北京舞蹈学院学报

舞剧作为“中国演剧体系”的重要组成部分，以其独特的“舞蹈戏剧语言”超越单纯的舞蹈表演，成为文化传承与艺术创新的关键载体。文章旨在系统阐述舞剧在“中国演剧体系”中的独特价值、功能与学科建构路径，首先梳理中国舞剧从本土化探索到当代繁荣的发展历程，明晰其历史坐标；进而提出舞剧艺术的核心在于“舞蹈戏剧语言”的运用，通过“形象化、性格化、情境化”(“三化”)的创作理念，将身体动作升维为具有戏剧性表意功能的叙事媒介。在此基础上，文章重点探讨中央戏剧学院舞剧系的学科建设成果：一方面，以“中国演剧体系”理论为指引，将“三化”理念与老庄哲学中的“我本具足”“以道观之”等思想相融合，为舞剧表演奠定哲学基础；另一方面，创新性地研发出基于具身认知理论的舞剧表演方法论，通过构建层次分明、可操作化的训练体系，实现角色内心世界到外部形态的精准戏剧化转译，填补国内舞剧表演理论研究的空白。最后，通过分析《咏春》《只此青绿》等作品的国际影响力及中戏舞剧系原创剧目的教学实践，文章阐明舞剧在讲好中国故事、提升文化软实力方面的重要作用，并展望中国舞剧教育通过“理论研究——创作实践——国际交流”三位一体模式培养创新型人才的发展路径。文章旨在为中国特色演剧体系的建构提供坚实的舞剧范式与理论支撑。

As an integral component of the Chinese theatrical system, dance drama, with its unique dance drama language, transcends mere dance performance, serving as a crucial medium for both cultural inheritance and artistic innovation. This paper elucidates the distinctive value, function, and disciplinary construction pathways of dance drama within the Chinese theatrical system. It begins by tracing the evolution of Chinese dance drama from its local exploration to contemporary prosperity, clarifying its historical trajectory. The paper then posits that the essence of dance drama lies in its deployment of dance drama language, which elevates body movement to a narrative medium with dramatic expressiveness through the creative philosophy of visualization, characterization, and contextualization(the “three transformations”). The paper focuses on the disciplinary construction of the Dance Drama Department at the Central Academy of Drama. Guided by theoretical framework for the “Chinese theatrical system, ” this program integrates the “three transformations” with Daoist ideals such as “innate self-sufficiency” and “viewing through the Dao's perspective”, thereby establishing a philosophical basis for dance drama performance. Moreover, it pioneers a performance methodology based on embodied cognition theory, offering a structured and operable training system that enables the interpretation of inner emotion into externalized physical expression, filling a gap in domestic research on dance drama performance theory. Finally, by analyzing works with international impact such as Wing Chun and The Journey of a Legendary Landscape Painting, along with the teaching practices of original productions by the Central Academy of Drama, this paper further demonstrates the vital role of dance drama in telling Chinese stories and enhancing cultural soft power. It envisions a future model of dance drama talent cultivation in China that integrates theoretical research, creative practice, and international exchange, providing a paradigm and theoretical foundation for the construction of a theatrical system with Chinese characteristics.