当代中国古典舞教学体系的构建与发展
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摘要
纵观中国舞史发展历程的特殊性及文化流变的相对复杂性(南宋以后,传统古典舞已渐渐融入戏曲而失去独立品格),现时存在的“中国古典舞”,乃是今人对中国传统古典舞蹈的复兴与再造。它启始于二十世纪五十年代,故此,我们在“中国古典舞”前冠之以“当代”二字。
该舞种的形成(内涵与外延)基于三个层面:“继承了戏曲、武术等传统文化的精粹,提炼了东方神韵的审美特质,借鉴了西方舞蹈体系化构建的经验……”(见正文第1页)这一界定揭示了“当代中国古典舞”的本质属性及其所具有的多层次概念和动态化发展态势。此为本文所要遵循的理论前提。
追溯当代“中国古典舞”复兴与再造的过程,它肇始于新中国文艺事业建设初期对中国传统舞蹈训练课程之需求,并在追求教学体系化构建的长期探索中逐步形成的。经历半个多世纪几代人的艰苦努力,目前它已初步构建成以基训、身韵、教学法、教学舞目及舞蹈创作为主体——各组成部分互动的——学科教学体系;拥有了一系列教学体系化的阶段性成果,以及直接反映教学成果的尖端人才。在此期间许多亲历者、研究者都从不同方面对之进行了经验总结和理论阐释,各家(学派)有争鸣,也不乏独到的见解。这些宝贵的学术思想和成果,对于我们今天的研究无疑提供了重要的基础。但是,与中国古典舞成果丰富的教学实践相比,学科的理论研究相对薄弱,特别是对于中国古典舞教学体系发展的历史沿革、发展脉络,诸多代表人物(含流派)的见解及其丰硕成果,以及发展中的经验得失,至今尚无系统梳理及全面整合性的论述。本文拟承担这样的任务,从这个角度上,希望具有填补空白的开拓意义。
本文的论述主要着力于以下几个方面:
一、首先,遵循导师倡导的“以事述人”与“以人传舞”两者辩证统一、有机结合的舞史观,对当代“中国古典舞”教学体系的形成与构建进行纵向梳理和横向比较研究。注重文献收集,更注重口述历史的实证考察,对于不同阶段对学科建设产生过重要影响的代表性人物(含各流派)进行系列采访,从理论高度予以客观评价,以期勾勒出当代“中国古典舞”由发轫之初一堂看似寻常实乃意义重大的“训练课”,直至今日其教学系统化构建初步完成的发展脉络,真实而鲜活地再现这段史实,从中归纳、总结出具有规律性的经验。
二、学习和运用了舞蹈生态学之形态分析中因子分解、特征提取、舞畴、舞畴序列等科学方法,对应中国古典舞业已形成的“元素“、”主支干教材“等,对其形态特征、运动规律以及审美特质进行了层次分明、可操作性的科学分析。以求进一步印证其神韵上拥有的比较鲜明的东方文化审美特征,提升该舞种风格属性和文化传承理念的自觉意识。力争对“纯文字化”舞蹈动作形态的经验性描述有所突破。
三、对目前尚在发展、探索中的这一新型学科的体系化建构——包括存在的问题和未来发展空间,作出前瞻性的思考与建议。虽然个人力量微薄、水平有限,但相信这将对学科的建设具有积极作用。
Looking into the special history of Chinese dance and the relative complexity of cultural development (the traditional classical dance was gradually integrated into Chinese opera and lost independent character), we will find that the "Chinese classical dance" today is actually a revival and reconstitution of Chinese traditional classical dance, which started at the 1950s. Therefore, we place the word "contemporary" before "Chinese classical dance".The constitution of it is basis on three aspects: "inheriting the prime of traditional culture such as opera and martial art;abstracting the aesthetic feature of oriental verve;learning the systematism experiences of western dance for reference" (see page 1). This definition indicates the essential character of "contemporary Chinese classical dance", as well as its multi-level concept and motive development, which is the theory presupposition of this dissertation.The revival and reconstitution of contemporary Chinese classical dance was to meet the needs of Chinese traditional dance training program in the early time of art development of P.R.C and it was a gradual process pursuing a training system. After the hard work of several generations over half century, it became a training system with the main courses of technique, movement style, pedagogy and repertory. Every course is interacting with each other. It has already made some achievements and trained some highly-qualified dance artists. Many researchers studied in this field from different angels of view during the process. There was argument as well as unique opinion, which provided an important base for the study today. However, comparing with the rich achievement in the studio, the theory study is still relatively behind. Especially there is a lack of systematic study on the historic development, different representative artists and styles, as well as the experiences. This dissertation is going to be the pioneer studying on this.Following are the main points of the study of this dissertation.1. Firstly following supervisor's view of combining the historic clues of events and dance artists together to do a history study and comparing study on the founding process of contemporary Chinese classical dance. Emphasizing both documents collecting and positive interview with representative artists who had great influence at different stages. With an objective evaluation, outlining the process of contemporary Chinese classical dance from a simple but important training class at the very beginning to the elementary training system today and trying to get experiences and find basic rules.2. Secondly using the method of elements analysis, choreme, choreme sequence from the dance ecology, to analyze the shape feature, motive rule and aesthetic character of the "element" and "main and sub-syllabus" established in Chinese classical dance system, so that we can clarify the oriental culture, strengthen the Chinese style of it.3. Thirdly making a perspective for this new training system that is still in the process of researching and growing, including different issues of present problems and future development.
