Page 76 - Arts Innovation Report_2022_May11

如圖 12 所示，促進中國傳統文化藝術形態的創新是其
中一個關鍵發展目標，例如地方戲曲、民族音樂及舞
蹈。具體而言，中國戲曲的傳承振興是重點舉措之
一，通過出精品、出名家等工作項目來實現。為此，
相應的主要計劃明確提出深化國家文藝院團與數字文
化企業之間的合作，以融合線下與線上表演，以及激
發傳統藝術和內容的創新。這也呼應前言中提到的
「數字化」，是內地近期文化政策中的兩個主要特徵之一。
為實現上述重點目標，《規劃》提出了相應方向。第
一是利用藝術科技融合，鼓勵應用數位技術，以創新
傳統文化。第二是培養新時代領軍文化藝術人才。
第三是加強國家文藝團體的建設，協助上述提出的
工作。這些計劃的要旨，是以傳統文化和表達方式，
去激發新藝術內容的創造。
內地文藝界近年也響應這些政策趨勢。以下正有一
例，體現藝術科技如何振興傳統文化藝術，從而創造
出新的內容。
《對話 · 寓言 2047》(2017) 是名導張藝謀構思及執導
的舞台劇，此劇的構想最能體現國家政策方針。張藝謀
稱此系列作品為「概念舞台」，並將京劇、泉州皮影
戲、蒙古呼麥等中國傳統藝術和地方遺產與現代技術
結合，例如使用 3D 全息影像、機械臂和無人機等。
這系列作品通過創新的方式傳承和保育傳統文化，向
傳統致敬的同時，又善用現代發明，促進了過去、現
在與未來之間的對話。
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As illustrated in Figure 12 above, our consolidation shows that a key
developmental goal is to promote the innovative and creative
development of traditional Chinese cultural art forms, such as
regional xiqu, folk music, and folk dance. Specifically, the
reinvigoration of xiqu are among the key measures and tasks, and this
is to be done through cultivating an environment which allows
innovation through new works and leading artists. To support this, a
corresponding focus area has explicitly stated to deepen collaboration
between arts troupes and digital cultural enterprises, so as to
integrate offline and online performance, and to inspire innovative
embodiments of traditional cultural forms and contents. This also
echoes the feature of “digitalisation” mentioned earlier in Preface—
one of two main features identified in recent cultural policies of the
Mainland.
In achieving the aforementioned key goal, the Plan offers
corresponding propositions. The first involves tapping into Arts Tech,
which encourages using digitalisation as a means to innovate
traditional culture. The second involves cultivating a new generation
of exemplary and versatile talents in arts and literature for the new
era. The third involves strengthening and standardising the quality of
state arts troupes and cultural organisations to reinforce the above.
The focus of these propositions is centred around the generation
of new artistic creations that are inspired by traditional culture
and expressions.
Recent industry movements within the Mainland’s arts circles echo
these policy trends. The following example is one that champions
Arts Tech as a means of reinvigorating and retelling traditional arts
and culture, thereby generating new content.
Apologue 2047 (2017)—a stage production originally conceived and
directed by renowned film director Zhang Yimou—best encapsulates
the national direction. In a series of what he calls a “conceptual