當(dāng)代建構(gòu)的“古典”—“中國古典舞”的美學(xué)基準(zhǔn)

蘇 婭

一、今日之困：糾結(jié)中的“中國古典舞”

“中國古典舞”與西方芭蕾舞長久以來的“不解之緣”，實則源于中國自20世紀(jì)初期五四運動以來所一直延續(xù)的，試圖通過學(xué)習(xí)西方解決本土問題的文化心態(tài)。誕生于新中國成立后的“中國古典舞”學(xué)科以明確的時空坐標(biāo)彰顯出內(nèi)含的當(dāng)代性質(zhì)：草創(chuàng)于20世紀(jì)50年代的“中國古典舞”，既以“古典”之名從京昆戲曲、武術(shù)等形態(tài)中吸收了大量的本土身體元素，又在具體的型構(gòu)過程中借鑒了彼時“蘇聯(lián)老大哥”所提供的語法模本—芭蕾。如首演于1957年的作品《春江花月夜》，即體現(xiàn)出以戲曲元素為血肉、以芭蕾語法為骨架的鮮明特征。如剝離開作為語詞的戲曲元素本身及其顯現(xiàn)出的古典風(fēng)格，《春江花月夜》仍舊順延了芭蕾的內(nèi)在結(jié)構(gòu)邏輯。流變至今，這一脈絡(luò)伴隨著“身韻”的出現(xiàn)而有所改觀?？梢哉f，“身韻”是對既往“中國古典舞”中鮮明的芭蕾語法的直接回應(yīng)，是意圖建立起本土身體運動邏輯的努力與探索，在這一脈絡(luò)下誕生的作品的確在一定程度上填補了彼時“中國古典舞”內(nèi)部身體運動邏輯的缺位?！渡任璧で唷贰稅凵徴f》等系列作品的出現(xiàn)，也成為源自武術(shù)、戲曲的傳統(tǒng)身法與“中國古典舞”化合的明確顯影。而與此同時，芭蕾外開挺拔的美學(xué)準(zhǔn)則也已深深刻印在“中國古典舞”的身體之中：以我國青年舞蹈家王亞彬表演的“中國古典舞”作品《扇舞丹青》為例，該作品在表現(xiàn)出以舞蹈化的戲曲、武術(shù)作為運動路徑的同時，也明確顯現(xiàn)了西方芭蕾舞外開挺拔的美學(xué)標(biāo)準(zhǔn)。即是說，“中國古典舞”自誕生之日起就是以昨日之名建立的今日身體，是今人構(gòu)想的昨日，是當(dāng)代建構(gòu)的“古典”。

因此，“中國古典舞”這一不斷生長的生命體，其DNA本身包含著傳統(tǒng)舞蹈與芭蕾兩方面。兩者在此中已然形成和解，“中國古典舞”的美學(xué)即是和解的產(chǎn)物。若其發(fā)展糾結(jié)于回溯傳統(tǒng)或是向多元世界打開，任何一種選擇的做出，都是對DNA的分裂和破壞，最后得到的都不再是原本之物。故而筆者認為，我們的前輩創(chuàng)造出的“中國古典舞”雖然承受著許多爭議，但從近代以來的歷史中可見，它已然被專業(yè)人士和大眾所接受。歷史的牽絆，使得我們已經(jīng)不可能在這個和解的整體之外，對它做出單向選擇。所以長期以來我們對于“中國古典舞”應(yīng)如何前行的困惑，實為非困之困，不惑之惑。缺少的不是選擇，而是需要明確一個原則或限定條件，來作為“中國古典舞”的美學(xué)基準(zhǔn)，確?！爸袊诺湮琛钡陌l(fā)展不至偏離或脫軌。

二、多元探析：選擇中的“中國古典舞”

顯而易見，當(dāng)下的“中國古典舞”學(xué)科面臨著兩種相互悖逆的發(fā)展路徑：其一，嚴格按照“古代”“典范”這兩種要求劃定自身，將“中國古典舞”嚴格框定在表達中國古代的范疇內(nèi)部。如學(xué)習(xí)至今仍在流傳的祭祀舞蹈，并同時根據(jù)嚴謹?shù)膶W(xué)術(shù)考究復(fù)現(xiàn)歷史中曾經(jīng)有過的中國樂舞作品。其二，將草創(chuàng)、建立在當(dāng)代的“中國古典舞”學(xué)科視為完全意義上的新舞蹈藝術(shù)進行發(fā)展。而這兩種發(fā)展方向似乎對于“中國古典舞”學(xué)科而言也都存在著問題：如果我們選擇僅停留于完整復(fù)現(xiàn)歷史中的“中國古典舞”，完成逆行之旅，勢必?zé)o法滿足已在全球化語境中改變了自身時空感受、審美訴求等方方面面的當(dāng)代中國人的內(nèi)在心理結(jié)構(gòu)，勢必會造成其與當(dāng)代關(guān)系的萎縮；而如果我們將“中國古典舞”視作完全意義上的新舞蹈，那么我們就極易丟失中國傳統(tǒng)賦予國人身體形態(tài)的文化特質(zhì)。實則，當(dāng)我們僅將“中國古典舞”的發(fā)展路徑局限于以上兩種選擇之中，我們也同時將自身局限在了二分法的思維和界限之中。而當(dāng)我們總是習(xí)慣于在非此即彼的首尾兩端進行探究時，就勢必會造成“非我即他”的固化思維模式。然而，“中國古典舞”學(xué)科難道當(dāng)真僅僅局限于這兩條互斥的發(fā)展路徑中嗎？我們何不在這一問題上以更為多元的思考路徑進行全新的探索？

