胡远, 石增. 舞蹈美学视角下的“身心一元论”[J]. 南昌航空大学学报(社会科学版), 2018, 20(3): 120-124. DOI: 10.3969/j.issn.1009-1912.2018.03.018
引用本文: 胡远, 石增. 舞蹈美学视角下的“身心一元论”[J]. 南昌航空大学学报(社会科学版), 2018, 20(3): 120-124. DOI: 10.3969/j.issn.1009-1912.2018.03.018
HU Yuan, SHI Zeng. The “Monism of Physical and Mental” From the Perspective of Dance Aesthetics[J]. JOURNAL OF NANCHANG HANGKONG UNIVERSITY(SOCLAL SCIENCES), 2018, 20(3): 120-124. DOI: 10.3969/j.issn.1009-1912.2018.03.018
Citation: HU Yuan, SHI Zeng. The “Monism of Physical and Mental” From the Perspective of Dance Aesthetics[J]. JOURNAL OF NANCHANG HANGKONG UNIVERSITY(SOCLAL SCIENCES), 2018, 20(3): 120-124. DOI: 10.3969/j.issn.1009-1912.2018.03.018

舞蹈美学视角下的“身心一元论”

The “Monism of Physical and Mental” From the Perspective of Dance Aesthetics

  • 摘要: 当今社会舞蹈的普及程度越来越高,但流传于世的好作品却少之又少,这是舞蹈这门艺术的局限。之所以称之为表演艺术,是能给观者带去良好的审美体验,而舞者必须做到"身心一元",才能呈现出肢体与心灵相互交融的好作品。以舞蹈美学的视角作为切入点,对"身心一元论"在舞蹈本体、舞蹈审美中的问题进行探讨,分析其价值和意义,并将该理论运用于舞蹈训练、舞蹈表演及舞蹈审美中,不仅使舞者注入作品灵魂,且满足观者审美需求从而达到共鸣。

     

    Abstract: Nowadays, the popularity of dance is getting higher and higher,but there are few good works circulating in the world.This is the limitation of the art of dance.It is called performing art, which can bring good aesthetic experience to viewers.The dancer must achieve "physical and mental unity" in order to present a good work of body and mind blending.From the perspective of dance aesthetics, this paper probes into the problems of "monism of physical and mental" in dance noumenon and aesthetics, and analyzes its value and significance.The theory is applied to dance training, dance performance and dance aesthetics.It not only enables dancers to inject the soul of the works, but also meets the aesthetic needs of visitors to resonate.

     

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