中国古典舞肢体语言风格的构成

Composition of Body Language Style of Chinese Classical Dance

中国古典舞是中国传统文化审美理念的结晶,是中国文化精髓和审美意蕴在身体上的体现。那么,在中国几千年传统文化的滋养下,中国古典舞在形态、动势、节奏、神韵等方面又有何风格特点?如何更好地展现中国古典舞的审美特征?本文从"肢体语言风格的构成"切入,探究中国古典舞肢体语言风格的表现特征,并从肢体语言的形态特征、节奏特征以及内外统一等三个方面,对中国古典舞肢体语言风格的构成进行整体论述,旨在强调在中国"古典舞"的表演与教学中关注肢体语言风格的构成要素及其文化建设的意义。

The 'classical dance' in China is the body embodiment of the essence and aesthetic connotation of Chinesetraditional culture.Influenced by Chinese traditional culture,it is a dance art based on other kinds of arts such as Chinese opera and martial arts and reconstructed in the contemporary time.The forms,rhythms,verveof the physical expression of the dancing body are consistent with the Chinese aesthetics.Therefore,Chinese philosophical thinking plays a very important role in composing the body language style in the performance and image building of Chinese classical dance.The composition of body language style is a strict definition of the aesthetic standards of the Chinese classical dance style.To completely represent the Chinese classical dance style,it is necessary to coordinate the external forms with the internal breath and charm,giving the overall performance integrating the inside and the outside.Nowadays,the 'classical dance' in China is influenced and impacted by various foreign cultures.A great number of socalled 'classical dance' works select individual elements from the physical materials of Chinese classical dance,while the dance is based on Western ideas.In this way,the essence and aesthetic connotation of traditional Chinese culture have been lost,making the style attributes of the Chinese classical dance more vague and the recognizability weaker.In terms of the morphological features,rhythmic features,and unity of the internal and the external of the body language of Chinese classical dance,this article discusses the composition of body language style of Chinese classical dance in a general sense,aiming to implement the body language style of Chinese classical dance to specific teaching,performance,and creation.I.Composition Elements of Body Language Style of Chinese Classical Dance(I) Morphological Features of Body Language 1.Midnight-Noon Body,Yin and Yang Rhyme The theory of 'midnight-noon,yin,and yang' originated from the Chinese classical dialectical thinking.This concept is particularly important for grasping the aesthetics of physical morphological features of Chinese 'classical dance.' The features of 'midnight-noon,yin,and yang' are particularly prominent in the postures such as 'Twisting and Exploring the Sea,' 'Shooting Wild Goose,' and 'Tilting Posture.' The morphological features of the 'midnight-noon body' are not only the standards and requirements of the postures and styles of the Chinese classical dance but also a conventional aesthetic law of the postures,dynamics,and potentials.The contradictory feature of 'yin' and 'yang' highlightsthe 'contrast' of the force on movements,for example,moving backward before moving forward,moving right before moving left,moving down before moving up,and moving low before moving high.2.Follow the Circle and Present the Curve,Circle Counteracting Curve The body language style of Chinese classical dance incorporates 'circle' into its morphological features of body language.'Circle' is manifested not only in the form and trajectory of movements but also in the movement features of roundness and softness and the transition between the movements.Take the 'Mountain Arms' as an example.This posture requires that 'a circle can be seen in the front and the elbows cannot be seen from the back.' The 'Mountain Arms' shall look arc-shaped and not be too stiff from the front view.The elbows shall not have angular shape,and shoulders,elbows,and wrists shall form a smooth line,from either the side view or the back view.It will make the 'Mountain Arms' more upstanding and vivid to 'relax the shoulders,drop the elbows,straighten the back,and draw in the ribs.' Otherwise,it will destroy the 'round' shape,showing the clamped arms and raised shoulders.In the dynamic process,the transition movements are also following the 'circle' principle.The morphological features of Chinese classical dance are embodied in the aesthetic requirement that 'the essence remains the ‘circle’ despite all the changes' and movement law of circle counteracting curve in the elements ofits body language style.The body shall twist and tilt before moving,which emphasizes maintaining the waist as the axis to meet the movement requirements of left and right twisting and tilting and represents the physical forms,dynamics,and potentials of the 'midnight and noon,yin and yang.' 'The elbows shall turn before the arms move' means the circling movement features that the arms rotate clockwise and counterclockwise and coordinate with the body movement.(Ⅱ) Rhythmic Features of Body Language 1.Cadence and Distinction Taking the Chinese classical female solo dance 'Fan Dance and Chinese Paintings' as the example,the dancer coordinates the fan in hands with her body: The fan opens and closes quickly and circles around the body,presenting different directions and efforts of dodging,spinning,galloping,and transferring.By using the dynamics such as throwing,laying,turning,and revolving of the fan surface in alignment with the rhythms of the body such as pause,transition,being slow,and being urgent,it builds a dance image of splashing ink.With such a rhythm,the postures change rapidly with compact transition.The seemingly dazzling dance postures and movements with orderly rhythm and effort show a rigid,flexible,relaxed,and calm spirit and rhythm.2.Convey Ideas and Amplify Voice,Forms with Different Emphasis Using different rhythms for striking the same pose will result in different visual effects.Pause,transition,and beat can be used to introduce the identity,personas,and emotions of the characters.It can be seen that the rhythmic features of the body language of Chinese classical dance consist not only in beat and pause but also in the internal power generated and