Choreography: Dance_Song Sky Dance (此曲只应天上有)

A Probe into the Beauty of Dance Forms
Shen Pei, 2021

In the 1980s, the Cultural Revolution, which was full of thousands of horses, came to an end. Everyone was eager to recover the lost time, and the cultural and art world was booming. The same is true for me. “Journey to the Spring River” and “Flying Partridges” have won awards one after another, and works such as “Golden Autumn” and “Green Rhythm” have appeared one after another. Gradually, he returned to the circle of top artists before the Cultural Revolution. He frequently participated in various competitions and seminars, gave lectures everywhere, and served as a judge. But all of this has left me confused again. Critics talk about the ideas and content of a certain work. Use detailed explanations to guide the audience to understand the dance. But this kind of guidance often makes me fall into the fog. Some works have been praised to the sky, but I feel that they are not good-looking at all, and it is difficult to get the beauty and enjoyment that dance appreciation deserves. Some of the articles are profound and obscure, but they are as far from me as me, and have no substantial help for creation. At the same time, I also encountered many people who came to me for advice: How to understand dance?

This got me thinking. Those high-ranking judge theorists say that it should be like this, it should be like that. In fact, they have never had creative practice themselves, and many of them can’t even dance at all. Applying the theory of general commentary on literary drama to guide people to “understand dance” is Instead of truly understanding and mastering the aesthetic characteristics and ontological laws of dance, will it be misleading?

When I was confused, I saw an article – “Why do you need to understand music? It is repeatedly emphasized that the core principle of music aesthetics is that it does not express a specific matter, but an emotional and emotional world. The pursuit of ideology and philosophy, etc. They are all appreciating music in the way of drama literature. The usual way of interpreting music in the past, in terms of what the note represents, is misleading. What musicians need to do is to guide everyone to open their ears to appreciate the beauty of music.

This can be said to my heart, because like music, it is lyrical, that is, it mainly expresses the emotional and emotional world. Compared with drama, it is farther from real life, and the more abstract dance should be the same.

Of course, this article also dialectically stated that one kind of feeling causes another kind of emotional situation and emotion, which is the basic ability of human beings, so music can also be understood, but this kind of understanding does not rely on rational presentation, such as 1 +1=2. But rely on association, rely on resonance. Everything in the world is related. Arouse associations through a certain correspondence, resonate, and then you can understand. The association of beauty can arouse the resonance of beauty.

舞蹈形式美探微
沈蓓, 2021

八十年代，万马齐瘖的文革结束了，人人摩拳擦掌，要把失去的时间追回来，文化艺术界出现一片繁荣景象。我也一样，《春江行》、《鹧鸪飞》纷纷得奖，《金秋》、《绿韵》等作品迭出。渐渐又回到文革前顶尖艺术家的圈子，频繁参加各种比赛、研讨活动，也到处去开讲座，做评委。但这一切反而让我又一次陷入迷茫。评论家们对某一作连篇累牍的谈思想，谈内容。用详尽的解说，引导观众看懂舞蹈。但这种引导反倒常让我坠入云里雾里。有的作品被捧上了天，我却觉得一点都不好看，难以得到舞蹈欣赏应有的美的享受。有的文章高深晦涩，与我却如隔靴搔痒，对创作没有任何实质性的帮助。同时，也遇到很多人来向我请教： 怎么看懂舞蹈？

这引起我思考。那些高高在上的评判官理论家们说应该这样，应该那样，实际上他们自己从未有过创作实践，甚至许多根本不会跳舞，套用一般评论文学戏剧的理论来指导人们“看懂舞蹈”，是不是对真正认识和掌握舞蹈的美学特征，本体规律，反而会形成误导？

正在迷惑中，看到一篇文章——“音乐何须懂？里面反复强调，音乐美学最核心的原理是它并不表现一种具体事理，而是表现一种情绪情感世界。追求思想哲理等等都是在用戏剧文学的方式欣赏音乐。以前惯用的乐曲解说的套路，具体到那个音符表示了什么的方式，就是误导。音乐工作者需要做的是引导大家打开耳朵欣赏音乐的美。

这话可说到我心里去了，因为和音乐同样以抒情，也就是以表现情绪情感世界为主的，相对于戏剧离现实生活比较远，更加抽象的舞蹈应该也是同理。

 当然这篇文章中也辩证地说了：一种感觉引起另一种情绪情景情感，是人类的基本能力，所以音乐也是可以懂的，只不过这种懂，不是靠理性的呈述，好比1+1=2。而是靠联想，靠共鸣。世上万物都是有对应关系的。通过某种对应关系引起联想，引起共鸣，就能听懂。引起美的联想，就能引起美的共鸣。

