交响芭蕾代表作《斯巴达克》的编舞原则研究

Dance Drama Creation:Interpretation of Spartacus

2018年,时值交响芭蕾代表作《斯巴达克》成功上演五十周年。本文回顾了20世纪后半叶以来中国舞剧观念和技法与苏联芭蕾之间的关联历程,从舞剧的本体特征中试图重新阐释《斯巴达克》的艺术价值与人文内涵,即《斯巴达克》所遵循的"音乐视觉化"编舞原则,"第三人称"与"第一人称"交响呼应的编舞原则,以及审美图式上群舞的"典范性"和主要人物的"补充性"。

At the time of the 50 th anniversary of the birth of the Spartacus in the history of the Russian symphonic ballet,the paper attempts to reinterpret the ontological characteristics of the ballet in the perspective of dance history. Spartacus has shown its potentially humanistic content with half-century history,including music visualization,combination of ＂ third person ＂ with ＂ first person＂ and the aesthetic schema on the modeling group dance and the supplementary solo of main characters.