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19世纪末,传统的古典芭蕾舞开始趋于衰落,陈规陋习的传统与一成不变的动作使舞蹈失去了原本鲜活的气息和崇高的品味。人们急欲打破中世纪以来对人体本身的束缚,无论是行为规范上,还是思想观念上,都急需一场颠覆性革命来应和表达自由和解放身体的愿望。现代舞就在这样的背景之下应运而生并带引舞蹈艺术走上了另一条康庄大道。在工业革命带来的极度喧嚣中,现代舞蹈艺术家们热衷于回归自然、田园和古代文化,极力寻求一种感性的真实的人性的力量。此时伊莎多拉·邓肯的出现,立即掀起了20世纪一场波澜壮阔的人体文化的大复兴。现代舞经过一个多世纪的发展,虽源于欧美,却因对人性执着地追求而有着毋庸置疑的世界性。自中国吴晓邦先生把现代舞引进国内以来,现代舞在中国已拥有一席之地。然而诸多原因使之陷入发展困境中,这其中的问题值得我们深思。
At the end of the nineteenth century, the traditional classical ballet started to decline. The tradition of stereotypes and the unchangeable movements made the dance lose its original fresh breath and lofty taste. People are anxious to break the shackles on the human body itself since the Middle Ages, and it is in urgent need of a subversive revolution to respond to the desire to express freedom and liberate the body both in code of conduct and ideological concepts. Modern dance came into being under such background and lead the dance art onto another broad road. In the extreme noise brought about by the Industrial Revolution, modern dance artists are keen on returning to nature, pastoralism and ancient culture, seeking for a sensual, real human force. At this moment, the emergence of Isadora Duncan immediately set off a grand revival of the magnificent human culture in the 20th century. After more than a century of development of modern dance, though originating from Europe and the United States, it has undisputed cosmopolitanity because of its pursuit of humanity. Since the introduction of modern dance by Mr. Wu Xiaobang from China, modern dance has its own place in China. However, many reasons have caused it to fall into the dilemma of development. The problems in this area deserve our consideration.