【作者】 毛毳；

【导师】 刘青弋；

【作者基本信息】 中国艺术研究院 ， 舞蹈学， 2014， 博士

【摘要】 本文以20世纪美国现代舞四次转型期中,美国舞蹈家借鉴东方文化的现象为研究对象,以在历次转型期具有重要影响力的代表人物：露丝·圣·丹尼斯、玛莎·格雷姆、默斯·坎宁汉、崔莎·布朗等人的东方文化借鉴实践为个案,运用运用符号学、语言学、比较诗学和社会学的相关研究方法,尤其运用身体语言学中动作分析的方法,对美国现代舞在20世纪的发生、发展中不断借鉴东方哲学及身体智慧的现象进行分层阐释,逐步剥析美国现代舞如何将东方文化作为其突破发展瓶颈的奠基之石,或者艺术家个人立身之梯的过程。采取以典型带一般的方法,在纵向的历时轴向上,紧扣美国现代舞的艺术变革期和代表人物的艺术风格创生期,在横向的共时轴向上聚焦最具代表性的人物,以点带面地在美国现代舞发生发展的历史背景和文化环境中,考索美国现代舞的历史转型期对东方文化借鉴的语境,自身的文化需求、本土语言制衡与反拨强度；论述作为与西方艺术发展进程相反的东方艺术,如何能够在美国现代舞突破艺术瓶颈时,提供“反者道之动”与及时的文化给养。辨析发生在东方文化借鉴中的文化忠实、文化创新的程度,在关照其艺术生态的整体性中,分析20世纪美国现代舞如何向东方异域文化借鉴,并逐步建立起具备文化自省力的创新舞蹈观念；在困惑与发现、借鉴与实验、排拒与融合、选择与效用、转型与创新的过程中——在一次次文化冲突中不断地调整,和他者文化形成身体文化联盟,最终完成对旧有艺术模式中僵化部分的反拨与革新；同时通过分析东方文化如何在20世纪美国现代舞不同历史阶段的特定的文化事件中产生影响,从而揭示东方文化身体借鉴的文化价值和功能。20世纪美国现代舞的历史发展在不同转型期对东方文化借鉴的实践显现了某种规律性,即一般都经历了如下过程,即从文化困境引发的需求——文化探索及其发现——文化选择与借鉴——文化冲突与排拒——文化谅解与融合——文化创新与新质生成——文化突破与转型等等。遵循这一规律,本文的前四章,按照历史发展的纵轴,对20世纪美国现代舞四次转型期的代表人物对东方文化借鉴的实践进行察看与分析,即从：对东方文化借鉴的需求与选择、对东方文化借鉴的阻力、对东方文化借鉴的策略、对东方文化借鉴的助力、对东方文化借鉴的文化冲突、对东方文化借鉴冲突的和解、对东方文化借鉴的目标实现等视角进行深入解析。在第一章“第一次转型中：丹尼斯对东方寺庙舞蹈的借鉴”部分,阐述丹尼斯在艺术初创期(20世纪初),远距离占有东方舞蹈及宗教哲学的背景下,想像性拼贴多元东方文化要素,选择和剥离出其中寺庙舞蹈庄严神圣的品质,完成建立本土现代舞文化需求的过程。在第二章“第二次转型中：格雷姆对东方身体能量观和瑜伽身体的借鉴”部分,阐述格雷姆在个人风格生成期(20世纪二三十年代),如何借助爪哇、巴厘等动作舞姿,尤其是印度瑜伽身体能量观念及地面动作姿态,在叛逆的身体爆发力中达成了美国现代舞与人的现实生存、时代文化、审美需求紧密对应的关系。在第三章“第三次转型中：坎宁汉对《易经》和禅宗运动观的借鉴”部分,阐述坎宁汉将《易经》中的变动不拘,通过创造性的借鉴,创生“机遇编舞法”,完成了20世纪美国现代舞身体观念的重大转向。在第四章“第四次转型中：布朗对道家身体思想的借鉴”部分,阐释布朗在继承坎宁汉在创作中崇尚机遇逻辑、采用日常动作的基础上,如何将老庄哲学中的“游于艺”,在舞蹈中创生一种肆意和自的发力方式到编创方式,并通过对人文情怀的传递,达成了美国现代舞者参与社会政治身份的追求。第五章“借鉴与创新：文化之转与舞蹈之立”部分,作为论文的综述,进一步揭示了20世纪美国现代舞蹈家如何对应本土文化的需求,以开放的态度,以开拓舞蹈疆域的勇气与睿智,在精神实质上与东方哲学与身体智慧碰撞,使东西方文化沟通互惠,交相辉映,在对东方哲学和身体智慧借鉴的过程中,将东方文化源语作为西方文化源语的有效补充,从而实现了自我的艺术超越,同时,成功地推动了本土现代舞蹈文化的转型与创新。这种成功的文化借鉴,提示我们从美国现代舞第四代舞者艺术实践中展示出的承认文化平等、信仰平等、身体平等、种族平等方面的努力和趋势,更多地关注文化平等的意义和异质文化借鉴之效力。认识到这一点,我们将看到：20世纪美国现代舞借鉴东方文化的现象,最重要的意义在于现代舞通过异质文化的“他者之镜”,不断自省,不断调整和返回对本土文化切要的自知,在更宽阔的文化视野中找到自我定位,使包容和接受异质文化拷问成为树立现代舞作为一种独立艺术样式的内在精神。回望世纪之初美国现代舞的荒芜景象,四代艺术家的努力,使美国现代舞在全世界众多艺术样式范畴内呈现出一种独特的思想批判力和文化质疑精神。这种精神不能不说与历次东方异质文化借鉴中培育起的自我追问、自我否定、自我矫正的心态有关；也不能不说与在开阔的全球文化视野中自如提取东方文化优质基因并有效解决自身困境建立起的信心有关。20世纪美国现代舞对东方文化借鉴的现象,显示出一种迂回的逻辑和策略,利用东方,不断离开,不断镜见,不断找到并归返本土问题与应对的文化核心。本文的创新点重点在于试图揭示舞蹈异质文化借鉴的规律与效用,并揭示异质文化借鉴发生的根本动力来自本土文化强烈的主体意识,这种意识将保障舞蹈身体语言在强烈的变异中始终归返需求,归返自我。与此同时,本研究对于当代中国舞蹈如何在中外文化的汇流中,保持文化自信,坚持文化发展的主体性,突破舞蹈文化发展的瓶颈,实现文化转型和文化创新,具有一定的现实启发意义和学术参考价值。更多还原

【Abstract】 This thesis targets on the drawing on experience of the oriental cultrue phenomenon of the20th century American modern dance. It takes there presentative figure of the fourth converted generation as a study case and uses the research methods for health-related linguistics and translation linguistics, comparative poetics and sociology to have a profound understanding of how the American modern dance learned from Eastern philosophy and the wisdom of the body to form the different foundations for each period of time and the bases of the artists. In the horizontal axis it uses the method of peeling typical layersfrom the general; in the longitudinal axial it concentrates on the revolution and the formation period of time rather than the stable and mature time. Through paying attention to the stability and uninterrupted level of body language, we can understand how the American modern dancedrawing on the oriental cultural, what their cultural needs and what is the balances and backwash of the local language; In the case of the flexibility and generative