The Influence of Chinese Traditional Culture on the Body Language of Contemporary Chinese Classical Dance : A Study Focusing on the Four Major Systems = 중국 전통문화가 현대 중국 고전무용의 신체 언어에 미치는 영향 연구: 네 가지 체계를 연구 대상으로

다국어 초록 (Multilingual Abstract)

Contemporary Chinese classical dance, as a vital artistic form embodying the essence of Chinese traditional culture, features a distinctive body language profoundly shaped by China's long history and rich cultural heritage. The four major systems—the Shen Yun School, Han Tang School, Dunhuang School, and Kun Dance School—constitute the primary schools of contemporary Chinese classical dance. In their application of body language, these systems exhibit certain shared characteristics while also displaying distinct individualities and differences. Currently, academic research on contemporary Chinese classical dance primarily focuses on exploring the individual features and developmental trajectories of each system, with relatively few studies conducting comprehensive and systematic comparative analyses of these four systems. The purpose of this dissertation is to address this gap in the research field by delving into an analysis and exploration of the commonalities and differences in the body language of the four major systems of contemporary Chinese classical dance under the influence of Chinese traditional culture. This aims to more clearly delineate the uniqueness of the four systems in teaching practices and to better elucidate how Chinese traditional culture influences the expression of body language in contemporary Chinese classical dance. To conduct this in-depth study, the research methods employed in this dissertation include a thorough analysis of relevant literature and materials, as well as reference to and comparative analysis of a large number of dance works. Through these investigations, it is found that the commonalities in body language among the four systems are primarily manifested in their interpretation of Chinese traditional culture and their pursuit of the aesthetic principle of ＂integration of form and spirit.＂ They all emphasize the harmonious unity of physical form and inner spirit, conveying rich emotions and profound artistic conceptions endowed by traditional culture through meticulously designed bodily movements. In terms of movement elements, all four systems draw upon action techniques from Chinese traditional martial arts and opera, incorporating meanings from Chinese traditional culture, and place particular emphasis on the body's flexibility, coordination, and sense of rhythm. However, their stylistic differences are evident in the following ways: the Shen Yun School stresses the perfect fusion of ＂form, spirit, vigor, and rhythm,＂ with movements that blend strength and softness, imbued with a rhythmic flow; the Han Tang School adopts the ＂slanting tower＂ as its basic movement form, exhibiting an archaic grandeur and a free, ethereal style that fully realizes the postural rhythm of ＂raised sleeves and bent waist＂; the Dunhuang School, inspired by Dunhuang murals and celestial palace dances, features S-shaped body lines and fluid movements, highlighting its unique regional cultural charm; the Kun Dance School originates from Kunqu opera art, ingeniously integrating operatic performance with dance, with a particular focus on emotional expression and the lyrical quality of movements, thereby forming its distinctive dance language. In terms of movement sources and cultural connotations, each system also exhibits unique characteristics due to the differing cultural backgrounds upon which it relies. Chinese classical dance has not only realized the inheritance and innovation of local culture, but has also, through international dissemination practices, cross-cultural dialogue, and international academic exchange, gradually constructed a discourse system of Eastern body aesthetics, thereby providing theoretical reference and practical grounds for the internationalized development of Eastern dance art.

목차 (Table of Contents)

• I. Introduction 1
• 1. Research Background and Significance 1
• 2. Research Objects and Methods 4
• 3. Current State of Prior Research 8
• II. Theoretical Foundations for the Formation of Contemporary Chinese Classical Dance Systems 13
• 1. Aesthetic Thoughts in Chinese Traditional Culture 13
• 1) Confucian Thought: The Doctrine of the Mean, Ritual and Music Culture 13
• 2) Daoist Thought: Yin-Yang and Five Elements, Harmony Between Heaven and Humanity 18
• 3) Buddhist Thought: Perfect Harmony, the Beauty of Artistic Conception (意境) 21
• 2. Theoretical Foundations of Each School 24
• 1) Shen Yun School—Element Extraction 24
• 2) Han Tang School—Imitation and Recreation of Antiquity 29
• 3) Dunhuang School—Revival of Murals 31
• 4) Kun Dance School—Sublimation of Opera and Dance 33
• III. Formation and Work Analysis of the Four Major Schools 35
• 1. Shen Yun School 47
• 1) Formation of Shen Yun School Dance 47
• 2) Main Characteristics of Shen Yun School Dance Movements 57
• 3) Shen Yun School Work: "Fan Dance Danqing" 69
• 2. Dunhuang School 76
• 1) Formation of Dunhuang School 76
• 2) Main Characteristics of Dunhuang School Dance Movements 79
• 3) Dunhuang School Dance Works: "Silk Road Flower Rain" and "Feitian" 84
• 3. Han Tang School 95
• 1) Formation of Han Tang School 95
• 2) Main Characteristics of Han Tang School Dance Movements 100
• 3) Han Tang School Dance Works: "Tongque Ji," "Treading Song" 102
• 4. Kun Dance School 111
• 1) Formation of Kun Dance School 111
• 2) Main Characteristics of Kun Dance School Dance Movements 116
• 3) Dance works of the Kun Dance School include “Five-Fingered Lotus Orchid” (五指莲花兰) and “Yu Meiren” (虞美人) 118
• IV. Body Language Analysis and International Influence of the Four Major Schools 122
• V. Conclusion 140
• References 144
• 국문초록 150