摘要
"中国古典舞"是一种当代的"古典"探索。它首先遵从、继承了中国传统身体运动美学中的三节六合、轴转轮动、气息引领、螺旋延伸、意在形外、余韵不止等原则;与此同时,伴随着中国改革开放的历史进程,"中国古典舞"在文化选择上也同时允许部分符合古典艺术典雅高贵气质的西方宫廷舞蹈成为自身借鉴的参照,吸收了芭蕾外开、延伸、直线的运动法则。这两条身体线索的结合,基本以中国传统身体哲学作为主体,以西方芭蕾作为动作之间的衔接方法。因此,"中国古典舞"在空间上显示出一种当代建构对中西方文化调试的双向性。然而在时间上,面对处于中西双重文化语境内的古典与当代的多元考虑,如何继续通过对自身与传统及当代文化之间关系的不断重新审视探索出多种实践路径,呈现出多样化发展态势,将是我们,也是"中国古典舞"不变的追求与担当。
I. Chinese classical dance in confusion Chinese classical dance has an inseparable relationship with ballet. This relationship stemmed from a cultural development strategy in China first adopted in the 1910 s that encouraged artists to address domestic cultural problems through learning from the West. Born in the 1950 s, Chinese classical dance, a modern art to a great extent, contains multiple genes. In the name of being "classical", it has not only absorbed movement language from Chinese operas(Xiqu), but also borrows the grammatical structure of ballet from the Soviet Union. The new concept of body rhyme(shenyun), as a series of new theories and discourses of Chinese classical dance, breaks down the balletic grammar and aims to establish a unique Chinese corporeal logic. It is behind the creation of many contemporary classical works that have gained popularity and recognitions. Meanwhile, it incorporates ballet aesthetics such as open torso and legs. In this sense, Chinese classical dance has always been a contemporary body language that tells the past, or in other words a "classic" built in the present. It would meet with challenges and opportunities in a global context, where China and the West of the past and present mingle into one body to represent Chinese culture.II. Chinese classical dance facing choices Opposing the strategy of solving domestic cultural problems by learning from the West, Prof. Sun Ying of Beijing Dance Academy advocated the Han-Tang style classical dance at the end of the 20 th century. Prof. Sun Ying abandoned ballet aesthetics but used the physical logics of Chinese operas dating back centuries. Han-Tang style has gradually developed its own unique languageand aesthetics. Given Han-Tan style's success, Chinese classical dance, as a discipline lasting only 60 years, should reconsider its future route. Two apparent choices are: to take a similar strategy with Han-Tang style and remove the influence of ballet; or to restage ritual performances that are still popular in China or revive
出处
《当代舞蹈艺术研究》
2018年第3期65-68,共4页
Contemporary Dance Research
关键词
“中国古典舞”
美学基准
当代建构
"Chinese classical dance"
aesthetics
modern construction