But mere roundness and smoothness do not constitute dance. It is clearly defined in the Chinese Dictionary: “Dance is an art form with rhythmic movements as the main means of expression”. Please pay attention to the keyword “rhythmic movement”, dance expresses the meaning through a series of “continuous movements”, showing the life process. The “continuity of movement” refers to the relationship between the length of time and the strength of each “movement” in the continuous process, which is the rhythm. Rhythm is the bud of art. Rhythm weaves everything in nature into order, order makes people happy, and pleasure produces beauty. So everyday sounds and movements are elevated to art. Rhythm is the first element of music, but also the foundation and soul of dance. Dance can be without melody, but not without rhythm. However, the Chinese classical dance, which is more mellow and flowing from opera, has less changes in rhythm. Not to mention the Western tap dance, Arab belly dance, African inspiration, etc., it is placed in the same place as Asian Indian dance. At the same time, the rhythm is also monotonous and poor. This is a gulf in front of all Chinese dancers who are fighting to create a Chinese classical dance system.

Is Chinese dance so lacking in rhythm? no. Rhythm, in essence, comes from human instinct: breathing, breathing, breathing, breathing, and relaxation are the changes of the inner breath under different circumstances, which bring about the difference in the size of the external appearance, speed, and strength, forming the rhythm of the dance. . And Chinese culture is the most emphasis on breath. Didn’t Bai Juyi say in “Pipa Xing” that it was like “big beads and small beads falling on a jade plate”? In fact, if you listen carefully to the famous Jiangnan Sizhu song “Little Nishang”, you can also find that it is compact, stretched, half-beat, or paused, and its rhythm changes are extremely rich. But why are they so rarely reflected in the body language of our classical dance? I think, because Chinese classical dance was passed to us, it had already been chewed by opera, and while leaving rich and wonderful dance postures, the rhythm of the most dance characteristics, which is most exciting but throbbing in theatrical performances, was omitted. weakened.

How to do? We can’t just create it out of thin air. It is a tried and true truth. Taking dance research as an example, many famous dances in ancient China, such as “Lanling King” and “Qin King Breaking the Array”, have long been lost in China, but they have been found in Japan and South Korea. In the North Korean (South Korean) dance, which is also in the East Asian cultural circle but has not been chewed by operas, it retains an extremely rich rhythm change with breath as the internal driving force. They are also deeply influenced by Tai Chi culture, emphasizing the breathing and breathing of breath, and the guiding role of breath and thoughts on movements. Emphasizes one spit, one breath, one relaxation, one yin and one yang, to achieve dynamic balance. The combination of dynamic and static rhythm, contrast and transformation, and the harmony of rigidity and softness, highlight the lightness and dynamic of the human body and the looping extension of the expression.

Sometimes the breakthrough of a predicament often comes from a change of concept. I absorb a lot of the rhythmic characteristics of North Korean (South Korean) dance that lifts, controls, and drives the external form “hanging” there at a certain moment. This “suspended” state seems to be paused, but its internal breathing and rhythm have not stopped, but a continuation and change in control, presenting an image of movement within stillness and movement within stillness , a flexible force. It is the emphasis in Chinese calligraphy that “the pen breaks the meaning continuously”, and this method is used to reflect the scene in Bai Juyi’s poem “The Dance of Neon Clothes and Feather Clothes”, “Gu Tingle hangs and stops”. Relying on the changing rhythm provided by the music of “Little Neon Clothes”, the three elements of Qi, Intention and Action are coordinated and choreographed to choreograph the dance phrases and dance segments, so that the body can move through the breathing of breath during the movement, and promote the dynamic and static patterns between various parts of the body. Alternately, it is cadenced, rich and varied. After repeated regularization, it constitutes the unique sense of rhythm of “Little Nishang”. The sense of rhythm creates a kind of “shape”, and this “shape” is the inner spiritual outlook. The expression of the life state in the rhythm has the charm of “Gu Ting Le hangs and stops”.

