中国传统题材现代舞服饰设计研究
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摘要
在中外文化频繁交流的今天,现代舞这种源于西方的舞蹈形式逐步被我国的观众接受和欣赏。观众对于这一艺术形式的探求变得更加急切。较早接触现代舞这种艺术形式的港台地区舞蹈艺术们家通过努力和尝试,将无数佳作展现在中外观众面前,并不断探索将中国传统文化与现代舞相结合的途径。在他们的作品中,东方与西方的艺术语汇相互融合,形成中国风格的现代舞。
作为中国传统题材现代舞舞台表演不可缺少的一部分,舞台服装直接影响舞剧的整体效果。所以,中国传统题材现代舞剧的服饰设计就更加值得我们重视,并深入研究。本文通过对成功案例进行分析,深入探讨中国传统题材现代舞服饰的审美风格,分析现代舞这种新兴的舞蹈形式对舞台服装设计的审美需求,解析其服饰设计的意境及文化内涵。
本文从探讨设计方法入手,对中国传统题材现代舞服饰设计的方法进行归类和总结,力图为这一类舞台服装的设计创作提供更加有效的途径和方法。
As the communication between the western countries and the eastern countries become more and more frequent, the modern dance, a sort of dance originated in the west is being accepted and appreciated by Chinese people and, their eagerness to discover this artistic form is intensive nowadays. The dance artists in Hong Kong and Taiwan, as the earliest ones who got to know modern dance, have presented a number of fabulous performances to the spectators of the globe. Meanwhile, they also try to combine the traditional Chinese culture and the modern dance together, and in this way, they have also broken the gap between the tradition and the modern, the western and the eastern, at the same time, have enriched the designing of the costumes of modern dance.
As an essential part in stage performing, the costumes play a very important role and have a great influence on how the spectators feel. Therefore, the design of the costumes is worthy us paying attention to and spending time doing research into. My article is going to discuss the style of this kind of costumes; analyze the requirement that the newly-risen sort of dance has on fashion design; discover the meanings under the design. All these are based on my analysis on several successful cases.
My article begins with the discussion about designing methods, classifying and summarizing it. My article is designed to offer an effective way to whoever wants to further understand the stage costumes.
作为中国传统题材现代舞舞台表演不可缺少的一部分,舞台服装直接影响舞剧的整体效果。所以,中国传统题材现代舞剧的服饰设计就更加值得我们重视,并深入研究。本文通过对成功案例进行分析,深入探讨中国传统题材现代舞服饰的审美风格,分析现代舞这种新兴的舞蹈形式对舞台服装设计的审美需求,解析其服饰设计的意境及文化内涵。
本文从探讨设计方法入手,对中国传统题材现代舞服饰设计的方法进行归类和总结,力图为这一类舞台服装的设计创作提供更加有效的途径和方法。
As the communication between the western countries and the eastern countries become more and more frequent, the modern dance, a sort of dance originated in the west is being accepted and appreciated by Chinese people and, their eagerness to discover this artistic form is intensive nowadays. The dance artists in Hong Kong and Taiwan, as the earliest ones who got to know modern dance, have presented a number of fabulous performances to the spectators of the globe. Meanwhile, they also try to combine the traditional Chinese culture and the modern dance together, and in this way, they have also broken the gap between the tradition and the modern, the western and the eastern, at the same time, have enriched the designing of the costumes of modern dance.
As an essential part in stage performing, the costumes play a very important role and have a great influence on how the spectators feel. Therefore, the design of the costumes is worthy us paying attention to and spending time doing research into. My article is going to discuss the style of this kind of costumes; analyze the requirement that the newly-risen sort of dance has on fashion design; discover the meanings under the design. All these are based on my analysis on several successful cases.
My article begins with the discussion about designing methods, classifying and summarizing it. My article is designed to offer an effective way to whoever wants to further understand the stage costumes.
