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以昆曲为代表的吴地戏曲的兴起和宋代以后民间舞蹈的兴盛,使吴地舞蹈更多的与戏曲相互交织,在入“戏”、出“戏”间形成本质变化。戏曲兴起后吴地舞蹈失去了自身发展的独立性,更多的以戏曲形式出现。以昆曲为代表的“雅”化戏曲舞蹈和以民间小戏为代表的“俗”态戏曲舞蹈是宋代以后至明清吴地舞蹈的主体,代替了本应借助吴地社会发展进一步上升的吴地舞蹈艺术,其整体风格是细腻、柔美的,文人士族阶层对戏曲、舞蹈活动的直接参与为整个吴地文化增添了“雅”、“文”的气质。
The rise of Wu opera, represented by Kunqu Opera, and the rise of folk dance after the Song Dynasty made Wu dance more intertwined with opera and formed an essential change into the opera and the opera. After the rise of opera, Wu dances lost the independence of self-development and more appeared in the form of opera. The opera “Qu Ya” represented by Kunqu opera and the “vulgar” opera represented by folk operas are the main body of Wudi dance from the Song Dynasty to the Ming and Qing dynasties, which should replace Wuyi’s social development The rising Wudi dance art, the overall style is delicate and soft, the literati and ethnic groups on the drama, dance activities for the entire Wudi culture to add “Ya ”, “Wen ” temperament.