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中国古代舞蹈经过西周的雅乐,汉朝百戏及大气磅礴古朴的乐舞,到魏晋的纯舞,发展到盛唐的部伎诸乐、刚柔诸舞的辉煌高峰,又经宋元的队舞大曲发展进入到舞蹈的另一种发展阶段——明清的戏曲舞蹈。她借助新的艺术式样戏曲而存在、发展,表达细腻具体的情绪情感,塑造着一个个人物,演绎者一段段故事,是社会生活的缩影,又极富有韵律感和动态美。作为中国古代宫廷舞蹈的一部分,她负载着中国传统文化的深邃内涵,而在差不多同时期的欧洲,西方的宫廷古典舞蹈——芭蕾也在不同的地域环境下和戏曲具有某些相似的文化性质,袁禾老师的《中国古代舞蹈史》中将戏曲舞蹈的文化性质归结为宫廷舞蹈的严格程式、民间舞蹈的风格式样、文人艺术的意趣旨归及传统舞蹈的继承与发展,而通过这些去思考古典芭蕾,依然发现即使是完全没有接触碰撞过的两个舞种,其文化性质也有许多共通之处。
The ancient Chinese dance passed the Alhambra in the Western Zhou Dynasty, the Han Dynasty 100 plays and the magnificent simple dance and dance to the pure dance in the Wei and Jin Dynasties. It developed into the flourishing peak of the Tang Dynasty, Dance Daqu development into another stage of development of dance - drama dance in the Ming and Qing Dynasties. She used the new art style of drama to exist, develop and express delicate and specific emotional emotions, creating a personal storytelling and interpreting a story, a microcosm of social life, and full of rhythm and dynamic beauty. As part of the court dance in ancient China, she carried the profound connotation of traditional Chinese culture. In almost the same period in Europe, classical dance courtesy of the West - Ballet also had some similar cultural features with opera in different geographical environments , Yuan He’s “History of Ancient Chinese Dance” attributed the cultural nature of opera dance to the strict program of court dance, the style of folk dance, the inheritance and development of traditional dance by the interest of literati art, Thinking about classical ballet, we still find that there are many commonalities in the cultural properties of even two types of dancers that have not touched and collided at all.