剧场中的“生活”：舞蹈创编素材转化研究——以个人公演作品《时・场・人・记》为例

“Life” in the Theater: A Study on the Transformation of Choreographic Materials—Taking the Original Dance Theater Work Time·Space·Persona·Memoir as an Example

摘要: 生命经历的缺乏与社会认知的局限有时不利于学生在舞蹈编创中融入深刻的哲学思考。因此回归对自我体验的反省，进而以在场者身份产生感悟并生发动机，成为了这个群体进行编导实践时潜在的创新途径。原创舞蹈剧场作品《时·场·人·记》以普通舞者的成长经历作为创作实践对象，将生活化素材进行艺术性的转化。在结构上，以“记忆碎片”为线索串联了多主体、多阶段的故事；在体裁上，引入一定篇幅的口头语言表达；在身体造型上，将生活动作进行时、空、力的解剖和改造。根据该作品的创作经历归纳出，需注意观察生活中可供使用的素材、需兼具艺术性与情景性、“在场”的编导主体可以更好进行转化重构。

Abstract: The deficiency in life experiences and limitations in social cognition occasionally hinder students from incorporating profound philosophical contemplation into dance choreography. Consequently, returning to self-experiential reflection to generate perceptual insights and creative impetus from the perspective of an empathetic participant has emerged as a potential innovative pathway for this cohort in choreographic practice. The original dance theater production Time·Space·Persona·Memoir employs ordinary dancers’ developmental trajectories as creative practice subjects, implementing artistic transformation of quotidian materials. Structurally, it interconnects multi-subject, multi-phase narratives through “memory fragments” as a dramaturgical thread. Generically, it incorporates substantial verbal language expressions. Somatically, it deconstructs and reimagines daily movements through temporal, spatial, and dynamic dimensions. The creative process reveals three essential considerations: the necessity to systematically observe and identify applicable life materials, the imperative to balance artistic quality with contextual relevance, and the enhanced capacity for transformative reconstruction when maintaining an “empathetic presence” as choreographic subject.