李承祥大型舞剧创作及其论析感思

Li Chengxiang's Grand Ballet Creation and an Analysis of it

中国当代舞剧的"前四家"之所以不能不提李承祥,一在于他作为"组织者"的同时也是重要的"实施者";二在于他参与操盘的有限舞剧都有着无限的影响力——特别是《鱼美人》和《红色娘子军》;三在于他对舞剧创作的论述与评析。关于舞剧《鱼美人》,李承祥认为它充分发挥了舞蹈的优势,并探索"舞剧本体"的相关思路。关于《红色娘子军》,李承祥认为它是在这样一种契机下诞生的,那时我们都想用芭蕾舞剧创作本国现代题材的剧目,力图使中国芭蕾舞具有自己的民族风格。而发展革命芭蕾舞剧要"破旧立新",即"破"以《天鹅湖》为代表的古典芭蕾表现程式,"立"无产阶级革命斗争题材、写具有无产阶级觉悟的革命战士。在"新舞剧"传统与"舞剧艺术"规律之间,他更多强调的又是"舞剧艺术创作规律"。进入思想解放和改革开放的新时期,他指出要关注"半戏剧性的芭蕾舞",并大赞"奥涅金与达吉雅娜"双人舞。他认为《林黛玉》表现了现实与幻觉交织的"心理结构",将戏剧因素升华为诗剧因素的"诗化追求"。他强调"诗化追求"是舞剧结构的时代演进,注重舞剧结构的设计与舞蹈形象的塑造,并剔出编舞方法的10个要点供编导把握。

As one of the four representatives of contemporary Chinese ballet, Li Chengxiang is the organizer and execu- tor. Two works ＂The Fish Beauty＂ and ＂The Red Detachment of Women＂ he participated into creating has exerted a great impact. In addition, he has some discourses upon ballet creation. As regards to ＂ The Fish Beauty＂ , Li Chengxiang thinks that it gives full play to dancing, and based upon it he explores rele- vant thinking of ballet entity. As regards to ＂ The Red Detachment of Women＂ , he states that it was born in a moment when we want to create our national and modern play in ballet, and we try best to make Chinese ballet have a sense of Chinese style. To develop revolutionary ballet, we should break away from old representative formula of classical ballet, and write revolutionary soldiers detachment of women who have an awareness of proletarian consciousness. Between new ballet tradition and ballet art law, he stresses the creative law of ballet art more. As a new era of ideological emancipation and reform and opening arrives, he states that we should pay attention to semi -dramatic ballet, and he highly praise pas de deux ＂ Onegin and Tatiana＂. He thinks that ＂ Lin Daiyu＂ expresses the psychological structure interlacing reality and illusion. He sublimes dramatic factor to poetical pursue of poetical drama factor, lie stresses that poetical pursue is a new advancement of ballet structure. He pays attention to the design of ballet structure and character modeling, and he picks up 10 points for choreographers to refer to.