發(fā)布時(shí)間：2018-03-22 06:20

  本文選題：當(dāng)代中國(guó)古典舞體系　切入點(diǎn)：發(fā)生　出處：《沈陽(yáng)師范大學(xué)》2017年碩士論文　論文類(lèi)型：學(xué)位論文

【摘要】：舞蹈作為一門(mén)的表演藝術(shù),當(dāng)代中國(guó)古典舞,自有它的年輕而又古老的雙重人格。一說(shuō)當(dāng)代中國(guó)古典舞的年輕是在于其形成了自己的理論基礎(chǔ)和表演模式,僅僅是在1949年新中國(guó)建立之后的半個(gè)多世紀(jì),其形態(tài)、概念、內(nèi)涵,也在半個(gè)多世紀(jì)之中不斷地發(fā)展、豐富并且拓展;二說(shuō)當(dāng)代中國(guó)古典舞的古老是在于舞蹈這門(mén)藝術(shù),本身就帶著歷史的厚重卻又沉淀在中華古典文化和獨(dú)特的民族美學(xué)思想的沃土之中。特別是在中華民族所尊崇的儒家、道家、佛家等宗教思想的一些觀念,為這門(mén)舞蹈表演藝術(shù)注入了獨(dú)特的文化基因與底蘊(yùn),使得這門(mén)新興的表演藝術(shù)形式擁有著一種古樸、典雅、厚重的歷史感。如今,我們所提到的“中國(guó)古典舞”,它是中華人民共和國(guó)建國(guó)以后(二十世紀(jì)五十年代),經(jīng)過(guò)幾代舞蹈家們對(duì)中國(guó)特有傳統(tǒng)的古典舞蹈進(jìn)行了一系列復(fù)原與再創(chuàng)造。因此,“當(dāng)代”二字加在了“中國(guó)古典舞”的前面是非常合情合理的。本論文旨在通過(guò)對(duì)于當(dāng)代中國(guó)古典舞,做出了梳理與分析,用諸多的當(dāng)代古典舞發(fā)生、發(fā)展為基本切入點(diǎn),來(lái)探討中國(guó)當(dāng)代古典舞的發(fā)展脈絡(luò)。另外,也將從中國(guó)當(dāng)代古典舞的歷史成因問(wèn)題,來(lái)研究中國(guó)當(dāng)代古典舞,所產(chǎn)生和發(fā)展的歷史背景,研究中國(guó)當(dāng)代古典舞的現(xiàn)狀以及未來(lái)走向,去找尋到盡可能合乎歷史規(guī)律和客觀規(guī)律的發(fā)展目標(biāo)以及線(xiàn)索,并且通過(guò)探索當(dāng)代中國(guó)古典舞的發(fā)生、發(fā)展、以及各種風(fēng)格流派、風(fēng)格迥異,來(lái)給予全面而又客觀的分析與研究。全文共分為四章來(lái)進(jìn)行闡述。第一章從當(dāng)代中國(guó)古典舞的成因背景著手,系統(tǒng)的通過(guò)總結(jié)當(dāng)代中國(guó)古典舞的大概念,以及產(chǎn)生的原因歸納出當(dāng)代中國(guó)古典舞的釋義。并通過(guò)早期與中期發(fā)展的歷史背景來(lái)分析了其形成的背景,在第一章的最后拋出了一個(gè)問(wèn)題就是構(gòu)成了當(dāng)代中國(guó)古典舞的四大學(xué)派的提出與形成;第二章承上啟下剖析當(dāng)代中國(guó)古典舞體系(四大學(xué)派)形成的理論依據(jù);第三章是通過(guò)理論指導(dǎo)和實(shí)踐,重點(diǎn)探析在理論依據(jù)指導(dǎo)下的當(dāng)代中國(guó)古典舞,其中各個(gè)門(mén)派的風(fēng)格特征;第四章總體的對(duì)于文章進(jìn)行宏觀的把控。通過(guò)對(duì)于當(dāng)代中國(guó)古典舞體系發(fā)展趨向的理解,來(lái)提出問(wèn)題和解決問(wèn)題,更好地為當(dāng)代中國(guó)古典舞的健康發(fā)展,做出自己微薄的參考理論依據(jù)。對(duì)于當(dāng)代中國(guó)古典舞體系所發(fā)生和發(fā)展問(wèn)題,筆者通過(guò)了對(duì)于當(dāng)代中國(guó)古典舞體系進(jìn)行了多視角的研究,發(fā)現(xiàn)了一些不斷健全中的當(dāng)代中國(guó)古典舞體系。并對(duì)于不同學(xué)派、風(fēng)格特征的研究與把握,提出了發(fā)展趨勢(shì)的研判。
[Abstract]:Dance as a performing art, contemporary Chinese classical dance, has its own young and ancient dual personality. Only more than half a century after the founding of New China in 1949, its form, concept and connotation have been continuously developed, enriched and expanded in more than half a century. Second, it is said that the ancient art of contemporary Chinese classical dance lies in the art of dance. It is in the fertile soil of Chinese classical culture and unique national aesthetic thoughts, especially in the religious ideas of Confucianism, Taoism, Buddhism and so on, which are respected by the Chinese nation. This new form of performing art has a simple, elegant and heavy sense of history. We refer to the "Chinese classical dance", which is after the founding of the people's Republic of China (1950s), after generations of dancers to the Chinese traditional classical dance a series of restoration and re-creation. Therefore, it is very reasonable to add the word "contemporary" in front of "Chinese classical dance". This paper makes a combing and analysis, discusses the development of Chinese contemporary classical dance by using a lot of contemporary classical dance occurrence and development as the basic breakthrough point. In addition, it will also discuss the historical origin of Chinese contemporary classical dance. To study the historical background of the emergence and development of Chinese contemporary classical dance, to study the present situation and future trend of Chinese contemporary classical dance, to find out the development goals and clues that conform to the historical and objective laws as far as possible. And by exploring the emergence and development of contemporary Chinese classical dance, as well as various styles and genres, the styles are quite different. The thesis is divided into four chapters. The first chapter begins with the background of the origin of contemporary Chinese classical dance, and systematically summarizes the great concept of contemporary Chinese classical dance. And the reasons for the emergence of modern Chinese classical dance interpretation. And through the early and medium-term development of the historical background to analyze its formation background, At the end of the first chapter, a problem is put forward and formed, the second chapter analyzes the theoretical basis of the formation of the contemporary Chinese classical dance system (the four schools). The third chapter is through the theoretical guidance and practice, focusing on the theoretical basis under the guidance of contemporary Chinese classical dance, in which the style of each school characteristics; The fourth chapter of the overall macro control of the article. Through the understanding of the development trend of contemporary Chinese classical dance system, to put forward problems and solve problems, better for the healthy development of contemporary Chinese classical dance, To make their own meager reference theoretical basis. For contemporary Chinese classical dance system occurrence and development, the author through the contemporary Chinese classical dance system to carry out a multi-perspective study, The author finds some modern Chinese classical dance systems which are constantly improving, and studies and grasps the characteristics of different schools and styles, and puts forward the research and judgment of the development trend.
【學(xué)位授予單位】：沈陽(yáng)師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類(lèi)號(hào)】：J722.4

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