汉代巾舞长袖舞向着歌舞戏发展的演变态势

汉代巾舞、长袖舞作为舞蹈艺术的艺术表演中融入了"稽戏"、"伴唱"、"抃歌"等艺术表演形式,为原本属于"形体叙述"的巾舞、长袖舞增添了"歌诗叙述"和"角色叙事"的手段和功能。"歌诗叙述"的出现,既丰富了巾舞、长袖舞的情感表现能力,又为巾舞、长袖舞以"形体叙述"而演绎"故事情节"创造了条件,从而使得"形体叙述"的"角色化"转变成为可能。"戏楼"的"前台"和"后台"的设计,为演员在表演空间上的转化提供可能,作为"专业性"的"表演舞台"意味着舞台条件的成熟。东汉中晚期巾舞、长袖舞艺术表演形式,已经具备了向"歌舞戏"发展的必备条件,其发展演变的态势已然出现。

The Evolution from Cloth Dancing and Long-sleeve Dancing to Singing-dancing Play in the Han Dynasty

Combining with the artistic performing forms such as comedy, vocal accompaniment, and clapping singing, cloth dancing andg-sleeve dancing which are originally gesture narration possess the means and function of poetry and role narration. The poetry narration not only enriches the emotional expressiveness of cloth dancing and long-sleeve dancing, but also provides the conditions for the latter to express plots by the means of gesture narration, which makes it possible for gesture narration to be role-played. Additionally, the design of front stage and back stage also makes it possible for the transformation of actors＇ performance space, that is to say, the professional stage means the maturity of stage conditions. Therefore, the cloth dancing and long-sleeve dancing in the middle and late Eastern Hart Dynasty have the necessary conditions to turn into singing- dancing play, and its evolution comes into being.