民间舞蹈千百年来流传于阡陌荒野,在斋醮礼仪、田间地头的民俗生活里自然沿袭。自古以来,虽间或有宫廷文人前来采风集谣,然则进入宫廷的舞蹈,或用以纪功,或供人赏玩,在手足形态、审美旨趣上已与民间渐行渐远。民间艺人的“玩意儿”登堂入室,冠以“民族”之称在舞台上重塑形象,则是近代才有的中国特色。被作为“艺术”的民间舞蹈从“田野”到“舞台”之间,必然经过职业舞蹈人的审视与重构。剧场舞蹈的精彩固然令人炫目,然而“艺术化”的过程更耐人追寻。在本系列《中国舞人口述志》的访谈中,新中国的民族舞蹈家们将向人们娓娓道出民间舞舞台化的过程。其中,陈翘的“田野”守望、马跃 Folk dance thousands of years spread in the wilderness of paddy fields, in the Satir etiquette, the natural habitat of the fields in the natural lineage. Since ancient times, although there are court or literary men who came to collect folk songs in the wind, then the dance into the court, or for the merit, or for people to enjoy, in the form of hands and feet, aesthetic taste has been away from the folk. Folk artists “stuffs ” Deng Deng Tang, crowned “national ” said in the stage to reshape the image, is the only modern Chinese characteristics. The folk dance which is regarded as “art ” must go through the examination and reconstruction of professional dancers from “field ” to “stage ”. The highlight of the theater dance is dazzling, however, the process of “Art ” is more resistant to human pursuit. In this series of interviews with “Chinese dancers’ oral biographies”, the national dancers in new China will explain to people the process of folk dance. Among them, Alice “field” watch, Ma Yue