中国民族民间舞舞台形式语言的抽象性

Abstractness of Stage Formal Language of Chinese Ethnic and Folk Dance

形式,作为艺术表现的主要手段,亦是构成舞蹈语言特殊性的重要表现。一般而言,中国民族民间舞常常以既成风格系统的舞蹈语言作为形式表现的出发点,既成风格系统的舞蹈语言作为抒情性舞蹈语言表现的主要手段,通过素材提取、风格提纯,较为客观地再现民族审美特征。文章以中国民族民间舞作为研究对象,分析当下舞台形式中语言形式的生成如何突破传统的“模拟再现”,走向元素重构基础上的“抽象表现”,中国民族民间舞舞台形式语言审美旨趣也从传统的“模拟再现”走向现代的“抽象表现”之审美建构。在这一转换过程中,作品创作基于编导的自主性与艺术创作的自由性,以“内在精神”作为创作导向和驱动力,以抽象性的舞蹈形式语言作为“内在精神”表达的实体。

As the main means of artistic expression,form is an important channel to constitute the uniqueness of dance language.Generally speaking,Chinese ethnic and folk dance often takes the dance language of the immediate style system as the starting point of formal expression,and the dance language of the immediate style system as the main means of lyrical dance language expression,can objectively represent the ethnic aesthetic characteristics through extracting materials and purifying styles.Taking Chinese ethnic and folk dance as the research object,this paper analyzes the formal language in the current stage forms,whose generation breaks through the traditional“simulation and representation”,and moves toward the“abstract expression”based on element reconstruction.The aesthetic taste of stage formal language of Chinese ethnic and folk dance also moves from the traditional“simulation and representation”to the modern aesthetic construction of“abstract expression”.In terms of transformation,the creation is based on the initiative of choreographers and the freedom of artistic creation,with“inner spirit”as the creation direction and driving force,and abstract dance formal language as the entity of“inner spirit”expression.