摘要
第二次世界大战结束之后,法国创建了许多艺术节,其中最早也最负盛名的为1947年创建的阿维尼翁戏剧节。而1963年创立的南锡国际戏剧节虽然规模和影响都无法与之相提并论,却在当代先锋戏剧和舞蹈史中书写了极其精彩的篇章。文章结合莫里斯·贝雅(Maurice Béjart)在阿维尼翁戏剧节、皮娜·鲍什(Pina Bausch)和日本舞踏艺人在南锡国际戏剧节的经历,阐述了这两大法国戏剧节在当代舞蹈的革新进程中所发挥的积极作用,指出如果没有戏剧节的鼎力相助,西方当代舞蹈或许会呈现出另外一种面貌。
After the end of World WarⅡ,France created many art festivals,the earliest and most famous of them being Le Festival d’Avignon established in 1947.Although Le Festival mondial du théâtre de Nancy,founded in 1963,was not comparable with that of Avignon in terms of scale and inf luence,it has written an extremely wonderful chapter for contemporary avant-garde arts,including theatre and dance.Based on the experiences of Maurice Béjart at Festival d’Avignon,Pina Bausch and Japanese Butoh dancers at Festival de Nancy,this paper expounds on the positive role played by these French Festivals in the innovation process of contemporary dance and points out that without their support,Western contemporary dance may take on another look.
出处
《当代舞蹈艺术研究》
2023年第3期1-7,共7页
Contemporary Dance Research
基金
国家社科基金艺术学重大项目“当代欧美戏剧研究”(项目批准号:19ZD10)阶段性研究成果之一