According to Tang Xuanzong’s sleepwalking in the Moon Palace, he saw a few fairies dancing with “Neon Clothes and Feather Clothes”, and when he woke up the next day, he compiled a historical record of “Dancing with Feather Clothes and Feather Clothes”. Taiwan’s bejeweled kitsch style. Let the dancers wear gauze dance clothes with a faint blue in the white, and even wear white gauze, either drape or carry, or throw or lift, to especially strengthen the “qi” as the basis and the “circle” as the Towards the characteristics of Chinese classical dance, creating an ethereal artistic conception. They are simple and ethereal, intermittent, like thin clouds flowing slowly in the blue sky, ethereal in the imaginative fairyland, as if the soul is flying in the clear space, presenting a kind of otherworldly beauty.

At the same time, I let a small Jiangnan Sizhu band perform live on the stage, restoring the traditional Chinese music and dance form. It further strengthens the ancient meaning of heaven and earth, and the unity of heaven and man. It is really “this song should only exist in heaven”.

 但仅仅圆润流畅并不能构成舞蹈。中国大辞典中明确定义：“舞蹈是一门以有节奏的动作为主要表现手段的艺术形式”。请注意“有节奏的动作”这个关键词，舞蹈是通过一连串“动的连续”去表情达意，展现生命过程的。而“动的连续”，就涉及到每一个“动”在连续过程中所占的时间长短和强弱的关系，这就是节奏。节奏是艺术的萌芽，节奏把自然万物编织起来成为有序，有序让人愉悦，而愉悦产生美感。于是日常的声音、动作上升为艺术。节奏是音乐的第一要素，更是舞蹈的根本，舞蹈的灵魂。舞蹈可以没有旋律，却不能没有节奏。可是来自于戏曲那长于圆润流转的中国古典舞在节奏方面却少于变化，不说与西方的踢踏舞，阿拉伯的肚皮舞，非洲的鼓舞之类相比较，就是与同是亚洲的印度舞摆在一起，节奏方面也显得单调贫乏。这是横在所有为创建中国古典舞体系而奋战的中国舞者面前一道鸿沟。

难道中国的舞蹈就是这样节奏匮乏的吗？否。节奏，本质上来自于人的本能：呼吸，一吐一纳，一张一弛，是内在的气息在不同情况下的变化，带来了外部形貌大小，快慢强弱的不同，形成了舞蹈的节奏。而中国文化是最强调气息的。白居易在《琵琶行》中不是说像“大珠小珠落玉盘“吗？其实仔细聆听我依托的江南丝竹名曲《小霓裳》，也可以发现，或紧凑，或舒展，或半拍，或停顿，其节奏变化极其丰富。但为什么它们在我们古典舞的身体语言中却极少有所体现呢？我想，因为中国古典舞传到我们手中时，已经过戏曲的咀嚼，在留下丰富美妙的舞姿的同时，把最有舞蹈特征，令人跃跃欲动却有悸于戏剧表演的节奏给省略了弱化了。

怎么办？我们也不能凭空臆想去造啊。有了，失之于朝得之于野，这可是一条屡试不爽的真理。就拿舞蹈研究来说，许多中国古代的著名舞蹈，如《兰陵王》、《秦王破阵乐》等，在中国早已失传，却在日本，韩国找到了他们的踪影。在同是东亚文化圈，但未被戏曲咀嚼过的朝鲜（韩国）舞蹈中，保留着极其丰富的以气息为内动力的节奏变化。它们同样深受太极文化影响，强调气息的吐纳，强调气息与意念对动作的引导作用。强调一吐一纳，一张一弛，一阴一阳，达到动态平衡，在节奏的动静结合，对比转换，刚柔相济中突现人体的轻盈动态和神情的回环绵延。

有时候一个困境的突破往往来自观念的转换。我大量吸取朝鲜（韩国）舞在某一瞬间提气，控制，带动外部形态“悬”在那里的节奏特征。这种“悬”的状态，似乎是停顿的，但其内在呼吸及韵律并没有停下来，而是在控制中的一种延续和变化，呈现一种动中有静，静中有动的形象，一种柔韧的力量。就是中国书法中强调的“笔断意不断“，用这种手法来体现白居易诗中形容《霓裳羽衣舞》“顾听乐悬行复止“的景象。依托《小霓裳》乐曲本身提供的节奏变幻，气、意、行三者协调配合，编排舞句舞段，让形体在运动中通过气息的吐纳运转，推动身体各部位之间动静大小格局的交替变化，它抑扬顿挫，丰富多变。反复出现规律化后，便构成《小霓裳》特有的韵律感。韵律感造就了一种“状“，这种“状”就是内在的精神面貌，生命状态在动律中的表现，就有了“顾听乐悬行复止”的神韵。

