《儒家文化论文试析礼乐思想在中国舞蹈作品中的体现》由会员分享，可在线阅读，更多相关《儒家文化论文试析礼乐思想在中国舞蹈作品中的体现（9页珍藏版）》请在金锄头文库上搜索。
1、儒家文化论文：试析“礼乐思想在中国舞蹈作品中的表达【中文摘要】本论文是以儒家文化“礼乐思想的传承视角来作为关注对象,以中国传统舞蹈发生和传承这一富有规律意义的着眼点为理论指归,通过从中国古代舞蹈的探寻梳理到当代中国古典舞开展趋势分析研究,力图揭示中国古典舞蹈作品中“礼乐思想精髓存在的实质意义。论文是根据中国古代舞蹈的发生兴盛失传复兴开展这样一个曲折的开展历程,同时也孕育了独树一帜的中国古典舞。但在今天这种新的历史条件下,中国古典舞将如何在开展之路中更好地表达并树立富有中华优良传统文化的舞蹈形态?对此,以学术的姿态及方法作者进行研究论说。首先论文的第一章主要陈述了儒家文化中“礼乐思想的源流。在这
2、一章中介绍了“礼乐思想的文化底蕴及中国古代舞蹈的礼法意识,并举例说明作为代表性的经典作品及形态特征。第二章以中国古典舞为例试论“礼乐思想在其朝代变更中沿袭至失传。建国后的古典舞学科的建立路程是艰难的,正因为艰难,也正因为有欧阳予倩、李正一、唐满城等古典舞学科的建设者们坚持不懈的执着精神,才有今天古典舞学科的蓬勃开展。但是我想说,中国古典舞作为我国当代舞蹈领域中一个非常重要的,客观存在的实体,它形成了自己的独有的舞蹈语汇、技巧标准和美学特征,和别的舞种相比,它固然显得不够成熟,但中国古典舞孕育着极大的生命力和深厚的民族文化。这就需要研究者和创作者们在今后的作品中迫切需要了解和表达的一点。第三章中
3、,我结合音乐界“新雅乐创始人哈辉教授创作新雅乐的艺术宗旨和艺术使命,来论证在舞蹈界我们的编导家们也在努力恢复和继承中华传统文化的核心要素“礼乐精神。这在大型孔庙雅乐舞蹈祭孔乐舞中表现突出。舞蹈,这种不能用说的,仅用灵活的动作来表现传达的特殊方式,确实跟音乐本质上有很大的区别,但是我相信,只要我们国人要想传承这千年的.中华民族精神,就能与音乐、诗歌一同将其发扬光大。第四章,本论文主要以理论来说明“礼乐思想传承的重要性和开展的必要性,想要真正的进行实践和传播的当然还是我们广阔的舞蹈教育工作者和编导老师们。所以结合作者一些不算成熟的建议对“礼乐思想在未来舞蹈作品创作中的开展做一定的理论前瞻。【英文摘
4、要】his thesis is Confucian culture “Rites thinking of the inheritance perspective, as concern with Chinese traditional dance occurrence and inheritance this rich rule for a focal point of theoretical significance to from China by means of ancient Chinese dancing comb to contemporary Chinese classical
5、 seek development trend analysis and research of Chinese classical dance, tries to reveal works “Rites thought essence exists real significance.Paper is according to the occurrence of ancient Chinese dance-prosperity-lost-Renaissance-developing such a tortuous development course, also bred the uniqu
6、e Chinese classical dance. But in this new historical conditions, how will the Chinese classical in the road of development in better reflect and establish the fine tradition and Chinese cultural dance form? To this, the attitude and approach to academic research propositions authors.Firstly the pap
7、ers first chapter basically stated the Confucian culture “music the thought origin. In this chapter introduces the “music thinking of the culture and ancient Chinese dance decorums consciousness, and illustrate the classic work as representative and morphological characteristics. The second chapter
8、for example try to talk about the “Chinese classical music in its dynastic change ideological continues of extinction. After the founding of the classical establishment of discipline journey is tough, because of difficult, because have OuYangYu qian, lee a, tang Mancheng etc classical the constructo
9、rs of the unremitting subject dedication, just have the vigorous development of today classical subjects. But I want to say, as our country contemporary Chinese classical dance areas, a very important objective existence of the entity, it has formed its own unique dance vocabulary, skills, regulate
10、and esthetics characteristic, compared with other kinds of dancing, it is appear insufficient mature, but in Chinese classical dance gestates great vitality and the deep national culture. This needs the researchers and creator of the works in the next urgent need to understand and reflect a little.
11、The third chapter, I combined with new music “advocate founder, ha fai to create new art of professor advocate purposes and art mission, to demonstrate the dance choreographers in our efforts to restore and inherit in the core of Chinese traditional culture elements “music spirit. This temple in lar
12、ge advocate in the grand dance-offering hole prominence. Dance, this cant use said, only with flexible action to show the special way, really communicate with music essentially has the very big difference, but I believe that as long as we americans want to inheritance of this millennium, the spirit
13、of the Chinese nation with music, poetry can carry it together. The fourth chapter in theory, this paper just to illustrate “music thought the importance and development of inheriting the necessity, want to carry on the practice and transmission of the real, of course, is that our education workers
14、and the dance choreographers teachers. So with the authors some not mature proposal for “music thinking of the future development of the dance works do certain theoretical preview.【关键词】儒家文化 礼乐思想 古典舞 新雅乐【英文关键词】The Confucian culture &harmony ideology Classical New advocate【目录】试析“礼乐思想在中国舞蹈作品中的表达摘要6-7AB
15、STRACT7第一章 绪论9-121.1 前期研究的梳理和本课题的突破点9-101.2 本课题的研究内容及目的意义10-111.3 本课题的研究方法及局限性11-12第二章 中国儒家文化中礼乐思想的源流12-182.1 “礼乐思想的文化底蕴13-152.2 中国古代舞蹈的礼法意识15-162.3 中国古代舞蹈经典及形态特征16-18第三章 从礼乐思想到中国古典舞之间的渊源与流变18-263.1 “礼乐思想上的中国古典舞形态18-203.2 戏曲舞蹈形态及其沉积的社会功能20-223.3 中国古典舞的当代寻觅与建构22-26第四章 当代舞蹈作品中礼乐思想的传承表达26-364.1 “礼乐思想在中国舞蹈创作中的传承与开展27-334.1.1 广场文化祭孔乐舞的礼乐思想回归28-314.1.2 专业舞蹈创作中礼乐思想的传承与开展31-334.2 中国朝鲜民族舞蹈作品中礼乐思想的突出表现33-364.2.1 朝鲜民族礼乐思想的生成与开展33-344.2.2 “礼乐思想在中国朝鲜族舞蹈创作中的传承与开展34-36第五章 “礼乐思想的精髓如何在舞蹈创作中延续与创新36-405.1 何谓礼乐思想的精髓36-375.2 “礼乐思想在未来舞蹈作品创作中的开展与创新37-40第六章 结
