论文部分内容阅读
谈及中国传统民族民间舞蹈文化的保护与创新话题,同一切民族文化的继承与创新一样,是个既敏感又老生常谈的话题。尤其是有关民族民间舞蹈的教学传承与舞台创新这两种立场对于话题的不同理解,在长久的争论下导致这一议题越发虚化。“老树发新枝”成为普遍美好的愿景,既希望扎根于传统民族民间文化沃土的基础之上,又能进行与时俱进的艺术创新。但问题是舞台上的民间舞创作(不论大型舞剧还是小剧目)都不约而同掉进了两个低谷:或是因循守旧的雷同,或是失去滋味儿的胡编乱造。编导们好像中了魔般怎么也做不对了一样。笔者认为这一情况的出现,大多是
Talking about the protection and innovation of the traditional Chinese folk dance culture is just as sensitive and commonplace as the inheritance and innovation of all ethnic cultures. In particular, the different understanding of the topic from the standpoints of teaching inheritance and stage innovation concerning ethnic folk dance has led to a more vague issue in the long debate. “Old tree made a new branch ” has become a common and beautiful vision, both hope rooted in the fertile soil of traditional ethnic folk culture on the basis of, but also with the times of artistic innovation. However, the problem is that folk dance creations (whether large-scale ballet or small play) on stage are spontaneously dropped into two troughs: they are either based on the same tradition or lost in taste. The wizard seems to be in the magic how to do the same. I think the emergence of this situation, mostly