根据唐玄宗梦游月宫，见几位仙女“素衣霓裳“在跳舞，第二天醒来就编了《霓裳羽衣舞》的历史记载，我一反那段时间相当流行，被大众追捧叫好，满台珠光宝气的媚俗之风。让舞蹈演员穿一袭白中隐约透蓝的纱质舞衣，更以一袭白纱，或披或携，或抛或举，来特别强化那以“气”为依托，以“圆”为走向的中国古典舞的特征，创造虚无缥缈的意境。她们简洁空灵，时断时续，似薄云在蓝天缓缓流动，飘渺在令人遐想的仙境中，好像灵魂翱翔于澄明的太空，呈现一种超凡脱俗的美。

 同时我让一个江南丝竹小乐队在台上现场演奏，恢复中国传统音舞为一体的乐舞形式。更加强了天上人间，天人合一的古意，真的是“此曲只应天上有”。

“Little Neon Clothes” does not have a big jump, 32 spins, and no technical show of 180-degree legs raised over the head or rolled all over the floor, but it conquers the audience with its ethereal and beautiful artistic conception. Since its creation, it has performed more than 1,000 performances and traveled all over the world. It is still a reserved program of the Zhejiang Song and Dance Troupe, and the sensation is no less than “Tea Picking Dance”. For the return of Chinese dance to the ontology, the construction of the language system of Chinese dance has played a very good role in promoting. It originated in the 1980s, which also illustrates the relaxed political climate at that time. If we were bound by the ultra-leftist trend in the past, the exploration of beauty and form was a forbidden area, and even in the era of “beauty”, I would have fallen under the big stick of “anti-formalism”. Without the environment of free creation, no artist can make a difference, and it is my luck that I have encountered this era of freedom and relaxation.

《小霓裳》没有一个凌空大跳，没有32个旋转，更没有腿180度高抬过头或满地翻滚的技术炫耀，却以空灵唯美的意境征服了观众。自创编以来，上演逾千场，走遍全世界，至今仍是浙江歌舞团的保留节目，轰动程度不亚于《采茶舞》。对于中国舞蹈回归本体，建设中国舞的语言体系起到了很好的推动作用。它产生于80年代，这也说明了当时政治气候的宽松。要是在以前受极左思潮的束缚，对美对形式的探索是禁区，甚至谈“美”色变的时代，恐怕早就倒在“反对形式主义”的大棍子下了。没有自由创造的大环境，任何艺术家都不可能有所作为，而我遇上了这个自由宽松的时代，这是我的运气。

Appendix:
Colorful Feather Dance Song
Bai Juyi (Tang Dynasty)

