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在中国的艺术领域,从未有哪门艺术像舞蹈这般将创作和理论置于近似“对立”的地位了。究其缘由,本质上不过两条:一曰双方太过“封闭”,东家言东家事,西家说西家理,各守一方“寸地”而视对方为“雷池”;一曰双方太过“自负”,在前提不明、指代不清的舌战中“损兵折将”,在充满狐疑的互视中彼此间离,最终只能落得个“井水不犯河水”。这犹如一架缺乏制约机制的马车,信马由缰,到头来只能换得个漫无目的和茫然无助。“双赢”变成了“双亏”!这是“中国舞蹈大文化”表象使然,没有人关注的艺术在现世中很难有真正意义上的繁荣。
In the field of art in China, there has never been a place where the art of creation and theory have been placed in an approximately “opposite” position like dance. The reason, in essence, but two: one said the two sides are too “closed”, the East House East House, West House West House, each of the party “inch” and treat each other as “thunder pool”; one said too Over the “self-confidence”, the premise is unknown, refers to the unclear tongue war “off soldiers off,” full of suspicion each other in the mutual vision, and ultimately can only come to a “well water without water.” It is like a carriage lacking a restraint mechanism, relying on reins, and in the end can only be exchanged for aimlessness and losslessness. “Win-win” has become a “double loss”! This is the appearance of the “great Chinese dance culture.” No one is concerned about the art of real prosperity in the world.