舞蹈长于抒情,拙于叙事,已经成了中国舞蹈界不假思索的口头禅。在这样的认知下,中国居然生产着大量的舞剧!既然舞蹈拙于叙事,而舞剧又不得不叙事,干嘛还要做舞剧?这些舞剧按什么方式来做呢?放眼望去,最普遍的形态,大都不出哑剧加舞蹈的合成舞剧模式。就连张继钢制作精良的《一把酸枣》,基本形态也没跳出这一模式。倒是他早年创作的《好大的风》,这个可视为《一把酸枣》母体的作品,其艺术构造方式反倒是大异其趣。《好大的风》,似乎一直 Dance is longer than lyricism, clumsy in narrative, has become the Chinese mather of thinking without hesitation. In such a cognition, China actually produces a large number of ballet! Since the dance is clumsy in narration, and the ballet has to narrate, why do the ballet? What are these ballet to do? Looking ahead, the most common Most of the patterns do not come out of mime plus dance dance. Even Zhang Jigang produced excellent “a jujube”, the basic form did not jump out of this model. It is actually the “great wind” that he created in his early years. This work, which can be regarded as the mother of “a jujube”, is rather different in the way of artistic construction. “Big wind” seems always