中国当代“舞剧本体批评”举隅——中国当代舞剧批评研究随笔之三

Examples of Contemporary Chinese Dance-Drama Ontological Criticism——One of the Essays on the Criticism of Contemporary Chinese Dance-Drama

作为“中国当代舞剧批评研究随笔”系列,“舞剧本体批评”是继“舞剧现象批评”“舞剧文化批评”之后的第三篇。“舞剧本体批评”是基于舞剧艺术规律的批评,是在此基础上去阐发具有舞剧特征形态的形象塑造、情节设置、结构模态和语言生成等。从文章“举隅”的这类批评来看,主要是针对舞剧结构和语言生成的形态分析。在文章“举隅”的6篇批评中,傅兆先关于《木兰飘香》和《阿诗玛》的两篇比较突出,其就《木兰飘香》而提出的“舞剧化的戏剧性”和“戏曲舞蹈舞剧化”尤其值得我们关注;其余唐满城对舞剧《雷雨》的批评、赵国政对舞剧《蘩漪》的批评、刘光第对舞剧《悲鸣三部曲》的批评、肖苏华对舞剧《阿炳》的批评也对我们把握“舞剧本体”的特质与洞悉其拓展颇有深意。

As one of the Essays on the Criticism of Contemporary Chinese Dance-Drama,“Dance-Drama Ontological Criticism”is the third article after“Dance-Drama Phenomenon Criticism”and“Dance-Drama Cultural Criticism”.Based on the criticism regarding the rule of dance art,“Dance-Drama Ontological Criticism”aims to shape characters,plot stories,and mode structures to generate language with dance-drama characteristics.According to the examples of this paper,the analysis mainly focuses on the structure of dance-drama and the forms of language generation.Among the six examples,Fu Zhaoxian’s two articles on The Fagrance of Lily Magnolia and Ashima are most prominent.Based on The Fagrance of Lily Magnolia,Fu Zhaoxian put forward the theory of“drama in dance form”and“opera dance with dance-drama characteristics”,which deserves attention.Tang Mancheng’s criticism of the dance-drama Thunderstorm,Zhao Guozheng’s criticism of Fanyi,Liu Guangdi’s criticism of Trilogy Mourning,and Xiao Suhua’s criticism of A Bing is also of great significance for us to understand the features of the“dance-drama ontology”and its derivation.