levels of body language we will discuss as a completely opposite culture, how the Oriental art could bring to American modern dance the cultural shock and complementary sense when it’s at bottleneck. With efforts we will try to distinguish the degree of each time’s cultural drawing on, cultural misunderstanding, cultural creation, as well as the mental and physical ability of the translators; We will analyze the overall cultural patterns and different historical stages of the20th century art while concerning theintegrity of the art forms to highlight how profound the Oriental thoughts have impacted the entire U.S. contemporary art in some specific cultural events. Gradually, the cultural functions of the drawing on experience of the oriental cultural appeared. We should know how the20th century American modern dance breaks from the lookout to the east exotic culture has gradually established the concept of cultural dances from innovation effortin the local culture. Focus on watching all previous confusion and found in the process of drawing on, lessons and experiments, from the selection and utility, and the fusion, transformation and innovation, constantly adjust in time and cultural conflict, reconciliation, final deep cognition and backwash to both the art model. In this paper, all chapters follow the order of research, which firstly explain practical analysis, afterwards theoretical interpretation. Phenomenon is observed in first, after the law. On the basis of the modern dance development in different historical stages, the transition of the art development and differentiation, dividing this paper into five chapters:the first four chapters analysis the intercultural translation practice, the fifth chapter is the study of intercultural translation rule and utility. First four chapters are following an unified logic and level, namely:the way of drawing on experience of the oriental, the result of drawing on experience of the oriental,the reason and analysis of drawing on experience of the orientalto achieve the effect (translational power and influence)-turn draw on the experience of the oriental culture utility on demand (native culture and cultural breakthrough under cross-cultural checks and balances on both sides). Specifically, in the first chapter about Ruth Saint Denis’translation studies of Oriental Body Dignity, Dennis in his early-stage art (early20th century), although under the background of distant of oriental dance and religious philosophy, he imagined collage of multiple elements of oriental culture, from which to choose his own and the quality of the sacred temple dance balanced by local European traditional dance and dance immigration of United States, in order to achieve reconstruction of dance in body and mind, giving the possibility of dance to express serious topics and sacred emotion, then completing the cultural needs of building up localized modern dance in the20th century. In the second chapter about Martha Graeme’s translation studies of oriental body energy concept, Graeme who broke away from the style of Dennis’s dance group is in the period of generating his personal style (20s and30s of20th century). He was focusing on how to use Java, Bali dance especially India yoga body energy concept and ground motion posture to change the emphasis of respiratory and abdominal power, and to add oriental