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四川省歌舞剧院演出的舞剧《悲鸣三部曲》(编导:刘世英、岳世果)以其动人的思想和艺术魅力,赢得了观众的好评。有人评价,“悲鸣”的出现。开启了我国民族舞剧的一条新路。能否作这样的估计,也许可以商榷,但它却说明了“悲鸣”一剧确实引起了舞蹈界的震动,值得我们认真具体地研究。我认为,《悲鸣三部曲》的成功,最主要的就在于舞剧编导、作曲家在作品中充分表现出来的主体意识和创新精神。因此,“悲鸣”便以一种崭新的审美形态呈现于观众面前,和当代较高层次的观众的审美心理、审美节奏相契合,观众得到了在其它艺术形式中得不到的独特的审美亨受,自然发出由衷的赞叹。
The dance drama “Tragic Trilogy” (director: Liu Shiying and Yue Shi Guo), a dance drama performed by Sichuan Song and Dance Theater won the praise of the audience with its touching thought and artistic charm. Someone comments, “sad” appearance. Opened a new road to our national ballet drama. The possibility of making such an assessment may be open to question, but it shows that the “sad” drama really aroused the vibration of the dance industry and deserves our careful and detailed study. In my opinion, the most important part of the success of the “Tragic Trilogy” lies in the subjective consciousness and innovative spirit that the director and composer fully demonstrated in their works. Therefore, “sadness” is presented to the audience with a brand new aesthetic form, which is in line with the aesthetic psychology and aesthetic rhythm of the contemporary higher audiences. The audience gets unique aesthetic qualities that are not found in other artistic forms By, naturally sincerely praise.