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自《情天恨海圆明园》的首演至今,舞蹈界关于“舞剧大制作”的讨论也日益激烈起来。近年来,舞蹈界大制作的作品数目在不断增多,较有影响的就有陈维亚的《大梦敦煌》、《情天恨海圆明园》、张继钢的《野斑马》、王勇、陈惠芬、吕玲的《妈祖》等等。这些作品都有着共同的特点:资金投入大,演出规模恢宏,具有广泛的影响。可以说,这样的大制作的确是中国现当代舞蹈发展50多年来出现的新样式,因此我们不禁思索起关于舞蹈大制作的种种问题。
Ever since the premiere of “Love the Sea and Haunted Yuanmingyuan”, the discussion on the “big production of dance drama” in dance circles has also become increasingly fierce. In recent years, the number of works produced in the dance world has been on the increase. More influential are Chen Weiya’s “Dreams of Dunhuang”, “Love and hate the sea Yuanmingyuan”, Zhang Jigang’s “Wild Zebra”, Wang Yong, Chen Huifen and Lu Ling “Matsu” and so on. These works all share common features: large investment in funds, magnificent performances and extensive influence. It can be said that such a large production is indeed a new style emerged in the development of modern and contemporary Chinese dance over the past 50 years. Therefore, we can not help thinking of various issues concerning the large-scale dance production.