舞蹈史论研究的时代递进——由“中国古典舞‘名’‘实’之辨”引起的思考

The Advances of Studies in Dance History Reflections on “The Differentiation of the ‘Name' and ‘Nature' of Chinese Classical Dance”

刘青弋教授关于追问古典系列之"中国古典舞的‘名’‘实’之辨"的研究成果,尖锐地指出现今舞蹈院校和舞蹈大赛中被命名为"古典舞"的作品名不副实的问题。由此,引发了对"中国古典舞"现代创建的背景和价值以及中国古典舞"名""实"之辨的由来与意义的思考。现在的"中国古典舞"是在戏曲舞蹈基础上的创建,而重建古典舞则是属于非物质文化遗产保护的范畴,需要我们有历史依据地去探究发掘中国古典舞。这场思辨的目的在于重新思考如何真正地继承和发展中国的传统舞蹈。因此,弄清什么是该保存的古典舞与什么是运用古典舞元素的新创作至关重要。该成果通过思辨和舞蹈创作实验的实体展示的结合,为舞蹈学界重视发掘和保护中国古代的经典舞蹈提供了理论依据,体现了中国第二代舞蹈史论研究者的历史担当和舞蹈史论研究的时代递进。

Due to the interruptions in ancient Chinese dance, the current 'Chinese classical dance' derived from the traditional opera dance is difficult to verify its identity. At the same time, it is regarded as the original and cannot be challenged. Professor LIU Qing-yi’s acutely pointed out in her research, 'An Inquiry into the Classics Series: The Differentiation of the ‘Name’ and ‘Nature’ of Chinese Classical Dance,' that the works named 'classical dance' by today’s dance institutions and competitions were not in accordance with the name. These dance works choreographed by contemporary choreographers based on elements of ancient Chinese dance cannot replace the'intangible cultural heritage' accumulated by a nation for thousands of years and its exemplary masterpieces. As a result, this article is of the reflections on the context and value of the contemporary creation of 'Chinese classical dance' and the origin and significance of the differentiation of the 'name' and 'nature' of Chinese classical dance.The contemporary 'Chinese classical dance' was created on the basis of opera dance. Though its creation and subsequent qualitative changes are reasonable in certain sense, and it played a part in the inheritance and development of Chinese classical dance art. However, it is disadvantageous to consider it as a fixed pattern and never challenge it, no matter in terms of the explorationand excavation of the real Chinese ancient dance or for the reference and development of the contemporary new works. The 'Chinese classical dance' that needs us to explore and protect is the intangible cultural heritage reconstructed according to ancient images and archives.The purpose of this argument and differentiation is not to deny the established 'Chinese classical dance,' but to clarify the concept. The hope is that people would devote themselves to exploring, studying, discovering, and preserving the real classical dance on the one hand and free themselves to utilize Chinese traditional dance vocabulary and elements to create the dance works with rich national characteristics and reflecting the real life of Chinese people, rather than being confined to maintaining the style of classical dance and choreographing the works about ancient people. The significance of this inquiry lies in putting forward a question that has always plagued the Chinese dance community on how to inherit the traditional culture. Inheritance is about both preservation and development. The two cannot be followed blindly, and neither of them can be absent. It concerns the issue of establishing cultural confidence as mentioned by General Secretary XI Jin-ping in the socialism with Chinese characteristics in the new era.Professor LIU Qing-yi’s inquiry into the Chinese classical dance and differentiation of the 'name' and 'nature' are the results of her years of painstaking research, representing the breakthrough in the study of Chinese dance history and theory. She has not only studied the Chinese court dances introduced toJapan and Korea in Tang and Song dynasties but also thoroughly explored the dance notations of the Song, Ming, and Qing dynasties, making Deshou Palace dance notation(text script) be restored and debut on contemporary stage. More importantly, she elaborated on the concept of 'classical dance' theoretically and differentiated the 'name' and 'nature' of today’s 'Chinese classical dance,' providing theoretical foundation for heeding the excavation and protection the classical dances in ancient China. It should be said that her works reflect the historical fulfillment of the secondgeneration researchers in Chinese dance history and the advances of the studies in dance history.The studies in dance history are of a process of continuous accumulation of knowledge, constant adaptation with practice, continuous improvement of ideological and theoretical level, and gradual opening of academic vision. It requires scholars from generation to generation to relay progressively. This progressive research will uncover countless 'secrets' of the vast dance history in China, combining theory with practical development and making the rational principles break the habit of solid thinking so as to promote the prosperity and development of the dance discipline construction and Chinese national dance.