中國古典舞的形式研究

《中國古典舞的形式研究》是2017年寧人民出版社出版的圖書，作者是Tian Tian。

基本介紹

• 中文名：中國古典舞的形式研究
• 作者：Tian Tian 
• 出版社：遼寧人民出版社 
• ISBN：9787205090432

內容簡介

Exploring on the Form of Chinese Classical Dance consists of five chapters. From the first chapter to the fifth chapter, from the perspective of “form”, this paper discusses about the past, present situation and future of Chinese classical dance. Around the core of “form”, the formation of classical dance in the history of 60 years is summarized. This paper analyzed the numerous and disorderly art phenomenon, language features, and their “formation” concept and methods of classical dance, and this paper tries to construct the framework of the form of Chinese classical dance and explore its future direction with the classical aesthetic concept as the core.

圖書目錄

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 (Sincethe 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. “TraditionalChinese Opera” in the Form of Chinese Classical Dance81

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 Dance226

I. Form Tradition 227

II. Form Tradition of Chinese Classical Dance 234

Section 4 “Image”: Perfective Aspect ofChinese Classical Dance Form 253

I. Basic Conditions of “Image” of Chinese ClassicalDance 253

II. Basic Feature of “Image” of Chinese ClassicalDance 258

Chapter 4 Aesthetic Formation of Chinese Classical Dance 264

Section 1 The Traditional Chinese Opera Dimension of Form

“Reconstruction” of ChineseClassical 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 theOriginal Appearance

in the History 298

Section 3 Reviving of the Form of Chinese Classical Dance 305

I. Orientation: The “Reviving” Project under theNational 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

作者簡介

Tian Tian, Ph.D, is a lecturer at the Beijing Dance Academy, the editor of Beijing Dance Academy Journal, was a visiting scholar at the Department of Dance in College-Conservatory of Music (CCM) - University of Cincinnati. She has been short-listed in the “the most influential youth scholars in Chinese Humanities & Social Science domain in 2015”, and is in charge of multiple provincial and city-level scienti?c and art research subjects.Tian Tian has been privileged to produce works that are funded by high profile projects such as the 2016 Youth Arts Talent Creation Project of China National Arts Fund, the 2017 Penghao Theatre Festival and the 2017 Youth Cultivation Program of Chinese Dancers Association. She is a scholar and a director of Chinese classical dance with tremendous experiences of both theory and practice.