引文
3引自“无垢舞蹈剧场”官方网站,http://event.ntch.edu.tw/2009/behold/
4参考娄军.叶锦添的“新东方主义”[J].电影世界,2003年,第1期:56-59
5参考徐海荣主编华夏出版社《中国服饰大典》2000.第309页
[1]张琬麟.舞蹈服饰论[M].北京:中国社会科学出版社,2005.40-55
[2]金浩.新世纪中国舞蹈文化的流变[M].上海:上海音乐出版社,2007.20-60
[3]金秋.中国传统文化与舞蹈[M].北京:中国社会科学出版社,2006.30-66
[4]李泽厚.美的历程[M].广西:广西师范大学出版社,2001.15-45
[5] [美]瓦尔特.索雷尔.西方舞蹈文化史[M].欧建平译.北京:中国人民大学出版社, 1996.12-47
[6] [德]M·海德格尔著,彭富春译.诗·语言·思[M].北京:文化艺术出版社,1991.17-43
[7]王学海.现代舞的文化审美[J].北京舞蹈学院学报,1993年,第1期:21-24
[8]王明科.论反传统[J].社会科学家,2005,第2期:18
[9]李晖.宁静致远——台湾汉唐乐府的南音乐舞《韩熙载夜宴图》[J].福建艺术,2008年,第6期:13-14
[10]俞俭.简论舞蹈服装与戏曲服装之异同[J].艺术设计与舞蹈服饰研究,2008年,第4期:113-116
[11]张琬麟.原始宗教舞蹈与舞蹈服饰萌芽[J].解放军艺术学院学报,2003年,第1期: 46-48
[12]陈琦昌.中国古代服饰色彩与色彩观念探源[J].西北纺织工学院学报,2000年3月,第14卷第1期(总53期)96-97
[13]卞向阳.服装艺术判断[M].上海:东华大学出版社, 2006.
[14]王珉.时尚.服装设计艺术[M].北京:中国青年出版社, 2002.
[15]黄德龙.论现代舞和古典舞的形态关系[J].怀化学院学报,2007年6月,第6期:75-76
[16]史文贵.西方现代舞是怎样传入中国的? [J].上海艺术家,1999年,第2期:48
[17]余艳.“同类”而“不同源”、“同代”而“不同质”——中国现代舞与西方现代舞的比较[J].湖南城建高等专科学,2003年6月,第12卷第2期:67-69
[19]张玉玲.从“反传统”到“返传统”——论中国现代舞之“传统”走向[J].北京舞蹈学院学报,2009年,第2期:116-120
[20]刘青弋.现代舞蹈的身体语言[M].上海:上海音乐出版社,2004
[21]刘青弋.潮起潮落,现代舞在中国[J].中外文化交流,1997
[22]林怀民.云门舞集与我[M].上海:文汇出版社,2002.9-48
[23]孙涓涓.浅谈中国现代舞的现代性[J].北京舞蹈学院学报,2003年,1-2期: 76-79
[24]胡俊.现代舞蹈服装和传统戏曲服装的区别[J].二度创作,2000年,第1期:98
[25]娄军.叶锦添的“新东方主义”[J].电影世界,2003年,第1期:56-59
[26]李建中.反(返)者道之动——古代文论研究的文化人类学视野[J].文学评论,2004,(4):31
[27]蒙培元.人与自然—中国哲学生态观[M].北京:人民出版社,2004:180-200
[28]包铭新著.《新阅读书坊时髦辞典》上海,上海文化出版社。1999年第35页
[29] Patrick Curry.Ecological ethics.2006:49-66
[30] Eugene.A.Nida.Language and Culture:Contexts in Translating[M].Shanghai: Shanghai Foreign Language Education Press,2001
[31]王杰,传统文化的价值取向与主题价值[M],中国人民大学出版社,1987
[32]沈从文,《中国服饰史》[M],陕西师范大学出版社,2004
[33]张岂之.中国传统文化[M].北京:高等教育出版社,2001
[34]汪田明.中国传统造型元素的再设计[J].中州学报:2002,6:45-47
[35]孔宪林.中国传统图案[M].济南:山东美术出版社,1986
[36]徐海荣主编.中国服饰大典[M].北京:华夏出版社2000.第309页
[37]王国维著.《王国维讲国学:大师眼中的国学》吉林,吉林人民出版社。2009.第84页
[38] Grant w.reid.Form Concept to Form inLandscape Design,New York:van Nostrand Reinhold Publishing Corperation,1993.
[39] Eugene A.Nida,Language,Culture,and Translation,Shanghai:Shanghai Foreign Language Education Press,2005.
[40] Yibian,The Cream of Chinese Culture Peking Opera,Beijing:Foreign Languages Press, 2005.
