本文经过调查研究发现,奇台大泉塔塔尔自治乡塔塔尔民众在婚礼中所跳的塔塔尔舞,与集成以及舞台展演中的塔塔尔舞在表演形态、舞蹈姿态上都存在着较大区别,举手投足之间有着明显的“哈萨克”味道。可当地人并没有如此明显的区别意识,接受访问的当地塔塔尔人,无一例外地都认为,自己所跳的舞就是塔塔尔舞,而非仅仅是“文本”规定的那一种。在他们看来,现实生活中所跳的舞和集成以及舞台上展演的都是塔塔尔舞,只是表演的空间、时间以及样子(动律、姿态)不一样。这种主位认知与文本记录、舞台创作之间的错位,之于我们对当下舞蹈文化发展、流变的理解,有着“它山之石”之用。 After investigation and study, this article finds that the Tatar dance danced by the Tatars in the Qitai Autonomous County of Qitaihequan differs greatly from the Tatar dance in the integration and stage performance in terms of performance form and dance posture. Obvious “Kazakh” flavor. The locals did not have such a clear sense of distinction, and the local Tatars interviewed, without exception, thought that the dance they danced was the Tatar, not just the one stipulated by the “text”. In their view, the dance and integration in real life and the stage performances are all Tatar, but the performance space, time and look (movement, attitude) is not the same. This misunderstanding between the theme of cognition and text recording and stage creation is based on our understanding of the current development and evolution of dance culture.