Abstract:

This article pays tribute to the late Princess Norodom Buppha Devi (1943–2109) who played a major role in preserving Khmer court dance after the Khmer Rouge genocide in Cambodia (1975–1979). By looking at some of the innovative choreographies, costumes and musical choices (especially dance dramas) she created, we point out that Khmer court dance is neither purely ritualistic nor rigid; there is room for innovations. Furthermore, we argue that the Princess had participated in modernizing traditional Khmer court dance throughout her life. To this end, we look closely at her signature role in the so-called "Apsara Dance," a role that catapulted her to fame and was captured as a celluloid apparition by the French filmmaker, Marcel Camus in his 1962 film, L'Oiseau de Paradis (The Bird of Paradise). We conclude by looking at the innovative elements she created for her last choreography, Metamorphoses. This work exemplifies how Khmer court dance can adapt to modern innovation, yet retain its traditional role as art and marker of cultural identity.

摘要：

本文向已故的诺罗敦·布法·戴维（Norodom Buppha Devi）公主（1943–2109）致敬，在柬埔寨发生红色高棉大屠杀（1975–1979）之后，他在保存高棉宫廷舞中发挥了重要作用。通过查看她创造的一些新颖的舞蹈编排，服装和音乐选择（尤其是舞蹈剧），我们指出高棉宫廷舞既不是纯粹的仪式主义也不是僵化的。有创新的空间。此外，我们认为公主一生都参与了传统高棉宫廷舞的现代化。为此，我们密切关注她在所谓的“ Apsara舞”中的标志性角色，这一角色一举成名，并被法国电影制片人Marcel Camus在其1962年的电影L'Oiseau中以赛璐O般的幻影捕捉。 de Paradis（天堂鸟）。我们以她为上次编舞《变形记》创造的创新元素作为总结。这项工作体现了高棉宫廷舞如何适应现代创新，同时又保留了其作为艺术和文化身份标记的传统作用。