延伸之境——庄子“形神说”与中国古典舞“形式美”的超越

Levels of Extension ZHUANG Zi's “Form-Spirit Duality” and the Transcendence of Chinese Classical Dance beyond “Formal Beauty”

"形神说"是中国美学的核心问题之一,亦在中国古典舞理论建设中具有重要的地位。古典美学中的"形神说"是一个庞大的学说,笔者仅以庄子美学中的"形神说"为理论依据,分析中国古典舞当中"延伸"这一训练及表现手法,总结其动作背后蕴含的美学意味。一方面概括出中国舞蹈中独有的审美形态;另一方面,针对这种由"延伸"之法而形成的舞蹈中的"形""神"关系进行探讨,指出中国古典舞的最高表演境界为"离形得神",即对"形式美"的超越。

'Form-spirit duality' plays an important role in the theoretical development of Chinese classical dance. It has evolved into an enormous system of theory. Based on ZHUANG Zi’s proposition of 'form-spirit duality,' this paper sums up the unique aesthetics of Chinese classical dance and probes into the form-spirit unity of dance formed through extension. It points out that the highest level of Chinese classical dance performance is transcendence beyond 'formal beauty.'I. Attaining spirit through mastery of form Extension is a buzz word for almost all dance teachers and students. First of all, or at the superficial level, streamlines body movement, while its aesthetic implication is more important. The extension of the dance has two aesthetic aspects: extension in the static state and extension in the dynamic state.Extension in the static state is mostly about consciousness. Extension of this kind refers to stretching the body while controlling breath so that breath may penetrate through the body. This would increase body expressiveness, so a simple body movement would create a strong sense of space. Dynamic extension state, on the other hand, refers to the connection between movements. For example, in Chinese classical dance, there is a socalled 'desire principle': If you desire to move forward, move backward first, and if you desire to move left, move right first. The purpose is to maintain the unity of dance movements, so that Qi does not break. This is crucial for giving life to movements. This aesthetic principle is derived from the concept of unity between man and nature which is rooted in Chinese traditional culture. It is an independent system of aesthetic theory, unlike the western aesthetics featuring subject-object duality and critical thinking. Extension in dance is necessary to give the form more spirit. Through extension, body is free from its natural attributes and dance movements gain aesthetic appeal. However, such appeal through extension has not reached the level of spirit. To give any movement a spiritual charm, dancers must have a good mastery of skills. They must be free from formal restraints before entering the realm of freedom desired by ZHUANG Zi. While body language mastery is key to attaining the freedom of expression, supreme beauty and enjoyment is only possible when dancers are completely free from formal concerns. In fact, freedom is a synonym of creativity.II. Going beyond form to spirit In dance, form is relatively easy to master, while it is very difficult to transcend form to reach the level of spirit. Most dancers are likely to stay at the level of form, falsely believing that dance is merely a combination of actions or body movements. If too much attention is paid to external form, any dance would be void of spirit. ZHUANG Zi’s fable 'A Cook Cutting Up an Ox' explains the relationship between Skill and Tao, which applies equally well to the art of dance. Tao is a next goal for dancers after spirit. The Tao of dance is the most supreme artistic pursuit towards freedom. ZHUANG Zi urged for psychological self-regulation to achieve forgetfulness which is an ingredient for peace of mind and freedom of expression. An artist reaches the highest level of beauty when he is able to communicate with the universe and understand the ultimate source of art, and then he achieves the shift from the finite to the infinite. The progress from the skill level to the aesthetic level is a process of continuous generation and depends on the spiritual accomplishment of a dancer. Although this process differs from person to person, the highest level of art should be a common pursuit.The beauty of dance is revealed through form, but the highest level of beauty exists in a state where external form is blurred as it is overshadowed by internal charm. The transcendence beyond formal beauty is the supreme goal of the Chinese dance community. That means focusing on form is not enough to make a good dancer. Instead, form should be the first step in trying to improve control over the body and finally to achieve spiritual transcendence.