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.

Tian Tian attaches great importance to mining and arranging of Chinese Classical Dance research data, has collected over 400 papers since the founding of the Chinese classical dance more than sixty years ago, and conducted systematic investigation and research of the predecessors points of views.

YE Lang, Professor and Aesthete

The most valuable part in this paper is the research on the relationship between classical aesthetic theory and classical dance.

Dancing LV Yisheng, Professor and Educator

Most of excellent academic success comes from practice. Tian Tians features of close combination of practice and theory is evident.

ZHANG Jianmin, Professor and Choreographer

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.

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

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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 (Since

the 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. Traditional Chinese Opera in the Form of Chinese Classical Dance 81

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 Dance 226

I. Form Tradition 227

II. Form Tradition of Chinese Classical Dance 234

Section 4 Image: Perfective Aspect of Chinese Classical Dance Form 253

I. Basic Conditions of Image of Chinese Classical Dance 253

II. Basic Feature of Image of Chinese Classical Dance 258

Chapter 4 Aesthetic Formation of Chinese Classical Dance 264

Section 1 The Traditional Chinese Opera Dimension of Form

Reconstruction of Chinese Classical 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

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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 the Original Appearance

in the History 298

Section 3 Reviving of the Form of Chinese Classical Dance 305

I. Orientation: The Reviving Project under the National 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

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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