观念冒险中的中国古典舞重建实践——以汉画舞蹈重建为例

Reconstruction of Chinese Classical Dance Through Conceptual Adventure Taking Dance in Han Dynasty Paintings as an Example

当代创造的中国古典舞走到今天,应该对自己的过去、现在和未来有所反思、判断与展望。于此之中,观念的冒险是首要的,它会构成某种理论形态,由此展开对实践形态的探索—而不能再反向跟在盲目实践的身后充当"后设理论"。本文基于中国古典舞"垂直传承""重建复现""综合创造"和"重构创新"这四种建设方式的现有状态,提出:只有将"重建复现"放到日程上来,中国古典舞的建设才能找到实然的节点,汉画舞蹈的重建就是节点之一;"重建"不同于"复现",也不同于20世纪80年代兴起且至今依旧的"仿古",它在每个节点上都有自己的思想资源、艺术资源和技术资源,其重建过程不仅需要单项资源的把握,还需要它们之间的整合。

It is time to review Chinese classical dance created in the contemporary era.The review involves retrospection of the past,examination of the current reality,and anticipation of the future.For this purpose,conceptual adventure is essential and serves as a precondition,as it would shape a certain theoretical form and make a basis to explore the practical form.It is inappropriate and ineffectual to begin with blind practice and then theorize.Based on a review of four current methods ofreconstructing Chinese classical dance:" vertical inheritance","reconstruction and reproduction","comprehensive creation" and "reconstruction and innovation",this paper argues that "construction and reproduction" must be prioritized to make the revitalization of Chinese classical dance possible.Reconstruction of dance based on Han Dynasty paintings is a good example."Reconstruction" is different from "reproduction",and it is even more different from "imitation" which rose in the 1980s and still exists.It means reusing the antique resources,including the ideological,artistic,and technical resources.The process of reconstruction not only requires the utilization of individual resources,but also the integration of all the resources.