作　　者： ;

机构地区： 星海音乐学院舞蹈系

出　　处： 《北京舞蹈学院学报》 2015年第4期66-69,共4页

摘　　要： 藏族女子独舞《母亲》是20世纪90年代的经典作品。编导张继钢用独特的编创视角将空间、风格、心理等在作品中予以最大的限定,这不仅形成了他独树一帜的编创风格,更达到强化人物塑造和情感表达的效果。本文从表演者的表演体验出发,通过对《母亲》中人物形象和作品意象的分析,从舞者身体、舞蹈语汇、心理状态三个方面论述作品中的"限定",思考舞者应如何合理地在限定条件中拓展舞台表现并在限定中产生舞蹈的意义。 Tibetan solo dance Mother is a classic work in the 1990 s. With his unique creative perspectives of the space, style, and psychology, the director ZHANG Ji-gang imposes the maximize qualifications on these factors, not only forming its own unique creative style, but strengthening the characterization and the effect of emotional expression. This paper starts with the dancer＇ s own performing experience, and discusses the qualified beauty in the work from the three aspects of the dancer＇ s body, dance vocabulary and the dancing psychology through analyzing the characters and the images of Mother. The paper brings up the ideas that how dancers should be reasonable to expand in the qualification stage performance and the significance of dance in the qualified beauty.

关 键 词： 限定 舞蹈表演 母亲

领　　域： [艺术]