Keywords:
expressional ideal;Susan Sontag;dance art review;semiotic watch
表现理想;苏珊·桑塔格;舞蹈艺术评论;符号学研究性演出汇报
Abstract:
Susan Sontag’s suggested viewpoints relating to classical and modern in
contemporary art review history has been unable to be well exploited at the levels of
visual art theories and body aesthetics. This article can fill in the gap of Susan Sontag’s art
reviews. This article identifies, in the first place, she analyzed philosophical differences
between great pioneers’ conception of American contemporary dance and American dancer
Lucinda Childs’s dance aesthetics of “art of refuse”.What ’s more important,she discussed
problem of relationship between dancer and dance. Finally, she indicated the charm of dance
art lies in the nature as a trans-boundary art which opens boundary. The inadequacy of her
argument lies in her failure in advancing essay criticism on dance art to the subject
philosophy height of visual art and body aesthetics. This article carries out research on this
problem on the level of theoretical contribution and criticism from three artistic semiotic
subjects of Susanne Langer’s dance aesthetic semiotics, Merleau Ponty’s body consciousness
semiotics and Eero Tarasti’s performance art semiotics.
苏珊·桑塔格在当代艺术评论史上涉及古典和现代舞蹈表演提出的观点一直未能在视觉艺术文论和身体美学层面得到很好的阐发,本研究就是占领苏珊·桑塔格艺术评论研究空白的为数不多的成果。首先,文章指出苏珊·桑塔格对美国现代舞的伟大先驱们的舞蹈理念与美国舞蹈家露辛达·蔡尔兹“拒绝的艺术”舞蹈美学存在着哲理区别。其次,她探讨了舞蹈家,舞编与舞蹈的关系问题。最后,她指出了舞蹈艺术的魅力在它是一门打开边界的跨界艺术。文章揭示了苏珊·桑塔格舞蹈艺术评论的不足之处在,她未能把关于舞蹈艺术的批评散论提升至视觉艺术和身体美学的主体哲学的高度,未能在舞蹈神经语言学的学科的启迪中走向舞蹈身体创造。本文就是在理论建树的“瞬间”层面上利用苏珊·朗格舞蹈美学符号学,梅洛·庞蒂身体意识符号学和埃罗·塔拉斯蒂表演艺术符号学三个艺术符号学方向对这一问题研究和展演。