表象、虚幻的力及情感表现——苏珊·朗格舞蹈美学思想之内核

Representation,Illusory Strength and Expression of Emotion——the Kernel of Susannek Langer's Dancing Aesthetics

苏珊.朗格的符号论美学思想承前启后,富于思辩而不晦涩,她穿越了早期符号论、表现主义、形式主义,成为符号论美学的集大成者。作为其美学思想组成部分的舞蹈美学思想,同样打上了各美学流派的烙印,但她并未拘囿于任何一种思想,而是对其进行了改造吸收。她也不同于一般舞蹈批评家只是从鉴赏和批评的角度去研究舞蹈,而是真正从哲学的高度回答了舞蹈是什么。在她看来,舞蹈不是"以手势讲话的艺术",也不只是"身体动作表现得最丰富、最富有变化的艺术",而是舞蹈家凭借连续的身体姿势表现一种"虚幻的力"的艺术形式,而这种"虚幻的力"又是对一种"想象的情感"而不是真实情感的抽象。因此,舞蹈作为一种"虚幻的力"的表象,是对想象的情感的二度抽象,它区别于音乐那种"虚幻时间"的意象表现,也区别于雕塑、建筑那种"虚幻空间"的意象表现。表象、虚幻的力以及想象的情感是苏珊.朗格舞蹈美学思想的内核。

The aesthetic concepts on semiotic by Susannek Langer inherits the past and forges ahead into the future, and her aesthetic thinking is eloquent without obscurity, She broke through precedent semiotics, expressionism and formalism of aesthetics, and eventually became the most famous semiotic thinker. As an organic part of her aesthetic thinking, the dancing aesthetic thinking displays the features of the above-mentioned aesthetic schools. However, Langer was not confined to any school; she absorbed and reformed the thinking of these schools instead. In Langer＇s opinion, dancing ＂is not an art of speaking by gestures＇, nor is it ＂the art of various body movements＂. It is a kind of art form displayed by dancers with continuous posture to express ＂illusory strength＂, while the ＂illusory strength＂ is the abstract form of ＂imaginary feeling＂ instead of an abstract of true feeling. Therefore, dancing is quite different from sculpture or construction.