从爱森斯坦的“蒙太奇思维”理论看舞蹈影像创作

Applying Eisenstein's “Montage Thinking” in Dance Film Composition

本文以玛雅·德伦的舞蹈影像创作实践为研究对象,借以谢尔盖·爱森斯坦的蒙太奇理论,分析其作品中的蒙太奇艺术创作。文章论证了蒙太奇思维是如何在从舞台到荧幕的过程中发生作用的。继而,结合舞蹈影像作品的案例解析,探讨舞蹈影像创作中蒙太奇思维所具备的力量。蒙太奇的创作思维使舞蹈影像从舞台舞蹈的概念中抽离出来,使荧幕舞蹈独立存在。

Along with Sergei Eisenstein＇s montage theory of film,this paper uses the dance film practice of Maya Deren to elicit a discussion of ＂ Montage Thinking＂,and then,analyze its main features as an artistic thinking. The main body of the paper argues that from the stage dance to the screen dance,how montage thinking works. In conjunction with the case analysis of dance film works,it discusses the power of montage thinking in the dance film composition. Through the argumentation,the paper proposes that the use of montage thinking makes dance film independent from the concept of stage dance and creates a unique cinematic dance presence.