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羊皮鼓舞作为羌族民间祭祀性的舞蹈,在民间仪式的起舞中有特定涵义的表达。汶川地震后这个古老的民族更是引来了不少艺术领域工作者对羌族舞蹈文化的关注和挖掘。以羌族祭祀性羊皮鼓舞为素材编创的作品逐步呈现在观众的视野当中,潜移默化的影响着观看群体对羌族舞蹈文化的表层认知,将民间羊皮鼓舞舞台化之后,对羊皮鼓舞文化的传达是否依然完整或存在编创者个人对文化理解上的偏差,民族民间舞在当下的创作发展中已经遇到类似的问题,怎样找到解决的出口,值得进行一番探讨和研究。在笔者深入羌区对羊皮鼓舞进行田野调查的过程中,将羌区流传的祭祀性羊皮鼓舞与舞台上呈现的诸多作品中的经典画面搭上了桥架,以舞蹈作品《上房梁》的梳理分析,对羌族羊皮鼓舞的舞台编创规律做出总结。
Sheep skin inspired as Qiang folk sacrificial dance, folk dance in the expression of specific meanings. After the Wenchuan earthquake, this ancient nation attracted many artists in the art field to pay attention to and dredge the Qiang dance culture. The works created by sacrificial sheepskin inspired by the Qiang people gradually appear in the audience’s perspective and influence the audiences’ surface cognition of the Qiang dance culture in a subtle way. Whether the sheepskin inspired culture is still conveyed after the folk sheepskin is encouraged and encouraged Complete or there is deviation of cultural comprehension of the creator individual, similar problems have been encountered in the current creation and development of national folk dance, and how to find a solution to the export, it is worth to carry out some exploration and research. In the process of the author going deep into the field investigation of sheepskin inspiration in the Qiang region, the author captures the sacrificial sheepskin motifs circulating in the Qiang region and the classic pictures of many works presented on the stage to the bridge, Analysis of the Qiang sheepskin inspired by the stage to create the law to make a summary.