附录:
霓裳羽衣舞歌
白居易 〔唐代〕

I, Yuan Xian and Emperor Xian, once accompanied Zhaoyang at the internal banquet.
There are countless songs and dances, but the most favorite among them is the neon dress dance.
When dancing, it is cold and spring, and the jade hook bar is in front of the incense table.
Yan Ruyu, the dancer before the case, does not wear vulgar clothes.
Hongshang Xia swayed and shook her crown, and her necklaces adorned Shanshan.
Pingting seemed to be ignoring Luo Qi, and Gu Tingle hung up and stopped.
The chime, xiao, zheng, and flute are handed to each other, and the sound of beating, beating, and blowing is roaring.
The scattered sequence of six performances did not move, and the balcony Suyun did not fly.
In the middle sequence, the highlanders were first shot, and the bamboo poles in autumn were cracked and the ice in spring.
Fluttering and spinning back to Xue Qing, Yan Ran even sent You Long Jing.
Liu is powerless behind the small hand, and the cloud wants to live when he slants the chariot.
Qi Mo is a little overwhelmed, and his sleeves are low and affectionate.
Shangyuan points Huan to recruit calyx green, and the Queen Mother waved her robes to say goodbye to Feiqiong.
Twelve times of complicated sounds and emergencies, jumping beads and shaking jade He Kengzheng!
The Xiangluan danced but retracted its wings, and the song of the crane finally led out.
At that time, I was shocked at first sight, staring at the truth and listening to it was not enough.
In the eight or nine years since he was in the world, Er Leng has never heard this song.
In Yucheng, listening to the mandrill language, Baxia can only hear the cuckoo crying.
The second year after transferring to Qiantang, I was in the mood to ask Sizhu.
Linglong Konghou thanks Haozheng, Chen Chong covets Li and Shen Pingsheng.
Clear strings, crisp tubes, and slender hands, teach the neon dress in one song.
By the lake in front of Xubai Pavilion, the front and back should only be pressed three times.
Then the concubines were thrown away, and the news is now scattered.
In May of this year, I went to Suzhou, and the morning bell and the twilight corner urged the white head.
Covetous to read the papers and often invade the night, and do not listen to Sheng songs until autumn.
Qiulai has nothing to do and is bored, and suddenly Yi Nishang has nowhere to ask.
Wen Jun’s department has many happy disciples, and asked if there are dancers in neon clothes?
Answer: There are 100,000 households in seven counties, and no one knows that there are colorful dances.
Only send a long song to come with me, the title is the score of neon clothes and feather clothes.
The four floral prints are red and green, and the neon clothes are recorded in them.
The various poses and shapes are clearly seen, just like the Zhaoyang dancers.
In front of her eyes, it seems to be the same shape and quality as it was in the past and the present.
Suspected to be called from the soul dream, it seems to be written in a Danqing picture.
I love Nishang Jun Hezhi, which is composed of songs and poems.
Don’t you see my song cloud “Frightening the song of neon clothes and feather clothes”,
I don’t see my poem “When Qu Ai Nishang was not filmed”.
There is a master in everything that can be done, and Yang’s Chuangshengjun makes a spectrum.
Jun said that this dance is rare, it must be a poor girl in a city.
Wu Yaoxiaoyu flew into smoke, and the more beautiful Xishi turned into soil.
Jiaohua smiled and was lonely for a long time, and the doll’s house was empty.
As your words are sincere, please listen to me calmly.
If you ask for the national color, it will be translated, but I am afraid that this dance will be abandoned in the world.
The good and the bad are far from each other, and most of them are only praised by people.
Li Juan and Zhang Shi do not dislike it, and she also intends to teach and learn as appropriate.

我昔元和侍宪皇，曾陪内宴宴昭阳。
千歌万舞不可数，就中最爱霓裳舞。
舞时寒食春风天，玉钩栏下香案前。
案前舞者颜如玉，不著人间俗衣服。
虹裳霞帔步摇冠，钿璎纍纍佩珊珊。
娉婷似不任罗绮，顾听乐悬行复止。
磬箫筝笛递相搀，击恹弹吹声逦迤。
散序六奏未动衣，阳台宿云慵不飞。
中序擘騞初入拍，秋竹竿裂春冰坼。
飘然转旋回雪轻，嫣然纵送游龙惊。
小垂手后柳无力，斜曳裾时云欲生。
螾蛾敛略不胜态，风袖低昂如有情。
上元点鬟招萼绿，王母挥袂别飞琼。
繁音急节十二遍，跳珠撼玉何铿铮！
翔鸾舞了却收翅，唳鹤曲终长引声。
当时乍见惊心目，凝视谛听殊未足。
一落人间八九年，耳冷不曾闻此曲。
湓城但听山魈语，巴峡唯闻杜鹃哭。
移领钱塘第二年，始有心情问丝竹。
玲珑箜篌谢好筝，陈宠觱栗沈平笙。
清弦脆管纤纤手，教得霓裳一曲成。
虚白亭前湖水畔，前后祗应三度按。
便除庶子抛却来，闻道如今各星散。
今年五月至苏州，朝钟暮角催白头。
贪看案牍常侵夜，不听笙歌直到秋。
秋来无事多闲闷，忽忆霓裳无处问。
闻君部内多乐徒，问有霓裳舞者无？
答云七县十万户，无人知有霓裳舞。
唯寄长歌与我来，题作霓裳羽衣谱。
四幅花笺碧间红，霓裳实录在其中。
千姿万状分明见，恰与昭阳舞者同。
眼前仿佛覩形质，昔日今朝想如一。
疑从魂梦呼召来，似著丹青图写出。
我爱霓裳君合知，发于歌咏形于诗。
君不见我歌云“惊破霓裳羽衣曲”，
又不见我诗云“曲爱霓裳未拍时”。
由来能事皆有主，杨氏创声君造谱。
君言此舞难得人，须是倾城可怜女。
吴妖小玉飞作烟，越艳西施化为土。
娇花巧笑久寂寥，娃馆苎萝空处所。
如君所言诚有是，君试从容听我语。
若求国色始翻传，但恐人间废此舞。
妍媸优劣宁相远，大都只在人抬举。
李娟张态君莫嫌，亦拟随宜且教取。