舞剧表意理念40年的历史跨越——从"上芭"版《雷雨》到"东艺"版《雷雨》
The 40-Year Evolution of Expressive Concepts in Dance Dramas:from the Shanghai Ballet's Thunderstorm to the Version of Shanghai Oriental Art Center
于平 1张莉2
作者信息
- 1. 南京艺术学院,南京 210000
- 2. 上海戏剧学院,上海 201102
- 折叠
摘要
在"上芭"版《雷雨》至"东艺"版《雷雨》的40余年间,对这部"话剧经典"进行"舞剧演绎"且产生较大影响者,还有"前线"版《雷雨》(舞剧《繁漪》)、"北舞"版《雷雨》(一)(舞剧《情殇》)和"北舞"版《雷雨》(二)(舞剧《雷和雨》).在《雷雨》各种版本的"舞剧演绎"中,体现出舞剧表意理念的不断迁变和深化;特别是赵小刚在"东艺"版《雷雨》创排中强调的"以舞带戏"的表意理念,不仅是一个具有丰富内涵的学理概念,更体现出当前舞剧表意理念的认知升华.
Abstract
Between the"Shanghai Ballet"and the"Oriental Art"versions,other influential adaptations include the"Frontline"version(Dance Drama Fan Yi),and two versions produced by Beijing Dance Academy(Qing Shang and Thunder and Storm).The various dance drama adaptations of Thunderstorm have transformed and deepened the expressive concepts of dance drama.Notably,Zhao Xiaogang's emphasis on the idea of"dance conveying drama"in the"Oriental Art"version highlights not only a rich theoretical concept but also an elevated understanding of contemporary expressive concepts in dance drama.
关键词
《雷雨》/舞剧表意理念/赵小刚/以舞带戏Key words
Thunderstorm/expressive concepts in dance drama/Zhao Xiaogang/dance conveying drama引用本文复制引用
出版年
2024
NETL
NSTL
万方数据