중국 ‘고전무(古典舞)’의 성립과 다원화

Abstract

This paper examined the process of formation and diversification of contemporary ‘Chinese classic dance’. Contemporary ‘Chinese classic dance’ first emerged in 1954 as one of the dance curriculum of ‘Chinese Classic Dance(中國古典舞)’. Since then, it has been developed into ‘Shenyun Dance(身韻舞)’, incorporating the spiritual orientation of Chinese native culture to contain Chinese identity. And by the end of the Cultural Revolution, in 1979, ‘Dunhuang Dance(敦煌舞)’, which was inspired by dance scenes in the murals of Dunhuang, was created and recognized as a new school, contemporary ‘Chinese classic dance’ entered the path of pluralization. In 1995, the ‘Han-Tang Yuefu(漢唐樂府)’ of Taiwan presented the ‘Yiyuan Dance(梨園舞蹈)’ based on ‘Yiyuan Opera(梨園戱)’, which has been handed down to Fujian province in China since the Middle Ages. In 2001, ‘Han-Tang Dance(漢唐舞)’ was reconstructed after the historical testimony by professor Sun Ying(孫穎) of Beijing Dance Academy. These are based on the history, tradition and identity of Chinese traditional dance, so the mechanism of tradition is distinctly different from that of ‘Shenyun Dance(身韻舞)’ and ‘Dunhuang Dance(敦煌舞)’. And in 2009, ‘Kun Dance(崑舞)’ was created utilizing the southern main play, ‘Kun Opera(崑曲)’. Today, what is called ‘Chinese classic dance’ in China is different from what is commonly defined as ‘Classic dance’. Contemporary ‘Chinese classic dance’ is a new genre of dance that combines western ballet training with the style of traditional Chinese dance. Therefore, contemporary ‘Chinese classic dance’ is a ‘classical dance’ that recreates the atmosphere of ‘Chinese classic dance’, and is a kind of ‘Modern Classic’.