Exploring on the Form of Chinese Classical Dance

Contents Introduction 1 I. Origin and Significance of Research 2 II. The Object of Study: Chinese Classical Dance 7 III. Concept Definition of “Form” 15 Chapter 1 Historical Problems of the Form of Chinese Classical Dance 25 Section 1 The Foundation Laying of the Form of Chinese Classical Dance (1954-1966): Establishment of the Path of the Form of “Opera and Ballet” and the Anti-ballet Voice 26 I. Textualizing of the Form of Chinese Classical Dance and Opponents of the Ballet Elements in Chinese Classical Dance 29 II. Exploration of the Form of Chinese Classical Dance Drama and Opponents of Ballet 37 Section 2 Correction of the Form of Chinese Classical Dance (1976-1999): Reflection of Basic Training, Posture Rhythm Correcting the National Problem and Retro and Modern Dance Style 44 I. Reflection of the Form: The Reestablishment of the “Combination” Form and Opponents of the “Combination” 46 II. Form Correction: Posture Rhythm Directly for to the Problem of ·xii· Exploring on the Form of Chinese Classical Dance “Nationality” 61 III. Form Expansion: Two Creation Trends under the Modern Consciousness 67 Section 3 The Form of Chinese classical dance in Need of Cognition (Since the 21st Century): Ballet Basis, Reduction of the Style of Traditional Chinese Opera and the Abuse of Modern Dance 74 I. “Ballet” in the Form of Chinese Classical Dance 75 II. “Traditional Chinese Opera” in the Form of Chinese Classical Dance 81 III. “Modern” in the Form of Chinese Classical Dance 89 Chapter 2 The Real Situation of the Form of Chinese Classical Dance 94 Section 1 Concept: Different Constructors and Different Types of Classical Dance 95 I. Different Types of Chinese Classical Dance 95 II. Construction Concept of Different “Types” of Classical Dance 101 Section 2 Images: Form Characteristics of Six Types of Classical Dance 112 I. The Static Form of Six Types of Classical Dance 112 II. Dynamic Trend of Six Types of Classical Dance 130 III. Morphological Characteristics of Six Types of Classical Dance 139 Section 3 Diversification: The Current Situation and Pattern of Chinese Classical Dance 153 I. The Formation of Diversified Pattern 154 II. The Causes of Formation of the Diversified Pattern 156 III. Identification of the Diversified Pattern 158 ·xiii· Contents Chapter 3 Aesthetic Analysis of the Form of Chinese Classical Dance 166 Section 1 Body: The Form Carrier of Chinese Classical Dance 167 I. The Body Tradition in Chinese Culture 168 II. Physical Description of Chinese Classical Dance 174 Section 2 Time and Space Force: The Form Elements of Chinese Classical Dance 192 I. Time of Chinese Classical Dance 193 II. Space of Chinese Classical Dance 204 III. Force and Center of Gravity of Chinese Classical Dance 217 Section 3 Form and History: Traditional Form of Chinese Classical Dance 226 I. Form Tradition 227 II. Form Tradition of Chinese Classical Dance 234 Section 4 “Image”: Perfective Aspect of Chinese Classical Dance Form 253 I. Basic Conditions of “Image” of Chinese Classical Dance 253 II. Basic Feature of “Image” of Chinese Classical Dance 258 Chapter 4 Aesthetic Formation of Chinese Classical Dance 264 Section 1 The Traditional Chinese Opera Dimension of Form “Reconstruction” of Chinese Classical Dance 266 I. Posture Rhythm with Beijing and Kun Opera as the Basis of the Form Construction 268 II. Kun Dance with Kunqu Opera as the Basis of the Form Construction 276 III. Liyuan with Liyuan Opera as the Main Body of Form Construction 280 ·xiv· Exploring on the Form of Chinese Classical Dance Section 2 The History Dimension of Form “Reconstruction” of Chinese Classical Dance 287 I. Han and Tang Dance Returning to the Ancients in the History 289 II. Dunhuang Dance “Copying” the Form of History 294 III. Reconstruction of “Tang Yue dance” Restoring the Original Appearance in the History 298 Section 3 Reviving of the Form of Chinese Classical Dance 305 I. Orientation: The “Reviving” Project under the National Behavior 306 II. Methods: The Right Cognition of “Original” 314 Section 4 Study and Comparison of “Reconstruction” and “Reviving” of the Form of Chinese Classical Dance 317 I. “Reconstructed” Classical Dance 319 II. “Revived” Classical Dance 330 Chapter 5 The Future of Chinese Classical Dance 339 Section 1 Form Limitation of Chinese Classical Dance 340 I. Aesthetic Features of Chinese Classical Dance 340 II. “Form” Feature of Chinese Classical Dance 347 Section 2 Form Criteria of Chinese Classical Dance 353 I. Create Independent Chinese Classical Dance 354 II. Be “Complete” Chinese Classical Dance 359 Section 3 Exploring the Form of Chinese Classical Dance 370 I. Horizontal Exploring 370 II. Vertical Mining 387 ·xv· Contents Conclusion 397 Main References 404 Monograph 404 I. Art theory and aesthetic theory 404 II. Dance history 408 III. The theory of Chinese classical dance 410 VI. Traditional Chinese opera, martial arts and performance theory 413 V. English bibliography 414 Serial publications 415 I. Core literature of Chinese classical dance 415 II. Art theoretical literature 425
Afterword 427