群舞作品中的“主体框架”构成观念及运用分析——以“全国舞蹈比赛”、中国舞蹈“荷花奖”、“桃李杯”为例

Analysis of the Concept Forming and Its Application of the “Main Frame”in the Group Dance Works——With the “National Dance Competition”,Chinese Dance the“Lotus Award”and the “Peach Plum Cup”as Cases

从"全国舞蹈比赛"、中国舞蹈"荷花奖"和"桃李杯"比赛的805部群舞作品中分析,其舞蹈结构无论怎样设计,实际上都无法摆脱"诗画式"和"情节式"两种结构样式的束缚。有鉴于此,通过对综合多变形态、密集队形和线性链状密集构成的三种"主体框架"展开综合对比分析提出结论,即:构建出色的"主体框架"与作品创新不但有关系,而且关系密切。综合多变形态的致命短板是意识含糊,模式多变不稳定,不具神秘感、突发感和未知感,阻碍创作智慧彰显;密集队形其密集的目的性、功能性和指向性不仅旗帜鲜明,而且具有深意,隐含智慧;线性链状密集构成在吸收前者优点的基础上构成观念更加完善,获国家级大奖比例高达58.33%。

h can be found, based on the analysis of 805 group dance works from the National Dance Competition, Chinese Dance the Lotus Award and the Peach Plum Cup competitions, that no matter how the structure of the dance is designed it is not possible to get rid of the restrictions of two kinds of conventional pattern, the ＂poetry＂ and the ＂ plot＂. Because of this, after the comprehensive comparative analysis of three ＂main frame＂, namely the comprehensive changeable format, the dense formation and the linear chain dense format, we are able to promote the conclusions that, the construction of excellent ＂main frame＂ is closely related to the creativity of the work. The deadly shortcoming of the comprehensive changeable format is a sense of ambiguity, the instability of the pattern, the lack of mystery, sudden and unknown which hinders the wisdom in creation. The aim, function and directivity of the dense formation are clear, meaningful and wise. The linear chain dense format, which is built on the advantages of the previous two forms is characterized of a better forming concept with which the proportion of winning the national award reaches as high as 58.33%.