中国杂技艺术的发生、演进、类分与美化

Generating,Evolvement,Categorization,and Beautification of Chinese Acrobatics

本文从杂技艺术的本体发生、历史演进、形态类分和自身的"舞蹈"美化四个方面进行了论述。考察杂技艺术的本体发生,遵循的依旧是"本体"寓于"具体"之中的原理。从"劳动创造了人"这一根本出发点,杂技艺术无疑是人类劳动技能、特别是人类狩猎劳动技能的提高与升华。艺术发生从"功利"到"审美"的中间环节是多样性的,这就为日后"审美"的发生提供了可能。考察杂技艺术的历史演进过程,在中国史籍中最早记录的可能是"角抵戏"。杂技登录史籍,历代视之为"戏",从秦"角抵戏"、汉"百戏"、唐"杂戏"到元"把戏"都是如此。但"把戏"比较贴近杂技艺术的形态内质。从大多数杂技节目借助道具的戏耍呈现人体的技能来看,正可视之为"把戏"——把玩之戏。杂技艺术的形态类分与其自身的历史演进紧密相连。原初时期的技艺表演给人的印象一是杂、二是耍,难登大雅之堂,但自元以降,特别是明清之际,杂技艺术开始部分地融入传统戏曲,无论武戏、文戏,都穿插有杂技表演。这既深化了戏曲的技艺水平,又强化了杂技的艺术效果。要让难的"技术含量"呈现为好的"艺术效果",是杂技艺术之所谓"难能可贵"。明清以降,我国杂技艺术步入了"现代进程",一是体能开发与道具应用并进,二是技术难度与技巧设计共荣,三是杂技耍弄与戏曲表演互益,四是传统杂技与现代马戏同辉。近代以来西方马戏的大棚装置、照明技术与节目设计理念,促进了我们传统杂技的"现代进程"。杂技艺术的"舞蹈"美化,也即通过舞蹈设计来强化杂技审美,依其切入的层面大约可分为五个方面,其中包括对杂技艺术的人体动态呈现进行造型修饰;对杂技艺术的人体动态要考虑其连续呈现时的"变化规律",需要对人体的动态呈现进行"主题变奏";要关注动态人体的空间位移(舞径)和空间分布(舞群),对舞径与舞群的设计是对人体动态"主题变奏"的深化与拓展;"舞群"不仅仅是动态人体的空间分布,更是动态人体呈现于舞台的独立视觉单位;以及更深层次的"意象化"与"情节化"的舞蹈设计。这些共同构成了中国杂技艺术现代化进程的历史基础和充要条件。

The present article expounds upon the ontological generation,historical evolvement,modality categorization,and dancing beautification of Chinese acrobatics. Viewed from the conception of ＂ labor creates human＂,and compared with human labor skills especially their hunting skills,it is no doubt that acrobatics is more advanced and sublime. According to Chinese history manuscripts,wrestle juggles maybe the historical form of later acrobatics. Acrobatics has been listed in the category of ＂ drama＂,however,comparatively speaking,＂ juggles＂ could be more appropriate to its nature. Since most acrobatics performers would like to display human skills by playing assistant equipments,thus it could inevitably be considered as ＂ juggles＂ . There is an intimate relation between modality categorization of acrobatics and its historical evolvement. In an elementary stage,acrobatics performing with its two features of disorder and amusing,was difficultly acknowledged by elites. However,after Yuan dynasty especially in Ming and Qing dynasties,acrobatics began to borrow advantages from traditional drama,therefore,acrobatics performing could be seen either in military plays or singing plays. This profoundly deepened dramatic performance as well as reinforced the artistic effects of acrobatics. Since Ming and Qing dynasties,Chinese acrobatics has stepping into a ＂ modern course＂ which represent in following points. It pays much attention both to physical strength development and equipment application. It renovates both in skill difficulty and skill design. It promotes an interactive benefit between acrobatic performing and dramatic performance. It makes an excellent magic intervening traditional acrobatics and modern circus. As regards to acrobatics beautification,that is to intensify the aesthetic effects of acrobatics by dancing where there are several problems to be paid much attention to. While beautifying movements of acrobatics performers,we should consider ＂ changing laws＂ and make ＂ theme variation＂ of movements when they are sequentially performed. We should pay attention to their spatial displacement and distributing which are independent visual units. At last,we must dedicate to dance designing so as to create more impressive images and plots.