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在舞蹈理论与舞蹈实践中,继承与借鉴一直是一个未得到圆满解决的问题。近些年,舞蹈界出现的“代沟”现象,在很大程度上与这个问题有关。因为所谓的“代沟”现象的发生实质上就是对古今新旧文化所持态度不同,导致相互之间互不理解,形成了新旧之间的艺术思想和艺术追求的差距。对此,我们首先应当从理论上对借鉴进行理论阐述,并以此为契机,取得相对的共识,减轻“代沟”矛盾。本文试以蒙古族舞蹈艺术的发展为据,对借鉴问题作些探讨,是在保持和发扬民族舞蹈艺术本色的同时,取人之长,补己之短,扩大和丰富民族舞蹈的艺术表现力,以求适应时代的发展,满足各族观众的舞蹈审美心理需求。
In dance theory and dance practice, inheritance and reference have always been a problem that has not been satisfactorily solved. In recent years, the phenomenon of “generation gap” in the dance world has largely been related to this issue. Because the so-called “generation gap” phenomenon occurs in essence is different from the ancient and new cultures held different attitude, resulting in mutual misunderstanding, the formation of the art of the old and the new ideas and the pursuit of the gap. To this end, we should first of all theoretically elaborate on the reference for reference, and take this as an opportunity to gain relative consensus and reduce the “generation gap” contradiction. Based on the development of Mongolian dance art, this article attempts to explore the issues of reference for reference. While maintaining and promoting the true nature of the art of folk dance, this article attempts to draw on the strengths of others, make up for themselves, and expand and enrich the artistic expression of folk dance , In order to adapt to the development of the times, to meet the dance audience aesthetic needs of all audiences.