摘要
本文以胶州秧歌"三道弯"为切入点,首先分析民间、课堂、舞台三个不同文化空间的胶州秧歌"三道弯"的形态特征,从中透视各自的审美特质;其次分析胶州秧歌"三道弯"从民间到舞台的审美嬗变的原因;最后分析审美嬗变过程所折射出的三个不同层次的审美诉求。笔者在结论部分指出,"三道弯"经过编导和演员们的多次诠释,已经超越了原生胶州秧歌的美学范畴,成为代表汉族女性舞蹈的审美形态的典范之一。
Taking Jiaozhou Yangko＇ s three bending as an example, this paper firstly analyzes the form characteristics of the dance in three different cultural spaces （ public, classroom and stage） and reveals their respective aesthetic characteristics; secondly it discusses the causes for changes of aesthetic form; and at last it examines the aesthetic appeals reflected by the changes at the three levels. In conclusion the author points out that after numerous interpretations by directors and actors, three bending has gone beyond the aesthetic scope of the original Jiaozhou Yangko, and become the representative Han female dance.
出处
《北京舞蹈学院学报》
北大核心
2013年第1期74-77,共4页
Journal of Beijing Dance Academy
基金
北京市人才强教深化计划高层次人才项目"中国非物质文化(传统舞蹈项目
民间舞蹈)遗产传承研究"阶段性研究成果之一
关键词
胶州秧歌
“三道弯”
民间
课堂
舞台
审美
Jiaozhou Yangko＇ s three bending
public
classroom
stage
aesthetic form