该舞种的形成(内涵与外延)基于三个层面:“继承了戏曲、武术等传统文化的精粹,提炼了东方神韵的审美特质,借鉴了西方舞蹈体系化构建的经验……”(见正文第1页)这一界定揭示了“当代中国古典舞”的本质属性及其所具有的多层次概念和动态化发展态势。此为本文所要遵循的理论前提。
追溯当代“中国古典舞”复兴与再造的过程,它肇始于新中国文艺事业建设初期对中国传统舞蹈训练课程之需求,并在追求教学体系化构建的长期探索中逐步形成的。经历半个多世纪几代人的艰苦努力,目前它已初步构建成以基训、身韵、教学法、教学舞目及舞蹈创作为主体——各组成部分互动的——学科教学体系;拥有了一系列教学体系化的阶段性成果,以及直接反映教学成果的尖端人才。在此期间许多亲历者、研究者都从不同方面对之进行了经验总结和理论阐释,各家(学派)有争鸣,也不乏独到的见解。这些宝贵的学术思想和成果,对于我们今天的研究无疑提供了重要的基础。但是,与中国古典舞成果丰富的教学实践相比,学科的理论研究相对薄弱,特别是对于中国古典舞教学体系发展的历史沿革、发展脉络,诸多代表人物(含流派)的见解及其丰硕成果,以及发展中的经验得失,至今尚无系统梳理及全面整合性的论述。本文拟承担这样的任务,从这个角度上,希望具有填补空白的开拓意义。
本文的论述主要着力于以下几个方面:
一、首先,遵循导师倡导的“以事述人”与“以人传舞”两者辩证统一、有机结合的舞史观,对当代“中国古典舞”教学体系的形成与构建进行纵向梳理和横向比较研究。注重文献收集,更注重口述历史的实证考察,对于不同阶段对学科建设产生过重要影响的代表性人物(含各流派)进行系列采访,从理论高度予以客观评价,以期勾勒出当代“中国古典舞”由发轫之初一堂看似寻常实乃意义重大的“训练课”,直至今日其教学系统化构建初步完成的发展脉络,真实而鲜活地再现这段史实,从中归纳、总结出具有规律性的经验。
二、学习和运用了舞蹈生态学之形态分析中因子分解、特征提取、舞畴、舞畴序列等科学方法,对应中国古典舞业已形成的“元素“、”主支干教材“等,对其形态特征、运动规律以及审美特质进行了层次分明、可操作性的科学分析。以求进一步印证其神韵上拥有的比较鲜明的东方文化审美特征,提升该舞种风格属性和文化传承理念的自觉意识。力争对“纯文字化”舞蹈动作形态的经验性描述有所突破。
三、对目前尚在发展、探索中的这一新型学科的体系化建构——包括存在的问题和未来发展空间,作出前瞻性的思考与建议。虽然个人力量微薄、水平有限,但相信这将对学科的建设具有积极作用。
Looking into the special history of Chinese dance and the relative complexity of cultural development (the traditional classical dance was gradually integrated into Chinese opera and lost independent character), we will find that the "Chinese classical dance" today is actually a revival and reconstitution of Chinese traditional classical dance, which started at the 1950s. Therefore, we place the word "contemporary" before "Chinese classical dance".The constitution of it is basis on three aspects: "inheriting the prime of traditional culture such as opera and martial art;abstracting the aesthetic feature of oriental verve;learning the systematism experiences of western dance for reference" (see page 1). This definition indicates the essential character of "contemporary Chinese classical dance", as well as its multi-level concept and motive development, which is the theory presupposition of this dissertation.The revival and reconstitution of contemporary Chinese classical dance was to meet the needs of Chinese traditional dance training program in the early time of art development of P.R.C and it was a gradual process pursuing a training system. After the hard work of several generations over half century, it became a training system with the main courses of technique, movement style, pedagogy and repertory. Every course is interacting with each other. It has already made some achievements and trained some highly-qualified dance artists. Many researchers studied in this field from different angels of view during the process. There was argument as well as unique opinion, which provided an important base for the study today. However, comparing with the rich achievement in the studio, the theory study is still relatively behind. Especially there is a lack of systematic study on the historic development, different representative artists and styles, as well as the experiences. This dissertation is going to be the pioneer studying on this.Following are the main points of the study of this dissertation.1. Firstly following supervisor's view of combining the historic clues of events and dance artists together to do a history study and comparing study on the founding process of contemporary Chinese classical dance. Emphasizing both documents collecting and positive interview with representative artists who had great influence at different stages. With an objective evaluation, outlining the process of contemporary Chinese classical dance from a simple but important training class at the very beginning to the elementary training system today and trying to get experiences and find basic rules.2. Secondly using the method of elements analysis, choreme, choreme sequence from the dance ecology, to analyze the shape feature, motive rule and aesthetic character of the "element" and "main and sub-syllabus" established in Chinese classical dance system, so that we can clarify the oriental culture, strengthen the Chinese style of it.3. Thirdly making a perspective for this new training system that is still in the process of researching and growing, including different issues of present problems and future development.
