论中国“古典舞”对戏曲舞蹈的继承与背离

On the Inheritance and Deviation of Chinese “Classical Dance” from Opera Dance

本文的中国"古典舞"特指产生于20世纪50年代,以戏曲舞蹈为母体,以李正一、唐满城等人为代表性创建人物的一种当代古典舞类型。作为一种古典艺术形式,戏曲舞蹈具备"民族性"与"典范性"特质,这是中国"古典舞"对其进行学习与继承的两个重要基点。同时,中国"古典舞"作为一种独立的舞蹈艺术必须区别于戏曲舞蹈,因此"舞蹈化"成为中国"古典舞"与戏曲舞蹈相背离的着力点。在"现代性"的时代语境下,中国"古典舞"不是完全对古代舞蹈的恢复,而是在继承传统上的创造,既继承传统美学基础又要在一定程度上符合现时代的审美。经历几十年的发展,中国"古典舞"成绩卓著,却也面临着一些发展瓶颈,其中重返戏曲舞蹈,对其"民族性"与"典范性"进行再次挖掘与学习不失为一条重要途径。

The term Chinese ＂classical dance＂ in this paper was derived from Opera dances in 1950s. Li Zhengyi and Tang Mancheng are the representatives in creating this type of dance. As a classical art form, both ＂nationalism＂ and ＂paradigm＂ are two traits in opera dance,which also can be the important points for Chinese classical dance ＇ s studying and inheriting from Opera dance. At the same time, Chinese ＂classical dance＂ as an independent dance art must be distinguished from the drama dance. Then ＂dancing＂ has become the point which Chinese ＂classical dance＂ has been departed from Opera dance. In the present age, Chinese ＂classical dance＂ is not only the recovery of the ancient dance, but also the creation on the inheritance of traditional form. It wouldn＇ t be inherited the traditional aesthetics but be accorded with the contemporary aesthetic. After several decades of development, Chinese ＂classical dance＂ has made outstanding achievements, but it is also facing some bottlenecks in the development. Above all, relearning the ＂nationalism＂ and ＂paradigm＂ of Opera dance is the important way to develop Chinese ＂classical dance＂.