[41] Richard Watson.A Critique of Anti-Anthropocentric Biocentrism,1994:90-110
[42] http://baike.baidu.com/view/610854.htm
[43] www.pekingopera.com
[44] www.sohu.com
[45] www.google.com
[46] www.vodpod.com
[47] www.maskarts.com
4参考娄军.叶锦添的“新东方主义”[J].电影世界,2003年,第1期:56-59
5参考徐海荣主编华夏出版社《中国服饰大典》2000.第309页
[1]张琬麟.舞蹈服饰论[M].北京:中国社会科学出版社,2005.40-55
[2]金浩.新世纪中国舞蹈文化的流变[M].上海:上海音乐出版社,2007.20-60
[3]金秋.中国传统文化与舞蹈[M].北京:中国社会科学出版社,2006.30-66
[4]李泽厚.美的历程[M].广西:广西师范大学出版社,2001.15-45
[5] [美]瓦尔特.索雷尔.西方舞蹈文化史[M].欧建平译.北京:中国人民大学出版社, 1996.12-47
[6] [德]M·海德格尔著,彭富春译.诗·语言·思[M].北京:文化艺术出版社,1991.17-43
[7]王学海.现代舞的文化审美[J].北京舞蹈学院学报,1993年,第1期:21-24
[8]王明科.论反传统[J].社会科学家,2005,第2期:18
[9]李晖.宁静致远——台湾汉唐乐府的南音乐舞《韩熙载夜宴图》[J].福建艺术,2008年,第6期:13-14
[10]俞俭.简论舞蹈服装与戏曲服装之异同[J].艺术设计与舞蹈服饰研究,2008年,第4期:113-116
[11]张琬麟.原始宗教舞蹈与舞蹈服饰萌芽[J].解放军艺术学院学报,2003年,第1期: 46-48
[12]陈琦昌.中国古代服饰色彩与色彩观念探源[J].西北纺织工学院学报,2000年3月,第14卷第1期(总53期)96-97
[13]卞向阳.服装艺术判断[M].上海:东华大学出版社, 2006.
[14]王珉.时尚.服装设计艺术[M].北京:中国青年出版社, 2002.
[15]黄德龙.论现代舞和古典舞的形态关系[J].怀化学院学报,2007年6月,第6期:75-76
[16]史文贵.西方现代舞是怎样传入中国的? [J].上海艺术家,1999年,第2期:48
[17]余艳.“同类”而“不同源”、“同代”而“不同质”——中国现代舞与西方现代舞的比较[J].湖南城建高等专科学,2003年6月,第12卷第2期:67-69
[19]张玉玲.从“反传统”到“返传统”——论中国现代舞之“传统”走向[J].北京舞蹈学院学报,2009年,第2期:116-120
[20]刘青弋.现代舞蹈的身体语言[M].上海:上海音乐出版社,2004
[21]刘青弋.潮起潮落,现代舞在中国[J].中外文化交流,1997
[22]林怀民.云门舞集与我[M].上海:文汇出版社,2002.9-48
[23]孙涓涓.浅谈中国现代舞的现代性[J].北京舞蹈学院学报,2003年,1-2期: 76-79
[24]胡俊.现代舞蹈服装和传统戏曲服装的区别[J].二度创作,2000年,第1期:98
[25]娄军.叶锦添的“新东方主义”[J].电影世界,2003年,第1期:56-59
[26]李建中.反(返)者道之动——古代文论研究的文化人类学视野[J].文学评论,2004,(4):31
[27]蒙培元.人与自然—中国哲学生态观[M].北京:人民出版社,2004:180-200
[28]包铭新著.《新阅读书坊时髦辞典》上海,上海文化出版社。1999年第35页
[29] Patrick Curry.Ecological ethics.2006:49-66
[30] Eugene.A.Nida.Language and Culture:Contexts in Translating[M].Shanghai: Shanghai Foreign Language Education Press,2001
[31]王杰,传统文化的价值取向与主题价值[M],中国人民大学出版社,1987
[32]沈从文,《中国服饰史》[M],陕西师范大学出版社,2004
[33]张岂之.中国传统文化[M].北京:高等教育出版社,2001
[34]汪田明.中国传统造型元素的再设计[J].中州学报:2002,6:45-47
[35]孔宪林.中国传统图案[M].济南:山东美术出版社,1986
[36]徐海荣主编.中国服饰大典[M].北京:华夏出版社2000.第309页
[37]王国维著.《王国维讲国学:大师眼中的国学》吉林,吉林人民出版社。2009.第84页
[38] Grant w.reid.Form Concept to Form inLandscape Design,New York:van Nostrand Reinhold Publishing Corperation,1993.
[39] Eugene A.Nida,Language,Culture,and Translation,Shanghai:Shanghai Foreign Language Education Press,2005.
[40] Yibian,The Cream of Chinese Culture Peking Opera,Beijing:Foreign Languages Press, 2005.
[41] Richard Watson.A Critique of Anti-Anthropocentric Biocentrism,1994:90-110
[42] http://baike.baidu.com/view/610854.htm
[43] www.pekingopera.com
[44] www.sohu.com
[45] www.google.com
[46] www.vodpod.com
[47] www.maskarts.com