三、民族為根：“中國古典舞”的美學(xué)基準(zhǔn)

筆者認為，中國傳統(tǒng)舞蹈必定是扎根于本民族的文化土壤，扎根于以民族傳統(tǒng)為基礎(chǔ)建立起的美學(xué)基準(zhǔn)。中國的民族舞蹈傳統(tǒng)歷史如此悠久、豐富，必然在其基礎(chǔ)上建立起中國自己的民族的舞蹈美學(xué)基準(zhǔn)。值得注意的是，這里所指的傳統(tǒng)絕不能是一成不變的形式和內(nèi)容，它必須和舞蹈文化建設(shè)的需要緊密結(jié)合起來。如此，我們必定要沿著對民族傳統(tǒng)審美內(nèi)涵的挖掘與思考來建設(shè)自身的審美準(zhǔn)則：

（1）“圓”“轉(zhuǎn)”—中國古典舞的根本動律：任何藝術(shù)形式，作為人自身意識活動的載體，總有其發(fā)生、發(fā)展的基本邏輯，而其中必有一種最為本質(zhì)的核心規(guī)律，因它的存在，決定著該門藝術(shù)的基本走向和系統(tǒng)構(gòu)成。中國舞蹈運動規(guī)律的核心就是“劃圓”。“劃圓”動律在“中國古典舞”中得到了最充分、最集中的體現(xiàn)。

（2）“子午陰陽”“反身而誠”—“中國古典舞”的辯證運動觀：在上面關(guān)于“圓”“轉(zhuǎn)”的簡要論述中，我們已經(jīng)涉及了左右舞蹈人體運動趨勢的內(nèi)在動因—組成“太極”的陰陽兩極—沖突與解決、對立而統(tǒng)一的變化本性。人體運動的根本之道，在于“一陰一陽”和“反者道之動”。內(nèi)、外“三合”形成的人體運動“太極球”模式，同樣離不開自身上下、前后、內(nèi)外、腹背的陰陽相和；任何一軸的形態(tài)圓滿，有賴于內(nèi)“氣”陰陽二者的循行流變。

（3）“以意為帥”—“中國古典舞”人體運動之“和”的基本要求：宏觀上，“中國古典舞”作為意象藝術(shù)，由其自身形、意、情構(gòu)成“有意味的形式”。這其中之“意”，涵蓋甚廣，融括宇宙、生命、思維、運動等多重內(nèi)容，實際是一種“意象”?！耙砸鉃閹洝笔俏璧浮耙陨耦I(lǐng)形”“以形傳神”“形神兼?zhèn)洹钡幕颈ＷC。

四、明日瞭望：文化主體立場下的開放與包容

和中國的民族民間舞一樣，“中國古典舞”并非一個在歷史中已被劃定具體時空坐標(biāo)的靜止概念，而仍處在不斷發(fā)展的過程中，其必須根據(jù)當(dāng)下語境來進行構(gòu)建。正如中國舞蹈史學(xué)家彭松先生說的，民族民間舞蹈應(yīng)該像一條大河，既有源頭活水，也需不斷匯入新流。當(dāng)下的中國文化正在建構(gòu)自身的新古典與新傳統(tǒng)，即是說，在中國傳統(tǒng)審美的映照下，基于對西方芭蕾舞、現(xiàn)代舞以及中國戲曲、武術(shù)等身體樣貌的認知，我們都在以自身的傳統(tǒng)文化構(gòu)建當(dāng)代的“中國古典舞”。于此，“中國古典舞”的當(dāng)下發(fā)展勢必需要打破以歷史傳統(tǒng)為參照進行建構(gòu)的單一路徑：其一，打破邊界。一方面，“中國古典舞”要以傳統(tǒng)為本，做到“古為今用”，繼承來自我國歷史進程中的優(yōu)秀傳統(tǒng)文化；另一方面，“中國古典舞”也要以“洋為中用”的態(tài)度汲取世界各國的多元舞蹈文化。其二，創(chuàng)造價值?！爸袊诺湮琛睉?yīng)以“立足當(dāng)下”的觀念嵌入當(dāng)代的大眾審美，無論是古典人物、古典意韻還是古典精神，其最終目的都要服務(wù)于當(dāng)代的中國人，創(chuàng)造能直接作用于當(dāng)代中國的自我價值。其三，開放心態(tài)。值得警醒的是，不論是打破邊界還是創(chuàng)造價值，都要求我們在保持自身寬闊視野的同時，不斷進行革新主體是否仍舊具備起碼的自主性的自問，不斷要求我們站在本民族、本國家的審美立場上體現(xiàn)獨到的文化主體立場。因此，開放的心態(tài)并非意味著自我毫無立場的開放與包容，而意味著以清晰的主體立場作為前提的兼容并包。進而，才能助力“中國古典舞”破除文化障礙與隔閡，打破邊界與慣性，積極融入全球化格局。

