“构形”:《共在》对梨园舞蹈形态的探索

“Configuration”: Exploration of Liyuan Dance Form in “Co-existence”

舞蹈作品《共在》对梨园舞蹈形态的探究体现出运用传统乐舞形态和结构进行当代舞蹈作品创作的实践与探索,也体现出编导从史论研究中获得认知、思考并试图将其学术成果运用到舞蹈编创实践中的尝试与突破。该作品传递了当下古典舞领域实践者在把握传统"根性"的基础上对古典美学意蕴的执着追求以及试图延续和发展中国古典审美内涵的意愿。本文从该作品所呈现出的重新"构形"梨园舞蹈的理念出发,对该作品"构形"的身体动态基础、编创形式创新及梨园舞蹈的当代发展探索进行分析,以期从个案中捕捉中国传统舞蹈文化在当代语境下获得新发展的可能。

'Configuration' is the conclusion of the China National Youth Arts Fund project, 'Co-existence,' in which the choreographer explores the forms of Liyuan(Pear Garden) dance, aiming to present the attempts to 'construct expressive forms' constantly during the diversified development of Chinese classical dance. In the history of Chinese classical dance, the innovations of the forms were represented by the efforts made by different artists toward the essence of the Chinese classical dance through different approaches, which then formed the 'Chinese classical dance' with rich connotations and diversified forms. Based on the Music and Dance form of Chinese classical dance — Liyuan dance — with an indepth study of body dynamics, 'Co-existence' is a new exploration of Liyuan dance in contemporary choreography field by assimilating dynamic essence. Starting from the idea of reconfiguring Liyuan dance represented in 'Coexistence,' this article analyzes the foundation of the body dynamics of 'configuration,' innovation of its creative form, and contemporary development and exploration of Liyuan dance, in order to capture the possibility of new development of traditional Chinese dance culture in a contemporary context in this case study.In 'Co-existence,' the 'configuration' of body dynamics is rooted in Liyuan dance, from which the work has acquired important body dynamic elements. It is not only an exploration of constructing Liyuan dance in the contemporary form but also an innovative expression of the objective symbolic forms of Liyuan dance characters’ emotions. The body dynamics of this work conforms to the preforming norms of how Liyuan dance building typical images. Proceeding from the basic body dynamics of the routines of Dan(female role) and Chou(male clown role) in Liyuan dance, the entire work features the dynamic attributes of acting and martial arts performing of Dan and Chou. The work interprets the puppet like body dynamics of Dan and Chou respectively. Contrasted the intricacy and elegance of Dan with the humor and vitality of Chou, the classic refinement of dynamic attributes of image building by the ancestors can be seen. Derived from the postures of the 'basic movements of routines' in Liyuan dance, the 'configuration' of body dynamics retains typical body dynamic features of Liyuan dance in this work. Along with composed feet drum, it makes the work featuring aesthetic standards of body dynamics in traditional Liyuan dance and diversity in the connotations and forms of Liyuan dance.'Co-existence' builds the images of the characters with contemporary choreographic techniques and makes new attempt in choreographic forms. Acting and martial arts performing of Dan and Chou are in the same space, are confined within respective performing areas, and construct different character traits with the same feet drum rhythm and similar movement forms. The choreographer has made use of the stage direction with flexibility, searched the creative path from within the Liyuan opera, and structured the work with the choreographic method that the traditional corresponds to the contemporary, contributing to the contemporary development of Liyuan opera dance while preserving the nature of it.'Configuration' is a way of thinking different from the logical concept. Representing the imagination of ancient images, the choreographer can construct a dance image through the apprehension and cognition of nature of things. 'Configuration' provides new ways to build images and create new forms for expression. The choreographer heeds the distinctions between the two concepts — 'reconstruction' and 'representation' — during the development of the configuration of Liyuan dance, and further discovers the cultural connotations and symbolic meanings behind the existent postures and dynamic images. Trying to maintain the aesthetic quality of Liyuan dance, she innovates and reconstructs the artistic forms. This work embodies the constant pursuit of the classical aesthetics by the practitioners in current Chinese classical dance field, and their will to continue and develop the aesthetic connotations of Chinese classical dance.