中国现代舞与现代中国舞——新时期中国“新舞蹈”运演的阅读笔记(乙编)

Chinese Modern Dance and Modern Chinese Dance: Report after Reading Materials of the Advancement of the New Dance in New Period in China( II)

吴晓邦先生认为,作为中国的新舞蹈艺术在创作上应把外来的东西和自己民族的审美要求融会贯通,要尊重中国传统的艺术习惯,把抽象的动作具象地化为情感的语言。郭明达认同第二次世界大战后崛起的现代舞"新先锋派"的旨趣——即舞蹈本身是一种自我完满的实体,不必亦步亦趋于文学、戏剧;舞蹈动作本身就是目的,而不限于作为一种传情达意的工具。中国现代舞探索"舞蹈本体的回归",中国现代舞舞者的关注点,一是中国现实的感受,二是现实人物的内心,三是舞蹈本体的回归。创作了小舞剧《天山深处》和《一条大河》的前线歌曲团的苏时进代表"新舞蹈"的时代高度。第二届全国舞蹈比赛对于中国"新舞蹈"具有重大意义。20世纪80年代中期以来,中国"新舞蹈"创作确实获得极佳的境遇,开始以"三部曲"或"小型作品组台"的方式凸现编导的个人风格,代表作品有《觅光三部曲》《记忆的风帆》《悲鸣三部曲》。身为吴晓邦先生的入室弟子,张华旗帜鲜明地指出,现代舞是独立人格创造出来的舞蹈,应该挑战经验舞蹈的习惯方式。

Mr. Xiaobang states that in creating new dance, we should integrate something foreign and exotic and some- thing national and local, and we should respect the traditional Chinese art custom and concretize the abstract action into emotional language. Guo Mingda agrees that the purport and interest of new avant - garde school of modem dance lies in that dance itself is a self- satisfactory entity, therefore it does not need to blindly follow literature or theatre, since dance itself is the goal. Modern Chinese dance explores to regress to dance, and Chinese dancers pay much at- tention to sense of the reality and people~ inner mind in real life, and a regression to dance itself. Su Shijin, who cre- ated ＂ Deep in Mount Tianshan＂ and ＂ A Great River, represents the height of new dance of that time. And the sec- ond National Dance Competition has an important significance to Chinese new dance. Since 1980s, Chinese new dance has met a very nice opportunity, which inspired a lot of works. As Mr. Xiaobang＇s disciple, Zhanghua states that modem dance is a kind of dance created through independent personality, and it is necessary to challenge the custome of experience dance.