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文艺复兴时期的意大利孕育了“宴会芭蕾” ,其“双亲”是意大利宫廷祭祀娱神舞蹈和意大利民间游戏。当时各城邦宫廷里的王公贵族最喜欢在举行宴会时表演这一舞蹈 ,故名“宴会芭蕾”。尽管它情节简单 ,技术粗糙 ,但是它负荷了新的人文主义者的思维模式 ,也符合上层统治阶级的政治需要 ,所以在意大利各城邦宫廷广为流会传。 16世纪中叶 ,“宴会芭蕾”传入法兰西 ,在意大利籍的凯瑟琳·德·梅迪奇皇后和法国历任国王的高度重视下 ,不断繁荣和发展 ,更富有戏剧情节性和艺术品位 ,并迅速成长为“戏剧芭蕾” ,创造了法国芭蕾最辉煌的历史时期。戏剧芭蕾对芭蕾在法国乃至整个欧洲的普及和发展树起了一座新的里程碑。它标志着芭蕾向着戏剧化迈进了一大步。
Renaissance Italy gave birth to the “Banquet Ballet”, its “parents” is the Italian court Sacrificial God dance and Italian folk games. At that time the princes and nobilitys in the court of the city-state most liked performing this dance during a banquet, hence the name “banquet ballet.” Despite its plots and technical roughness, it burdened the new humanist mindset with the political needs of the upper ruling class, and so it was widely circulated in courthouses in various Italian cities. In the middle of the 16th century, “Banquet Ballet” was introduced to France. Under the great attention of the Italian Queen Catherine de Medici and the successive kings of France, it continued to prosper and develop, becoming more dramatic and artistic, and rapidly growing For the “theater ballet”, France Ballet created the most brilliant historical period. Theatrical ballet sets a new milestone in ballet’s popularity and development in France and throughout Europe. It marks a big step toward dramatization.