摘要
“跨媒介的表演性”是电视舞蹈《唐宫夜宴》制作并产生影响的一个显著特点。该舞蹈在对荷花奖中国古典舞作品《唐俑》的引用中形成自己的影像化存在,即“舞蹈影像”;同时在引用中形成一种特殊形态的舞蹈,即“影像舞蹈”。通过AR技术呈现建筑、绘画、文物等,影像化、历史化、具体化、陌生化的身体存在构成了演员的舞蹈身体,形成一种关乎人存在的“身体网络”,从而在凝视、共鸣、想象中完成审美缝合。现代化进程中身体文化、审美及身体重压等促成了身体的反向能动性:人主动寻找基于身体的文化、审美或消费,通过与艺术、社会间的跨媒介表演性而达到人的现实确认。
“Cross-media performativity”is a remarkable feature of the production and social influence of TV dance Palace Banquet in Tang Dynasty.Adapted from the Lotus Award-wining classical dance Tang Yong,it forms its own image existence,namely the“dance image”.It also creates a special form of dance in its adaptation process,the“image dance”.With AR techniques to present architectures,paintings and cultural relics,dancers’bodies have become visualized,historicalized,materialized,and defamiliarized,forming a“body network”related to human existence,in order to achieve aesthetic anticipation in gaze,resonance and imagination.In the modernization process,body culture,aesthetics and body pressure facilitate the body’s reverse initiative.People proactively seek for body-based culture,aesthetics or consumption,and achieve the realistic confirmation through the cross-media performativity between art and society.
作者
王斌
WANG Bin(School of Arts,Nanjing University,Nanjing 210008,China)
出处
《北京舞蹈学院学报》
CSSCI
北大核心
2022年第3期13-19,共7页
Journal of Beijing Dance Academy
关键词
跨媒介表演性
影像舞蹈
影像身体
身体网络
存在姿态
Palace Banquet in Tang Dynasty
cross-media performativity
image dance
image body
body network
existential posture
