目 录摘要····································1关键词···································1引言····································21 中国民族民间舞中的“三道弯”·······················21.1 科学的分析三道弯审美特征························21.2 三道弯的体态特点····························22 中国民族民间舞—傣族舞··························33 中国民族民间舞—胶州秧歌·························43.1 胶州秧歌动律的五大元素·························43.2 胶州秧歌的发展·····························44 “三道弯”在傣族舞和胶州秧歌中的各自审美特征···············54.1 傣族舞中的“三道弯”的体态特征·····················54.2 胶州秧歌中的“三道弯”的体态特征····················55 傣族舞“三道弯”与胶州秧歌“三道弯”的特征比较··············65.1 傣族舞的艺术形态····························65.2 胶州秧歌的艺术形态···························65.3 傣族舞与胶州秧歌的分析对比·······················76 研究意义·································77 结语···································7参考文献··································8致谢····································91浅析“三道弯”在不同民族民间舞中的审美异同——以汉族秧歌和傣族舞蹈为例摘要：“情动于衷，而形于言；言之不足，故嗟叹之；嗟叹之不足，故咏歌之；咏歌之不足，不知手之舞之，足之蹈之也”这是《毛诗.大序》中对古时舞蹈的描写。现如今，舞蹈文化更是百花争艳，丰富多元，各民族民间舞中独具特色又融汇相通。以“三道弯”为例，“三道弯”是很多民族舞蹈里的经典动作，它们经典漫长...