driven by the emotions of the subject,which will influence the rhythmic changes — it is a rhythm generated from the inside to the outside.The tension between the psychological rhythms and dance rhythms is realized by the performance of body language.3.No F ixed Beat,F lexible Tempo The rhythmic features of the body language of Chinese classical dance seldom have persistent 'fast' or 'slow' postures and rhythms.They emphasize more on the principles of the overall rhythm: the fine line of the strength and weakness,smooth yet not dull.They will not exaggerate the techniques of the rhythms nor be flat.Everything is under control: beat and off-beat,fast and slow,smooth and transition,sudden change,and so on.'Nine points is perfect,and ten points is overdoing.' If the rhythm and efficiency are just right and the rhythmic control is torturous and orderly,the contrast of mood is just right.Therefore,the rhythm of the body language of Chinese classical dance does not feature fixed nor steady beats.It is realized by 'flexibility.'(III) Internal and External Unity of Body Language The internal and external unity of the body language of Chinese classical dance is a higher-level technique formed by its body language style.It includes the internal spirit with its perfect unity of form and spirit nurtured by Chinese traditional philosophy and aesthetics andthe specific embodiment of the 'three sections and six coordination.' These are the results of using the important theories of Chinese traditional philosophy and aesthetics from the inside to the outside as a whole.1.Perfect Unity of Form and Spirit in Chinese Classical Dance Why should the 'form' and 'spirit' be in 'perfect unity'? It is because that the 'form' is the tangible carrier of body movements while the 'spirit' is the intangible expression of spiritual externalization.A work with 'form' but without 'spirit' will have a charmless form.A work with 'spirit' but without 'form' will have an indiscernible spirit.If an imitation only focuses on the external,even ifit is quite accurate and meticulous,copying the movements without catching the spirit,it will leave the images neither lively nor vivid with absence of appeal.Only the harmony between the similarity in spirit and the similarity in form can make the works achieve higher aesthetic level.2.Inner and Outer Coordination of Chinese Classical Dance'Inner and outer coordination' is the concrete manifestation of the body language style of Chinese classical dance inheriting the traditional Chinese aesthetic principles.It is also an important law of the body movements of Chinese classical dance.'Six coordination' is composed of three inner coordination — coordination between mind and idea,between idea and breath,and between breath and power — and three outer coordination — coordination between hands and feet,between elbows and knees,and between shoulders and hips.'Three inner coordination' is the principle and law of describing the coordination between idea,breath,and power inside human body.'Three outer coordination' is to coordinate with each part of body in the movement coordination,also known as 'three sections.' This is what is often called as 'six coordination and three sections.' In terms of the whole body,head is the tip section,waist is the middle section,and foot is the root section.In terms of the leg,foot is the tip section,knee is the middle section,and hip is the root section.In terms of the arm,finger is the tip section,elbow is the middle section,and shoulder is the root section.Following this concept of movements,the movements of national dance postures are more evidence-based.It reflectsnot only the law and principle of mutual coordination of the body movements of Chinese classical dance but also embodies the postures and style featuring Chinese classical beauty.II.Establishment of Aesthetic Principles of Chinese Classical Dance The composition of the dance body language style of Chinese classical has a unique meaning to the formation of the aesthetic principles of Chinese classical dance.It also plays a crucial role in the contemporary teaching,creation,and performance of Chinese classical dance.In terms of teaching,the basic training of Chinese classical dance is still largely based on ballet training and preserving the function of ballet training.Developing to date,however,we shall remove the ballet 'style' and firmly establish the 'self-centered' idea to guide the training.Though scientific and worthy of referencing,the ballet training system is not consistent with Chinese aesthetics.Based on this principle,we need to make choices of body language styles so as to realize unity and consistency.The unity of style in the basic training classes requires the teachers and students to have a correct understanding of the aesthetics of Chinese traditional culture rather than merely learn the routines or practical technique.We should strengthen the national aesthetic awareness and study and master the tradition in depth.The stylistic features of the body language of Chinese classical dance are presented in both creation and performance.Thus,it is not only about the levels of the 'creativity' and 'performing ability.' More importantly,it is about the ability to grasp the spirit and aesthetics of Chinese classical culture.Conclusion The body of Chinese classical dance should be the concentrated embodiment of Chinese history and culture as well as the embodiment of the aesthetic spirit and style of the Chinese nation.As a dance style belonging to the Chinese people,it must conform to the unique aesthetic orientation of the nation in terms of teaching,performance,and choreography.On the contrary,it will lose the aesthetic charm and cannot accurately express the aesthetic concepts of Chinese traditional culture ifit applies the aesthetic awareness of Western dance to the body elements of Chinese classical dance.In this sense,it is necessary to learn and absorb all the effective training methods around the world to develop the national dance.Yet,'blindness' is not desirable.