拉班在中国的影响力

Laban’s Influence in China

本文是1979年戴爱莲在国际拉班舞谱双年会上的讲话。戴爱莲通过回忆她在英国向鲁道夫·拉班和他的学生们玛丽·魏格曼、莱斯利·伯罗斯—戈森、库特·尤斯学习舞蹈的经历,以及回到祖国之后的教学、排练和编舞等舞蹈艺术实践活动,讲述拉班理论对她研究与发展中国民族舞蹈所产生的影响,进而也影响了中国舞蹈的发展。基于长期的艺术实践和理论研究,戴爱莲深信拉班舞谱是现存最科学的记录方法,如果可以解决简单和速度的问题,则会大大增加它的传播性和普及性。

This paper is a transcription of a speech delivered by Mme.Dai Ailian to the members of the International Council of Kinetography Laban/Labanotation Biennial Conference in Chantilly,France,in 1979.Dai recalled her experiences of learning dance from Rudolf Laban and his pupils,Mary Wigman and Kurt Jooss,in the United Kingdom.The system and theory Laban and his pupils introduced had deeply influenced Dai’s choreography and teaching after she returned to China in 1940.Because of the on-going War,Chinese people ceased to dance,she decided to revive and develop the Chinese National Dance by learning dance from ethnic groups and by recording dance in Labanotation,a notation system for documenting and analyzing human movement.She established schools and cultivated many talented dance professionals.In addition,Laban’s theories and influences could be observed through Dai’s choreography,which won many prizes internationally and nationally.Based on her long-term practice and theoretical research,Dai believed that Labanotation is the most scientific method of dance documentation and preservation in the world.If the issues of simplicity and speed can be properly addressed,Labanotation would greatly increase its popularity.