器乐曲(如古琴曲),中国画中的留白方法,太极和气功靠呼吸形成的速律、中国各朝的各类传统建筑所体现出来的节律感,都应该成为可利用的资本。
[Abstract]:"Chinese Classical Dance", which has grown up under the influence of Westernization, has a more obvious sense of break in "time factor" with its inherited mother style such as opera and martial arts. It is this sense of breakage that makes us admire the achievements of Chinese classical dance in "space factor", and still feel that there is not enough fun, that is, its performance of rhythm factor mediocrity and lack of excellence. Eliminating this mediocrity and upgrading it can be done through two channels: one is the stage and the other is the classroom. But the ideal form of rhythm does not come out of nowhere. In response to the development of Chinese opera and martial arts, rethinking the unique rhythm of traditional Chinese opera and martial arts should be inspired. Secondly, any traditional Chinese dance experience in the effective rhythmic elements, such as folk dance, accumulated a large number of "unique" and "unique" rhythm, can be learned. Thirdly, any source of rhythm that exists in the context of Chinese culture, such as some of the unique musical instruments in classical Chinese music (such as the ancient piano), the white space method in Chinese painting, the speed law formed by breathing Taiji and Qigong, The rhythm of traditional Chinese architecture should be available capital.
【作者单位】： 中国艺术研究院舞蹈研究所;
【分类号】：J722.4
[Abstract]:"Chinese Classical Dance", which has grown up under the influence of Westernization, has a more obvious sense of break in "time factor" with its inherited mother style such as opera and martial arts. It is this sense of breakage that makes us admire the achievements of Chinese classical dance in "space factor", and still feel that there is not enough fun, that is, its performance of rhythm factor mediocrity and lack of excellence. Eliminating this mediocrity and upgrading it can be done through two channels: one is the stage and the other is the classroom. But the ideal form of rhythm does not come out of nowhere. In response to the development of Chinese opera and martial arts, rethinking the unique rhythm of traditional Chinese opera and martial arts should be inspired. Secondly, any traditional Chinese dance experience in the effective rhythmic elements, such as folk dance, accumulated a large number of "unique" and "unique" rhythm, can be learned. Thirdly, any source of rhythm that exists in the context of Chinese culture, such as some of the unique musical instruments in classical Chinese music (such as the ancient piano), the white space method in Chinese painting, the speed law formed by breathing Taiji and Qigong, The rhythm of traditional Chinese architecture should be available capital.
【作者单位】： 中国艺术研究院舞蹈研究所;
【分类号】：J722.4
【相似文献】
相关期刊论文 前10条
1 于平;踏上地中海之靴的中国古典舞[J];舞蹈;2000年03期
2 朱玉红;;谈中国古典舞的身韵[J];艺术广角;2000年03期
3 唐满城;对中国古典舞在新世纪发展的期望[J];北京舞蹈学院学报;2002年01期
4 韩瑾;论中国古典舞“结合课”缘由、结构与功能[J];北京舞蹈学院学报;2002年02期
5 翁世晖;中国古典舞动态语言的“中性化”取向及其意义[J];福建艺术;2002年05期
6 王伟;对中国古典舞学科发展的再认识[J];舞蹈;2002年03期
7 韩瑾;“结合课”——创建中国古典舞的最佳选择[J];舞蹈;2002年10期
8 杨U，
本文编号：2198553
本文链接：https://www.wllwen.com/wenyilunwen/wdlw/2198553.html
