《中國舞蹈理論叢書:新中國舞蹈史(1949-2000英譯本)》在大量史料的基礎(chǔ)上,分析了1949~2000年中國舞蹈藝術(shù)的歷史發(fā)展軌跡,以重大的舞蹈歷史事件作為歷史分期的依據(jù),分六章梳理了中華人民共和國之舞蹈藝術(shù)在事業(yè)概貌、創(chuàng)作收獲、舞種沿革、杰出人物、重大組織活動(dòng)等方面的基本歷史現(xiàn)象,并且以整個(gè)中國原始舞蹈和封建社會(huì)舞蹈的發(fā)展為參照坐標(biāo),提出了新中國舞蹈是對(duì)中國女樂舞蹈文化和民間自娛歌舞文化的革命性轉(zhuǎn)變,其歷史本質(zhì)是建立一種真正意義上的創(chuàng)作藝術(shù),其發(fā)展方向是建立21世紀(jì)的獨(dú)立自主的藝術(shù)美學(xué)表現(xiàn)體系。
馮雙白,文學(xué)博士、著名舞蹈理論家和評(píng)論家、編劇、大型文藝活動(dòng)策劃人和撰稿人。畢業(yè)于北京大學(xué)中文系,2003年在中國藝術(shù)研究院獲文學(xué)博士學(xué)位。2004年起擔(dān)任中國舞蹈家協(xié)會(huì)常務(wù)副主席、《舞蹈》雜志主編、中國舞協(xié)舞蹈培訓(xùn)學(xué)校校長;中國藝術(shù)研究院博士生導(dǎo)師。代表性創(chuàng)作劇目:舞劇《風(fēng)中少林》《水月洛神》《媽勒訪天邊》《玉烏》《舞臺(tái)姐妹》《英雄格薩爾》,舞蹈詩劇《咕哩美》《我們新疆好地方》,雜技劇《西游記》《聊齋遺夢(mèng)》等。作品三次入選“國家舞臺(tái)精品工程”十大精品劇目,多次榮獲國家級(jí)比賽金獎(jiǎng)、優(yōu)秀劇目獎(jiǎng)。曾于2008年北京奧運(yùn)會(huì)開幕式導(dǎo)演組擔(dān)任策劃。作為總撰稿人參與2005年中央電視臺(tái)春節(jié)聯(lián)歡晚會(huì)等多部大型綜藝晚會(huì),多次擔(dān)任“CCTV電視舞蹈大賽”綜合素質(zhì)評(píng)委和全國大型舞蹈比賽評(píng)委。代表性個(gè)人專著《新中國舞蹈史(1949~2000)》《宋遼金西夏舞蹈史》《中國現(xiàn)當(dāng)代舞蹈史綱》《圖說中國舞蹈史》等,被認(rèn)為是當(dāng)代中國舞壇上主要舞蹈批評(píng)家之一。
Chapter Ⅰ The Dance Foundation of the Republic of China (1949-1957)
Section One Wind Blew from Fields
Ⅰ. First Glimmer of Dawn
Ⅱ. Rural-urban Symphony with Red Silk and Waist Drum
Section Two Transition between North China and South China
Ⅰ. Transition Tide of Song and Dance Troupes
Ⅱ. Artistic Exploration of New Roads
Section Three Elite Education
Ⅰ. A Lotus with two Blossoms on one Stalk-dance Movement and Dance Research
Ⅱ. Preliminary Construction of the Beijing Dance School
Ⅲ. A Violent Death of Pegasus
Section Four Three Legs of a Tripod
Ⅰ. Refined Art from Folk Dance
Ⅱ. Classical Dance from New Methods and Drama
Ⅲ. The Pluralistic Troop's Dance
Section Five Preliminary Study on Drama Dance
Chapter Ⅱ The Rise of Folk Dance Culture (1958-1965)
Section One Rooted in the Fertile Soil
Ⅰ. Flowers Blooming over the Land of Folk Dance
Ⅱ. Archaic Style, Great Men
Section Two The Foundation of Dance Dramas
Chapter Ⅲ The Ebb and Flow during the Cultural Revolution (1966-1976)
Section One An Awful Distortion
Ⅰ. “Revolutionary Model Operas” in Unprecedented Popularity
Ⅱ. “Class Struggle” Guided the Dance Creation
Section Two A Creeping Undercurrent
Ⅰ. Ballet Produced Another Harvest
Ⅱ. Small Works Took Flight
……
Chapter Ⅳ Dethronement of the Classic Paradigm (1976-1989)
Chapter Ⅴ The Prosperity of the Art of Dance (1980-2000)
Chapter Ⅵ Manifestation of the Main Consciousness (1990-2000)
Conclusion: An Unfinished Change
Appendix The Chinese Dance Events (1949-2000)
the army held its first art festival, in which came outwith a lot of new dances including "Marine Soldiers Dance", "Tibetan Cavalry Dance"and others which had won prizes. Its successful establishment had a lasting, significantand real impact on the dance creation of the Army. In April 1953, the first national folkmusic and dance festival was held in Beijing. 331 folk artists of all nationalities and regions in China participated the festival, presenting 27 performances, and more than 100good music and dance programs with local characteristics such as "Riding a DonkeyDance", " Tea-picking Dance', " Lion Dance', " Flower Lantern Dance", " DrumDance", "Joyous Farmer's Dance," "Tiao Xian" and so on. The dance the forum was also held during the festival, stressing the study of folk dance. In February 1955, the National Amateur Music and Dance Festival was held in Beijing. The Ministry of Culture, theNational Federation of Trade Unions, the Central Committee of the Communist YouthLeague, Ministry of Higher Education, and the Ministry of Education organized the festival. The festival was divided into three sections performed by farmers, students and civilworkers receptively 201 ( some said 293 ) programs were performed by the actors and actresses from 8 nationalities of Han, Hui, Mongolian, Korean, Li and Dong, Zhuang,Man. A total of 800 people including 356 farmers, folk artists and professional artists,224 students and 223 workers participated in the performance. Anhui's folk dance "LiuHai Plays with Jin Chan", Heilongjiang's " Little Cart Dance", Zhejiang's "DragonDance", Shanxi "Su Drum Dance", Jilin's "Northeast China Folk Dance", NorthernGuangxi's "Wangsan Hunts Birds" and "Carrying-pole Dance" and other works werewelcomed with great acclaim.
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