引文
资华筠、王宁等:《舞蹈生态学导论》 文化艺术出版社 1991年版
资华筠:《舞艺·舞理》 春风文艺出版社 1998年版
隆荫培、徐尔充:《舞蹈艺术概论》 上海音乐出版社 1997年版
王克芬、苏祖谦:《中国舞蹈史》 台湾文津出版社
唐满城:《唐满城舞蹈文集》 中国戏剧出版社 1993年版
唐满城、金浩:《中国古典舞身韵教学法》 上海音乐出版社 2004年版李
傅兆先:《炼狱与圣殿中的欢笑》 中国青年出版社 2000年版
李正一、唐满城、黄嘉敏:《中国古典舞身韵》 浙江美术学院出版社 1992年版
郜大琨、张勇、韩国跃:《中国古典舞基训》 浙江美术学院出版社 1991年版
朱清渊:《中国古典舞教学》 中国美术学院出版社 1994年版
王克芬、隆荫培主编:《中国近现代当代舞蹈发展史》 人民音乐出版社 1999年版
王佩英主编:《中国古典舞基本功训练教程》 上海音乐出版社 2004年版
李正一、郜大琨:《中国古典舞教学体系创建发展史》 上海音乐出版社 2004年版
叶宁:《舞论集》 中国戏剧出版社 1999年版
董锡玖:《敦煌舞蹈》 新西兰霍兰德出版有限公司 1992年版
高金荣:《敦煌舞教程》 上海音乐出版社 2002年版
于平:《中外舞蹈思想教程》 人民音乐出版社
孙颖:《三论中国古典舞》 北京舞蹈学院 2001年版
顾也文:《朝鲜舞蹈家——崔承喜》 上海文娱出版社 1951年版
[美] 理查·克劳斯:《芭蕾简史》 上海文艺出版社 1982年版
朱立人译:《西方舞蹈艺术论文》
《中国古典舞论坛》 北京舞蹈学院中国古典舞系 2004年版
李春华:《古典芭蕾教学法》 高等教育出版社 2004年版
周育德:《中国戏曲文化》 中国友谊出版公司 1995年版
江巨荣:《古代戏曲思想艺术论》 学林出版社 1995年版
北京舞蹈学院:《中国古典舞教学法》(俗称‘大绿本') 文化部北京舞蹈学校资料室1
资华筠:《舞艺·舞理》 春风文艺出版社 1998年版
隆荫培、徐尔充:《舞蹈艺术概论》 上海音乐出版社 1997年版
王克芬、苏祖谦:《中国舞蹈史》 台湾文津出版社
唐满城:《唐满城舞蹈文集》 中国戏剧出版社 1993年版
唐满城、金浩:《中国古典舞身韵教学法》 上海音乐出版社 2004年版李
傅兆先:《炼狱与圣殿中的欢笑》 中国青年出版社 2000年版
李正一、唐满城、黄嘉敏:《中国古典舞身韵》 浙江美术学院出版社 1992年版
郜大琨、张勇、韩国跃:《中国古典舞基训》 浙江美术学院出版社 1991年版
朱清渊:《中国古典舞教学》 中国美术学院出版社 1994年版
王克芬、隆荫培主编:《中国近现代当代舞蹈发展史》 人民音乐出版社 1999年版
王佩英主编:《中国古典舞基本功训练教程》 上海音乐出版社 2004年版
李正一、郜大琨:《中国古典舞教学体系创建发展史》 上海音乐出版社 2004年版
叶宁:《舞论集》 中国戏剧出版社 1999年版
董锡玖:《敦煌舞蹈》 新西兰霍兰德出版有限公司 1992年版
高金荣:《敦煌舞教程》 上海音乐出版社 2002年版
于平:《中外舞蹈思想教程》 人民音乐出版社
孙颖:《三论中国古典舞》 北京舞蹈学院 2001年版
顾也文:《朝鲜舞蹈家——崔承喜》 上海文娱出版社 1951年版
[美] 理查·克劳斯:《芭蕾简史》 上海文艺出版社 1982年版
朱立人译:《西方舞蹈艺术论文》
《中国古典舞论坛》 北京舞蹈学院中国古典舞系 2004年版
李春华:《古典芭蕾教学法》 高等教育出版社 2004年版
周育德:《中国戏曲文化》 中国友谊出版公司 1995年版
江巨荣:《古代戏曲思想艺术论》 学林出版社 1995年版
北京舞蹈学院:《中国古典舞教学法》(俗称‘大绿本') 文化部北京舞蹈学校资料室1
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