CAJ | 학술논문

敦煌舞自成体系,体现在三方面：源自于客观存在的古代敦煌壁画舞姿体系;经过创造性“复活”具有独立美学特征的舞蹈语汇和韵律,有别于戏曲、武术舞蹈基础上形成的中国古典舞;具有深厚的历史背景和文化内涵。敦煌舞的出现,引发了舞蹈学界对中国古典舞多元多样性存在与发展的认识。北京舞蹈学院近年来把敦煌舞教学和研究作为加强中国古典舞学科建设的重要组成部分,有计划的扶持,体现了对中国古典舞发展的深入思考和预见。笔者在教学体系上,把敦煌舞定位成“中国古典舞敦煌风格性舞蹈表演训练课”,以古典舞基本功为基础,重点训练对敦煌舞独特舞姿形态、典型舞蹈语汇和舞蹈韵律的掌握与把控,强调从静态到动态的转化,避免以动态回归静态的模拟;强调领悟舞蹈意境,获得心神与动作技巧自然贯通的游送感。敦煌舞教学与研究前景广阔,需进一步将训练中的动作规格化、抽象化、高度艺术化;深入探究敦煌舞蹈的历史文化内涵,认清其在中国舞蹈史中的位置;明确敦煌舞的独特美学表现,避免把特指的敦煌舞类型和一般意义上仅以敦煌为题材的其他舞蹈品类混淆。
돈황무자성체계,체현재삼방면：원자우객관존재적고대돈황벽화무자체계;경과창조성“복활”구유독립미학특정적무도어회화운률,유별우희곡、무술무도기출상형성적중국고전무;구유심후적역사배경화문화내함。돈황무적출현,인발료무도학계대중국고전무다원다양성존재여발전적인식。북경무도학원근년래파돈황무교학화연구작위가강중국고전무학과건설적중요조성부분,유계화적부지,체현료대중국고전무발전적심입사고화예견。필자재교학체계상,파돈황무정위성“중국고전무돈황풍격성무도표연훈련과”,이고전무기본공위기출,중점훈련대돈황무독특무자형태、전형무도어회화무도운률적장악여파공,강조종정태도동태적전화,피면이동태회귀정태적모의;강조령오무도의경,획득심신여동작기교자연관통적유송감。돈황무교학여연구전경엄활,수진일보장훈련중적동작규격화、추상화、고도예술화;심입탐구돈황무도적역사문화내함,인청기재중국무도사중적위치;명학돈황무적독특미학표현,피면파특지적돈황무류형화일반의의상부이돈황위제재적기타무도품류혼효。
Dunhuang dance has its own system comprising three aspects： the dancing system originated from Dunhuang ancient Murals; the dancing vocabulary and rhythm with unique aesthetic characteristics, ＂revived＂ through creative construction, which differ from those of Chmese classical dance formed on the basis of Chinese local operas and martial arts; profound historic background and cultural contents. The emergence of the Dunhuang dance has aroused interests in diversity and development of the Chinese classical dance. In recent years, teaching, researching and supporting with plans the Dunhuang dance in BDA has played an important part in strengthening the discipline construction of the Chinese classical dance, embodying the deep thought and vision of the development of the Chinese classical dance. In teaching system, the writer located the Dunhuang dance as ＇a performance training course of Chinese classical dance in Dunhuang style＇. Based on basic skills of the Chinese classical dance, the course focuses mainly on training the unique dancing postures, the typical dancing vocabulary and the mastering of the dancing rhythm, stressing transition from static state to moving state and avoiding the imitation from moving state to static state. Also emphasized is the understanding the artistic conception of dance to enable easy and natural communication between soul and movements. The teaching and research of Dunhuang dance have a bright future. First, further development should enable movements in training to be formalized, abstract, highly artistic,and given names. Second, research should be conducted into the historic and cultural connotation of the Dunhuang dance, clearly understanding its status in the Chinese dancing history. Third, the unique aesthetic expression of the Dunhuang dance should be clarified to avoid confusing types of Dunhuang dance with other dance works with Dunhuang as thematic materials.