图舞跨媒介转换的间性逻辑和实践路径

Interality Logic and Practice Pathways of Image-Dance Transmedia Transformation

中国古典舞的创作往往基于历史典故、古典美学和文化精神。作为创作的重要依据,图像不仅为舞蹈作品提供具象的艺术形象,还为新时代的舞蹈编创提供新的灵感,依赖图像进行二次创作的舞蹈跨媒介现象也因此发生。这种二次创作开辟了单媒性图像向多媒性舞蹈的异质媒介转化的创新路径,遵循的是“传者—受者”主体间性、“符号—对象”符指间性和“传统—现代”文化间性的多重间性逻辑。基于此,图舞的跨媒介转换便表现为四种创作方式:一是从形象、文本和精神三维度增强指称符号辨识度,以维护间性区域的融通性,提升图舞转换的效率和质量;二是通过善用图舞互文性构建和呈现符号复合体;三是巧用主体差异丰富叙事情节的审美性;四是化用审美共通性,创制文化精神的有机体。由此实现图舞母题的创造性转化,达成艺术创新的高质量发展。

The creation of Chinese classical dance is often based on historical anecdotes,classical aesthetics,and the cultural pursuits of the times.As an important tool for historical evidence,images not only provide concrete artistic representations of dance works,but also offer aesthetic inspirations for contemporary choreographers.This reliance on images for secondary creation leads to the phenomenon of transmedia transformation in dance.Such secondary creation opens up innovative pathways for the heterogeneous media transformation from single-media images to multi-media dance,adhering to multiple interality logic:the intersubjectivity of“transmitter-receiver”,the intersemiotics of“sign-object”,and the interculturality of“tradition—modernity”.Based on this,the image-dance transmedia transformation is manifested by four creation approaches:first,enhancing the differentiation degree of referential signs from the three dimensions of image,text,and connotation,to maintain the integration of the interality space and improve the efficiency and quality of image-dance conversion;second,constructing sign complex hrough image-dance intertextuality;third,enriching the aesthetic of narrative plots by utilizing subject differences;fourth,achieving low-loss transformation of image-dance motifs through aesthetic commonality and creating an organic body of the spirit of the times,thereby achieving high-quality artistic innovation.