舞蹈诗剧“只此青绿”的符号再编码研究
A Study on the Re-encoding of the Dance-Poem Drama A Tapestry of a Legendary Land
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本文以符号学为核心框架，结合图像理论与文化认同理论，研究舞蹈诗剧《只此青绿》如何将北宋名画《千里江山图》由静态画卷转化为动态舞台，并通过符号再编码完成文化再生产。重点分析三个层面：首先，借助索绪尔与罗兰巴特的符号学理论，揭示画卷的物质材料与空间构图如何转化为舞台能指，从而引发意义重心的迁移；其次，结合图像理论分析舞剧的七个篇章，说明舞台如何重构符号网络，并在多重意指中实现文化意义的再编码；最后，运用霍尔解码与文化认同理论，说明“展卷人”叙事机制如何激活集体记忆并推动文化认同建构。研究发现，该剧通过“视觉复现—符号再编码—文化认同”的三重机制，实现传统文化符号在当代语境中的再生产，凸显了舞台艺术在文化认同建构中的功能，并为跨媒介艺术实践的文化阐释提供了符号学范式。
Abstract
Grounded in semiotics and integrating image theory and cultural identity theory, this study examines how the dance-poem drama A Tapestry of a Legendary Land reinterprets the Northern Song masterpiece A Thousand Li of Rivers and Mountains, transforming it from a static scroll into a dynamic stage performance. Through processes of re-encoding, the work achieves cultural reproduction within a contemporary aesthetic context. The analysis focuses on three dimensions. First, drawing on the semiotic theories of Saussure and Barthes, it reveals how the materiality and spatial composition of the painting are transposed into performative signifiers, shifting the locus of meaning. Second, through the lens of image theory, it analyzes the drama’s seven chapters to show how the stage reconstructs the network of signs and achieves cultural re-encoding through multilayered signification. Finally, employing Hall’s decoding model and theories of cultural identity, it explains how the narrative device of the “scroll unroller” activates collective memory and fosters cultural identification. The findings demonstrate that the production accomplishes the reproduction of traditional cultural symbols in a modern context through a triadic mechanism of “visual reconstruction — semiotic re-encoding — cultural identity,” highlighting the role of stage art in cultural identity formation and offering a semiotic paradigm for interpreting cross-media artistic practice.