戲劇導演手法在編舞中的運用

畢業(yè)論文

摘   要

隨著(zhù)時(shí)代的進(jìn)步，編創(chuàng )者思維方式的拓展，許多的舞蹈劇目由于感情宣泄的需要、動(dòng)作發(fā)展的革新，打破了舞蹈中從開(kāi)始到結尾都用音樂(lè )的傳統藝術(shù)，出現了在作品中“無(wú)聲獨白”、“停頓”的編導手法，它為舞蹈藝術(shù)的未來(lái)發(fā)展提供了重要的新思路。本文介紹了“無(wú)聲獨白”、“停頓”在編舞中的運用，這1手法不僅為作品創(chuàng )造出了意境美，而且讓作品有了更加廣闊的思維空間，使其更加具有靈性，從而也使得舞蹈藝術(shù)更加人性化。然而舞蹈作品在創(chuàng )作過(guò)程中必須運用辯證思維，在承認音樂(lè )與舞蹈仍舊緊密相連的同時(shí)，恰到好處的，靈活的運用“無(wú)聲獨白”、“停頓”，使其能淋漓盡致的在舞蹈中表達它的意境，為作品起到點(diǎn)睛的作用。
關(guān)鍵詞：舞蹈；無(wú)聲獨白；停頓；編舞；舞蹈藝術(shù)；舞蹈作品

 
ABSTRACT

With the advance of sequence and expansion of composers’ thinking lines, many dance operas have broke through the tradition that music is running through from start to the end, for the berefit of the outlet of emotions and creation of dancing movements. “Silent monologue” “pause” constantly appear in various works, supplying a new way for the development of dancing art. The thesis makes an introduction of the application of  “silent monologne” and “pause”, which creates a move reflectable space of thinking and imagination, making the works more personal. But dialectical idea have to be utilized in the creation of dancing works, and admitted that music and dance share a close connection with each other. The techuiques of  “ silent minologue” and “pause” muxt be applied reflexably and perfectly in order to display the spirit of the works.
Key words:  Dance; Silent monologue; pause; Choreographing a dance; Dance art; Dance works

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