A “Classic” Built in the Present: Aesthetics of Chinese Classical Dance

Su Ya

[Abstract]

l.Chinese classical dance in confusion

Chinese classical dance has an inseparable relationship with ballet.This relationship stemmed from a cultural development strategy in China first adopted in the 1910s that encouraged artists to address domestic cultural problems through learning from the West.Born in the 1950s, Chinese classical dance, a modern art to a great extent, contains multiple genes.In the name of being “classical”, it has not only absorbed movement language from Chinese operas (Xiqu), but also borrows the grammatical structure of ballet from the Soviet Union.The new concept of body rhyme (shenyun), as a series of new theories and discourses of Chinese classical dance, breaks down the balletic grammar and aims to establish a unique Chinese corporeal logic.It is behind the creation of many contemporary classical works that have gained popularity and recognitions.Meanwhile, it incorporates ballet aesthetics such as open torso and legs.In this sense, Chinese classical dance has always been a contemporary body language that tells the past, or in other words a “classic” built in the present.It would meet with challenges and opportunities in a global context,where China and the West of the past and present mingle into one body to represent Chinese culture.

ll.Chinese classical dance facing choices

Opposing the strategy of solving domestic cultural problems by learning from the West, Prof.Sun Ying of Beijing Dance Academy advocated the Han-Tang style classical dance at the end of the 20th century.Prof.Sun Ying abandoned ballet aesthetics but used the physical logics of Chinese operas dating back centuries.Han-Tang style has gradually developed its own unique language and aesthetics.Given Han-Tan style’s success, Chinese classical dance, as a discipline lasting only 60 years, should reconsider its future route.Two apparent choices are: to take a similar strategy with Han-Tang style and remove the influence of ballet; or to restage ritual performances that are still popular in China or revive performances in ancient China through literature study.However, both choices have problems.If the influence of ballet is completely removed,the remaining vocabulary could not support Chinese classical dance alone.Ifits development is to depend on reproducing ritual or ancient Chinese dance, Chinese classical dance would retreat to the “stone age”, which would problematize its identity.

lll.Rooted in Chineseness: Aesthetics of Chinese classical dance

Chinese classical dance should be always rooted in the Chinese tradition.China’s abundant history provides a foundation for Chinese dancers to establish a set of aesthetics that belong to China.Here, tradition does not refer to a fixed system of form or content, but it crystalizes the key corporeal logics in China’s performing arts.The following aesthetic principles are suggested to guide the creation of Chinese classical dance:

(1) Circle-Spiral: The founding logic

Any art form, as an externalization of human thoughts, possesses its unique logic.Circles represent the key logic of Chinese classical dance.From circling movements, Chinese classical dance develops a spiral body that gives birth to a new system of vocabulary.

(2) Yin-Yang: The dialectical concept

Yin and Yang manifest their relationship in Chinese classical dance through a Tai Chi pattern of movements:the combination of internal and external perspectives, the contrast between the upper body and the lower body, and the circulation of qi.Yin and Yang symbolize the driving force of any movement generated through harmonizing contradictions and oppositions.

(3) Yi: The basic requirement of harmony

Chinese classical dance, like many other Chinese traditional arts, highlights symbolic images.Yi embraces a wide range of meanings of the world, life, thought and movement, and centers on a symbolic image.Focus on yi helps dancers to “l(fā)et spirit lead form,” “l(fā)et form convey spirit,” and “l(fā)et form and spirit exist in harmony.”

lV.Looking forward: Openness and embraciveness

Similar to Chinese folk dance, Chinese classical dance is not a static concept pinned down in a specific time and history framework.Instead, it is still developing and its reconstruction should be based on the current circumstances of China.According to Peng Song, a renowned dance historian in China, “Chinese dance is like a river.It has an origin, but also needs new branches coming in.” The contemporary Chinese culture is influencing the reconstruction of a new tradition, while ballet, modern dance, Chinese operas, and martial arts constitute Chinese traditional aesthetics.Therefore, the future development of Chinese classical dance needs to take multiple approaches.First, to be courageous.First, Chinese classical dance should cross the borders and absorb external cultures to “l(fā)et the foreign serve the domestic.” On the other hand, Chinese classical dance should try to inherit traditional cultural essence to “l(fā)et tradition serve the present.” Second, Chinese classical dance should focus on the present to create value.Whether it portrays a historical figure, image,or spirit, Chinese classical dance serves contemporary needs.Third, Chinese classical dance should be open.An open attitude does not mean it must accept whatever is foreign and new, but it should embrace new and external elements.In so doing, Chinese classical dance could break down the barriers between borders and habits to create a strong momentum for global civilizations.

[Keywords]

“Chinese classical dance,” aesthetics, modern construction