暨南学报(哲学社会科学版)

作者：彭依伊

关键词：萧红舞剧,本体回归,色彩隐喻,空间转换,南北互文,孤独感

香港舞剧《生死萧红》及其附属演出《经验萧红》，是萧红题材突破传统文字文本局限，首次出现在多媒体舞蹈剧场并实现开放性对话。该舞剧以独舞形式为核心，解构萧红与他者的关系感，剥离传统文学视角对萧红与他者互动研究的依赖，转而聚焦其内在的情绪经验，以再现人文关怀的情感策略。以此，从生命状态的表现与创造中，以“本体回归”实现萧红形象的纯粹化与凝集化，呈现独特的艺术质感。同时，糅合舞蹈的实践方式与剧场的审美叙事，建立起“色彩隐喻”与“空间转换”两大关键艺术手法：红白二色的视觉效应，分别象征生命的热烈与疾病的悲剧，辅之以红布、病床等道具，映射萧红的蓬勃创作、追寻自由、母体经验与病体早逝等多种境遇；舞台空间的虚实转换则构建了物理与心理的双重场域，既呈现萧红外在流徙的轨迹，又指涉其精神世界的孤绝与坚韧。在割舍了“独与群”的映衬之外，仍留存了“动与静”的交涉。该舞剧客观上形成了南与北的地域碰撞，呈现东北原乡与香港终焉之地的互文关系，揭示萧红作为战时知识分子，如何在从北至南的离散经验中寻找身份认同与重构文化记忆。以不拘泥于地域差异的辩证态度，从回溯与在地的交织中探索人类的普遍精神困境，实现东北作家的南方形塑与想象。"/>template{display:none;}.mag-rich-xref-fn { cursor: pointer;}//长视频$(document).ready(function(){if($("#showLongArticleVideo") && $("#showLongArticleVideo").length && $("#showLongArticleVideo").length>0){mag_ajax_update({ele_id:'showLongArticleVideo',url:mag_currentQikanUrl() + "/CN/article/showLongArticleVideo.do?id="+$("#articleId").val()});}});$(document).ready(function(){window.metaData = {"journal":{"issn":"1000-5072","qiKanMingCheng_CN":"暨南学报（哲学社会科学版）","id":2,"qiKanMingCheng_EN":"Jinan Journal"},"article":{"keywordList_cn":["萧红舞剧","本体回归","色彩隐喻","空间转换","南北互文","孤独感"],"juan":"47","zhaiyao_cn":"香港舞剧《生死萧红》及其附属演出《经验萧红》，是萧红题材突破传统文字文本局限，首次出现在多媒体舞蹈剧场并实现开放性对话。该舞剧以独舞形式为核心，解构萧红与他者的关系感，剥离传统文学视角对萧红与他者互动研究的依赖，转而聚焦其内在的情绪经验，以再现人文关怀的情感策略。以此，从生命状态的表现与创造中，以“本体回归”实现萧红形象的纯粹化与凝集化，呈现独特的艺术质感。同时，糅合舞蹈的实践方式与剧场的审美叙事，建立起“色彩隐喻”与“空间转换”两大关键艺术手法：红白二色的视觉效应，分别象征生命的热烈与疾病的悲剧，辅之以红布、病床等道具，映射萧红的蓬勃创作、追寻自由、母体经验与病体早逝等多种境遇；舞台空间的虚实转换则构建了物理与心理的双重场域，既呈现萧红外在流徙的轨迹，又指涉其精神世界的孤绝与坚韧。在割舍了“独与群”的映衬之外，仍留存了“动与静”的交涉。该舞剧客观上形成了南与北的地域碰撞，呈现东北原乡与香港终焉之地的互文关系，揭示萧红作为战时知识分子，如何在从北至南的离散经验中寻找身份认同与重构文化记忆。以不拘泥于地域差异的辩证态度，从回溯与在地的交织中探索人类的普遍精神困境，实现东北作家的南方形塑与想象。","endNoteUrl_en":"https://jnxb.jnu.edu.cn/skb/EN/article/getTxtFile.do?fileType=EndNote&id=7297","bibtexUrl_cn":"https://jnxb.jnu.edu.cn/skb/CN/article/getTxtFile.do?fileType=BibTeX&id=7297","abstractUrl_en":"https://jnxb.jnu.edu.cn/skb/EN/Y2025/V47/I9/47","qi":"9","id":7297,"nian":2025,"bianHao":"1760851781303-745392715","zuoZheEn_L":"","juanUrl_en":"https://jnxb.jnu.edu.cn/skb/EN/Y2025","shouCiFaBuRiQi":"2025-10-19","qiShiYe":"47","qiUrl_cn":"https://jnxb.jnu.edu.cn/skb/CN/Y2025/V47/I9","lanMu_cn":"中国文学原理及其特质","pdfSize":"0","zuoZhe_CN":"彭依伊","risUrl_cn":"https://jnxb.jnu.edu.cn/skb/CN/article/getTxtFile.do?fileType=Ris&id=7297","title_cn":"关系感的解构：萧红舞剧的本体回归与形象构建","jieShuYe":"59","endNoteUrl_cn":"https://jnxb.jnu.edu.cn/skb/CN/article/getTxtFile.do?fileType=EndNote&id=7297","zhaiyao_en":"","bibtexUrl_en":"https://jnxb.jnu.edu.cn/skb/EN/article/getTxtFile.do?fileType=BibTeX&id=7297","abstractUrl_cn":"https://jnxb.jnu.edu.cn/skb/CN/Y2025/V47/I9/47","zuoZheCn_L":"彭依伊","juanUrl_cn":"https://jnxb.jnu.edu.cn/skb/CN/Y2025","lanMu_en":"","qiUrl_en":"https://jnxb.jnu.edu.cn/skb/EN/Y2025/V47/I9","zuoZhe_EN":"","risUrl_en":"https://jnxb.jnu.edu.cn/skb/EN/article/getTxtFile.do?fileType=Ris&id=7297","title_en":"","hasPdf":"false"}};if(window.metaData && (!window.metaData.authorNotesCommon_cn && !window.metaData.authorNotesCorresp_cn && window.metaData.authorNotes_cn)){window.metaData.authorNotesCommon_cn = window.metaData.authorNotes_cn;}if(window.metaData && (!window.metaData.authorNotesCommon_en && !window.metaData.authorNotesCorresp_en && window.metaData.authorNotes_en)){window.metaData.authorNotesCommon_en = window.metaData.authorNotes_en;}var _nlmdtdXml = $("#article_nlmdtdXml").val();var magDir = _nlmdtdXml.replace(/\/[^\/]+$/,'');window.metaData.magDir = magDir;new mag_vue({ el: '#metaVue', //dataUrl: mag_currentQikanUrl() + '/EN/article/getRichHtmlJson.do?articleId='+$("#articleId").val(), data:window.metaData, loading:true, doTextFun:function(text){ return doDataJsonText(text); 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来源：2025年第9期

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