作品《yao》的舞蹈剧场“现代性”

The Modernity in the Dance Theatre of Yao

本文通过作品《yao》三个维度的创作分析,深度切入挖掘作者创作手段背后的思考过程,形成这一过程的关键便是窥探出作品《yao》舞台表达的现代性思维与整合。编导通过艺术学科之间的跨界融合,最终形成具有舞蹈剧场这一当下前瞻性的舞台呈现方式,所有手段都为舞台核心人物——"蘩漪"的形象传达服务,通过三个艺术学科的融合,将舞蹈语言、话剧语言、戏曲语言进行有机关联,最终形成一个舞台视觉的统一整体,并且使得蘩漪这个人物内心情绪在多元化的舞台塑造中,完成了具有剧场属性、抽象符号感的审美与信息的舞台呈现,将舞蹈剧场的创作前瞻性淋漓尽致地表现出来。

This paper analyzes the dance theatre work Yao from the three dimensions, exploring the thinking process of the dance creation. The key to the formation of this process is to think in a modernity way and to integrate the stage expression of Yao with the modernity thinking. The choreographer, through interdisciplinary integration of different arts, creates the stage representing method of dance theatre, the prospective way of creation at present. All the means of the stage representation serve to convey the key figure on the stage： Fanyi, integrating the dance language, the drama language and the language of Chinese traditional opera to form a united stage visual expression. Thus the key figure Fanyi completes the stage representation with theatricality and abstract symbols during the process of the multiple stage creation of the figure＇ s inner feelings, which embodies the creation prospective incisively and vividly.