multi-level nourishing of integrated resources, to form a style which is different from both Dennis’ traditional dance moves and traditional Indian culture embedded body style. The new dance style concealed and watered down identifiable symbols in the east. In the rebellious body power, it reached the corresponding relationship among dancers and reality existence of American modern dance, culture of the times and aesthetic demand. In the third chapter about Kemp Cunningham’s translation studies of randomness in Oriental philosophy, Mr. Cunningham, in the help of his fellow assistant John Cage who is in professional research of music translation in Zen philosophy, and the assistance of Robert Lawson who is a professional in stage settings and paintings translation, under the background that in the50s of20th century American abstract art genres development context and the demands of getting rid of the dance drama factors of Graeme overweight in traditional dance logic, he managed to translate the randomness of oriental Zen and "I-Ching" into randomness body and stage, dismantling the aesthetic smoothness and comfortableness of dance, then adapting the norm of improvisation for his new dance concept. Kemp finished conceptualization important turns in20th century American modern body dance. In the fourth chapter of Teresa brown of Oriental body ZiZaiXing translation study, explains Mr Brown in succession candy Cunningham opportunities and under the premise of daily actions as the traditional balance of power, in the sixties of the20th century the context of everyday objects become art theme, how to Orient’s body relaxation and eastern in the philosophy of zhuang zi "swim" translated into a way of power is from the creative logic to wanton and ease, under the Jia Dexun theatre dancer group power out of camp Cunningham body technology program and the method of opportunity, and through the transfer of humanity reached American modern dancers to participate in social issue new voice and status. In chapter five, of the United States law and the value of the modern dance draw on the experience of the oriental culture, draw on the experience of the oriental culture will be divided into eight stages, namely:cultural dilemma and demand, cultural exploration and discovery, cultural conflict and the selection and reference, cultural misreading and translation, cultural integration and understanding to generate breakthrough and innovation, and transformation etc. Draw on the experience of the oriental culture reveals the modern dance artistic value, social value and the philosophy of value. It provides extension of draw on the experience of the oriental culture practice of the modern dance a method to be translated to source of oriental culture’s influence and touches. The concluding chapter looking out and accepting the cross-cultural supplies, Oriental traditional culture vitality of modern dance in the United States, and how to face the end of western art theory forecast; it reveals the cross-cultural body translation after the two world wars, and after half a century of cold war, in the face of receiving the insights of the current human civilization as well as in the process of extreme development "globalization" of heterogeneous culture, under the pattern of innovative, high quality civilized continuation, native culture and so on.更多还原