Tian Tian attaches great importance to mining and arranging of Chinese Classical Dance research data, has collected over 400 papers since the founding of the Chinese classical dance more than sixty years ago, and conducted systematic investigation and research of the predecessors points of views.
YE Lang, Professor and Aesthete
The most valuable part in this paper is the research on the relationship between classical aesthetic theory and classical dance.
Dancing LV Yisheng, Professor and Ed
內容簡介：
Exploring on the Form of Chinese Classical Dance consists of five chapters. From the first chapter to the fifth chapter, from the perspective of form, this paper discusses about the past, present situation and future of Chinese classical dance. Around the core of form, the formation of classical dance in the history of 60 years is summarized. This paper analyzed the numerous and disorderly art phenomenon, language features, and their formation concept and methods of classical dance, and this paper tries to construct the framework of the form of Chinese classical dance and explore its future direction with the classical aesthetic concept as the core.
關於作者：
Tian Tian, Ph.D, is a lecturer at the Beijing Dance Academy, the editor of Beijing Dance Academy Journal, was a visiting scholar at the Department of Dance in College-Conservatory of Music CCM - University of Cincinnati. She has been short-listed in the the most influential youth scholars in Chinese Humanities & Social Science domain in 2015, and is in charge of multiple provincial and city-level scienti?c and art research subjects.
Tian Tian has been privileged to produce works that are funded by high profile projects such as the 2016 Youth Arts Talent Creation Project of China National Arts Fund, the 2017 Penghao Theatre Festival and the 2017 Youth Cultivation Program of Chinese Dancers Association. She is a scholar and a director of Chinese classical dance with tremendous experiences of both theory and practice.
目錄：
Contents
Introduction 1
I. Origin and Significance of Research 2
II. The Object of Study： Chinese Classical Dance 7
III. Concept Definition of Form 15
Chapter 1 Historical Problems of the Form of Chinese
Classical Dance 25
Section 1 The Foundation Laying of the Form of Chinese Classical Dance
1954-1966： Establishment of the Path of the Form of Opera and Ballet
and the Anti-ballet Voice 26
I. Textualizing of the Form of Chinese Classical Dance and Opponents
of the Ballet Elements in Chinese Classical Dance 29
II. Exploration of the Form of Chinese Classical Dance Drama and
Opponents of Ballet 37
Section 2 Correction of the Form of Chinese Classical Dance 1976-1999：
Reflection of Basic Training, Posture Rhythm Correcting the National
Problem and Retro and Modern Dance Style 44
I. Reflection of the Form： The Reestablishment of the Combination
Form and Opponents of the Combination 46
II. Form Correction： Posture Rhythm Directly for to the Problem of
xii
Exploring on the Form of Chinese Classical Dance
Nationality 61
III. Form Expansion： Two Creation Trends under the Modern Consciousness 67
Section 3 The Form of Chinese classical dance in Need of Cognition Since
the 21st Century： Ballet Basis, Reduction of the Style of Traditional
Chinese Opera and the Abuse of Modern Dance 74
I. Ballet in the Form of Chinese Classical Dance 75
II. Traditional Chinese Opera in the Form of Chinese Classical Dance 81
III. Modern in the Form of Chinese Classical Dance 89
Chapter 2 The Real Situation of the Form of Chinese
Classical Dance 94
Section 1 Concept： Different Constructors and Different Types of Classical
Dance 95
I. Different Types of Chinese Classical Dance 95
II. Construction Concept of Different Types of Classical Dance 101
Section 2 Images： Form Characteristics of Six Types of Classical Dance 112
I. The Static Form of Six Types of Classical Dance 112
II. Dynamic Trend of Six Types of Classical Dance 130
III. Morphological Characteristics of Six Types of Classical Dance 139
Section 3 Diversification： The Current Situation and Pattern of Chinese
Classical Dance 153
I. The Formation of Diversified Pattern 154
II. The Causes of Formation of the Diversified Pattern 156
III. Identification of the Diversified Pattern 158
xiii
Contents
Chapter 3 Aesthetic Analysis of the Form of Chinese
Classical Dance 166
Section 1 Body： The Form Carrier of Chinese Classical Dance 167
I. The Body Tradition in Chinese Culture 168
II. Physical Description of Chinese Classical Dance 174
Section 2 Time and Space Force： The Form Elements of Chinese Classical
Dance 192
I. Time of Chinese Classical Dance 193
II. Space of Chinese Classical Dance 204
III. Force and Center of Gravity of Chinese Classical Dance 217
Section 3 Form and History： Traditional Form of Chinese Classical Dance 226
I. Form Tradition 227
II. Form Tradition of Chinese Classical Dance 234
Section 4 Image： Perfective Aspect of Chinese Classical Dance Form 253
I. Basic Conditions of Image of Chinese Classical Dance 253
II. Basic Feature of Image of Chinese Classical Dance 258
Chapter 4 Aesthetic Formation of Chinese Classical Dance 264
Section 1 The Traditional Chinese Opera Dimension of Form
Reconstruction of Chinese Classical Dance 266
I. Posture Rhythm with Beijing and Kun Opera as the Basis of the Form
Construction 268
II. Kun Dance with Kunqu Opera as the Basis of the Form Construction 276
III. Liyuan with Liyuan Opera as the Main Body of Form Construction 280
xiv
Exploring on the Form of Chinese Classical Dance
Section 2 The History Dimension of Form Reconstruction of Chinese
Classical Dance 287
I. Han and Tang Dance Returning to the Ancients in the History 289
II. Dunhuang Dance Copying the Form of History 294
III. Reconstruction of Tang Yue dance Restoring the Original Appearance
in the History 298
Section 3 Reviving of the Form of Chinese Classical Dance 305
I. Orientation： The Reviving Project under the National Behavior 306
II. Methods： The Right Cognition of Original 314
Section 4 Study and Comparison of Reconstruction and Reviving
of the Form of Chinese Classical Dance 317
I. Reconstructed Classical Dance 319
II. Revived Classical Dance 330
Chapter 5 The Future of Chinese Classical Dance 339
Section 1 Form Limitation of Chinese Classical Dance 340
I. Aesthetic Features of Chinese Classical Dance 340
II. Form Feature of Chinese Classical Dance 347
Section 2 Form Criteria of Chinese Classical Dance 353
I. Create Independent Chinese Classical Dance 354
II. Be Complete Chinese Classical Dance 359
Section 3 Exploring the Form of Chinese Classical Dance 370
I. Horizontal Exploring 370
II. Vertical Mining 387
xv
Contents
Conclusion 397
Main References 404
Monograph 404
I. Art theory and aesthetic theory 404
II. Dance history 408
III. The theory of Chinese classical dance 410
VI. Traditional Chinese opera, martial arts and performance theory 413
V. English bibliography 414
Serial publications 415
I. Core literature of Chinese classical dance 415
II. Art theoretical literature 425
Afterword 427
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