A Comparative Study Of Chinese Classical Dance And Ballet

Chinese classical dance and Ballet are the two most representative dance forms in China and the west respectively.A comparative study between the two from the perspective of aesthetic culture,to more accurately grasp the Chinese and western dance art of distinctive aesthetic characteristics,and thus more understanding between China and the west has the different aesthetic culture with temperament,to further promote and westernization in the dialogue and exchanges in the context of globalization,would be valuable in the sense of academics with theoretical significance undoubtedly.In terms of conceptual connotation,Chinese classical dance is divided into two existing forms:"historical form" and "contemporary form".The "historical form"of Chinese classical dance mainly refers to ancient Chinese traditional dance,which failed to be preserved in the process of historical development."Contemporary form" of Chinese classical dance,especially after the founding of new China,comprehensive integrated by dancers on the basis of opera dance,dunhuang dance and even han ethnic dance.Its construction intended to be highly in conformity with the aesthetic ideal,has formed six types as following:"Shenyun classical dance" "Hantang classical dance" "Dunhuang classical dance" "Kun dance""Liyuan dance" "Tang dance".This paper mainly adopts the early formation of three types as follows:"Shenyun classical dance" "Hantang classical dance""Dunhuang classical dance" for this paper.Ballet originated in Italy during the Renaissance,and began to develop as an independent dance genre under the efforts of the French court.Later,it spread to Russia,Denmark and other European countries,and has now developed into a global dance with world influence.After the development of "Early Ballet","Romantic Ballet","Classical Ballet" and "Modern Ballet" in several periods,it finally formed a representative classical dance of Europe named "Ballet".Ballet flourishes in many European countries,and is widely used in the basic training of professional dance art colleges and groups in various countries around the world because of its scientific training.The previous academic research mostly focused on the artistic and technical aspects of dance,with the occasional exploration of dance aesthetics and dance culture.However,there is no research to elucidate the direct correlation between Chinese classical dance and Ballet in terms of aesthetic culture.In view of this problem,on the basis of the existing research,this paper makes a systematic comparison of Chinese classical dance and Ballet at the level of artistic ontology and aesthetic culture,in the hope of more scientific understanding of Chinese classical dance and Ballet,and provides ideas for the mutual learning and exchange between the eastern and western dance arts.This thesis will make a comparative study of Chinese classical dance and Ballet from four basic aspects:the generation path,dissemination and acceptance,aesthetic elements and evolution trend of Chinese and western classical dance.The introduction is divided into three parts.The first part explains the research object and the reason of the topic.This paper holds that Chinese classical dance and Ballet are the two most representative dance forms in China and the west respectively.Through the comparative study of the two dance forms,the value of dance itself,aesthetic culture and dialogue communication can be realized.The second part further explains the reasons for the study of this problem,through the analysis of the relevant research status at home and abroad,a brief combing of the existing achievements and shortcomings,clarify the main existing problems,establish the research direction of this paper,and further elucidate the significance of this paper.The third part states the research ideas and methods of the paper.In terms of research ideas,the specific content of this paper will be logically and hierarchically developed.In terms of research methods,in view of the interdisciplinary and comprehensive nature of the topic selected in this paper,while comprehensively applying the general research methods of this paper,this paper draws on the influential research methods of comparative aesthetics and comparative art to explore the similarities and differences between the two kinds of classical dances from the rich and complex dance phenomena.The first chapter is a comparative overview of Chinese classical dance and Ballet.The first section defines the concept of the two dances.The second section further standardizes the categories of the two dances.The definition of the categories is determined by solving the three controversies around the two dances.For Chinese classical dance,its categories cover two categories:"historical form"and "contemporary form".Some works of the extant dance video data have classicism";It is reasonable to have different interpretations of the same motif due to the change of social system.For Ballet,the third period is named "classical Ballet"."Romantic Ballet" and "classical Ballet" are regarded as representative periods in the development history of Ballet,and the representation of Ballet and modern dance in western aesthetic culture is judged.The third section makes a brief combing and interpretation of the development of the two.The second chapter will compare the three shifts of the two classical dance forms,they three are relevant both with the separation of the "goodness",and the establishment of their art position in the process of historical development.That leads to the the "classical" of art,and provides aesthetic subject with poetic meditation of human art at the same time.The third chapter,on the basis of the spreading ways and artistic acceptance further makes a compare on the changes in the process of the two classical dance forms.Media and communication ecology change brings two classical mode of transmission more may be unknown,but as the other side of the dance spread-art,is the change of the audience in the dance,which causes this paper to involve the consideration on whether the dance spread communication center will end or notThe fourth chapter compares the aesthetic elements of the two dance arts.The first section analyzes from the ontological level of dance:Chinese classical dance and Ballet have the pursuit of harmony in the three aspects of typification,rhythm and shape.They are respectively characterized by "twisting" "leaning" "round curve" and "opening" "stretching" "straight" and "standing",which are the starting points for the study of the body aesthetics of the two classical dances.The second section focuses on the analysis of the natural and inseparable relationship between the two kinds of dance,"music" and "dance",and expounds how the pentatonic mode of Chinese classical music and the big and small modes of Ballet,on the basis of the "harmony" of harmony,formed a complete visual and auditory effect with their respective kinds of classical dance in a real sense.In addition,this section also carries on the brief analysis to the two kinds of classical dance costumes and dance art.This chapter introduces the interpretation of aesthetic characteristics and aesthetic ideals through the analysis of the dance itself,music,costume and dance art of two kinds of classical dances.The fifth chapter compares the evolution paths of the two dances in the modern context.The first section analyzes the historical reality of whether the"classical" has "left the stage" in the Chinese and Western societies,and judges the retention and evolution trend of the "spiritual charm" of the Chinese classical dance and the Ballet,and concludes the different spiritual characteristics of the two kinds of classical dance,which are "the combination of virtual and clever" and "the combination of elegant and elegant".In the second section,from the perspective of the meaning of "poetic affection" and "Ballet",the author makes a continuous prediction of the degree of emphasis on lyric and narrative aspects of the two dances.The third section analyzes and judges the opportunities and challenges of Chinese classical dance and Ballet.The conclusion reviews and summarizes the contents of the above-mentioned chapters makes expansion from two perspectives.Firstly,it explores the inner mechanism which can makes an explanation of the existence of difference and similarities between Chinese classical dance and Ballet;Secondly,it focuses on three questions closely related to these two dance forms.