明代是我国乐舞艺术发生激烈变化的时代,本文试就明代的舞蹈艺术(主要论述汉民族)及其对后世的影响作初步探讨。一、明代的戏曲舞蹈和民间舞蹈我国的戏曲是迄今舞台表演艺术中,综合性最强、容量最大的一种艺术形式。它在数百年的形成发展过程中,广采博收,汇干泉于一流,集万木成茂林,形成了唱、做、念、舞、打兼备的独具魅力的表现手法。典雅的宫廷舞蹈和多姿多采的民间舞蹈,为戏曲的发展和成熟奠定了坚实基础。舞蹈溶汇于戏曲表演中,以舞姿刻画人物性格,展现故事情节,在戏曲表演中有着重要的地位。明代盛行的传奇戏曲表演中保存了丰富的传统舞蹈艺术。明末张岱所著《陶庵梦忆》中曾记载了当时某些剧目中精采的舞蹈片断。如,“西施歌舞,对舞者五人,长袖缓带,绕身若环。曾挠摩地,扶旋猗那……”。这大概是对明人梁辰鱼传奇著作《浣纱记》中西施舞蹈时一个场面的描绘。明书生王魁背弃敫桂英的故事编成的《负心王魁》、《海神庙王 The Ming Dynasty is an era of drastic changes in the art of dancing and dances in our country. This article attempts to make a preliminary study of the dance art of the Ming Dynasty (mainly focusing on the Han nationality) and its influence on later generations. First, the Ming Dynasty drama dance and folk dance China’s drama is by far the stage performance art, the most comprehensive, the largest capacity of an art form. In the course of its formation and development over the past several hundred years, it has taken a broad lead in collecting and collecting dried cadres and collected a great amount of dry spring flowers. Elegant court dance and colorful folk dance have laid a solid foundation for the development and maturity of Chinese opera. The dance dissolves in the performance of the opera, portrays the personality of the character with the dancing posture, and shows the storyline. It plays an important role in the performance of the opera. The legendary traditional Chinese operas of the Ming Dynasty preserved a wealth of traditional dance art. In the late Ming dynasty, “Tao Um Dream” was recorded in some of the brilliant pieces of the dance at that time. For example, “Xishi dance, five dancers, long-sleeved slow belt, wrapped around if the ring. This is probably a scene depicting the dance of Shih Tzu in the Legend of Liang Shayu, the legendary master of Liang Chen’s fish. Ming Wang Shikai abandon Guiying’s story compiled by the ”heart Wang Kui,“ ”Sea God Temple