The development history of ballet

The original French meaning of ballet is the floorboard of European classical dance drama. This artistic style of dance was shaped in Italy, shaped in France, and created brilliance in Russia, thus becoming popular in the West and even the whole world. In this way, when the modern dance culture in China urgently needs to learn from foreign experience for reform, it is logical to introduce ballet. The following is the development of China Ballet that I collected for you. You can have a look if you need it. I hope it helps you! If you want to know more about dance, please continue to pay attention to the network!

China traditional culture has a long history, deep roots and strong inclusiveness. It can absorb and integrate western culture with the help of western cultural innovation. Therefore, after ballet was introduced into China, on the one hand, it broadened the development horizon of dance culture, on the other hand, it integrated the distinctive features of local cultural traditions. As a result, China Ballet was born soon and became an important part of modern dance art in China.

First, the introduction of China ballet

In the court of the late Qing Dynasty, Yu Rongling, the daughter of the Chinese ambassador to France, came into contact with French ballet. 1904, she invited Cixi to hold a ballet solo evening, which should be the earliest ballet performance in China, but its influence was limited to the Forbidden City. 19 in the 1920s, ballet teaching activities for foreigners appeared in Shanghai and Harbin. From 65438 to 0934, Hu Rongrong entered the ballet school founded by Russian ballet teachers, participated in some performances of ballet fragments, and played an important role in gabriela. From 65438 to 0938, Zhao Dexian entered Harbin Ballet Research Institute, which was also run by Russian ballet teachers. The following year, he was admitted to the Ballet Company of Harbin Symphony Orchestra, and served as the lead dancer in such plays as Swan Lake. From 65438 to 0940, Dai, who had been studying ballet in England for a long time, returned to China, and used the basic training methods of ballet to cultivate the ability of actors to perform China dance and began to spread the art of ballet.

Second, the attempt of China's realistic ballet works.

At the beginning of the founding of New China, China dancers worked hard to create realistic ballet works. In September, the large ballet "Dove of Peace" starring screenwriter and Dai premiered in Beijing. This work was produced under the background of the War to Resist US Aggression and Aid Korea, with the theme of safeguarding world peace. It adopts the structure form of ballet in art, as well as the performance skills of toe dance and classical duet.

At that time, the audience of workers, peasants and soldiers were not used to the new artistic style, which made this work not preserved. With the rapid recovery of China's national economy and the acceleration of the pace of cultural construction, the Ministry of Culture held a dance teacher training class in February 1952, and invited Soviet expert Irina to teach ballet. Ballet talents came into being in New China, and the ballet industry also entered a healthy development process. 65438-0957 Beijing Dance School offers a second-level ballet performance major and systematically teaches ballet courses. From 65438 to 0958, under the guidance of Soviet expert gusev, teachers and students of Beijing Dance School performed the ballet classic Swan Lake, and then rehearsed Hai Xia and Giselle successively, which aroused strong repercussions at home and abroad. By the early 1960s, Jiang Zuhui and Wang Xixian, who had studied ballet in the Soviet Union, had returned to China. Their rehearsals of Spanish Daughter, Notre Dame, Tears of saraj, Bahce and other large-scale ballet dramas marked the transformation of China's ballet stage from the direction of foreign experts to the control of China dancers. During this period, although the works performed were all traditional European classical ballet plays, the audience in China gradually became familiar with and accepted the art of ballet, which laid a solid foundation for the creation of China's ballet works.

Thirdly, China's ballet art has taken firm steps on the road of nationalization.

In the mid-1960s, China ballet made a firm step on the road of nationalization. 1964, Li Chengxiang, Jiang Zuhui and Wang Xixian jointly directed "Red women soldiers" starring Bai Shuxiang, which was put on the stage by the Ballet of the Central Opera and Dance Theatre and received rave reviews. 1965 National Day, directed by Hu Rongrong, Fu Aidi and Lin Lang, and starring Gu Xiamei, "White-haired Girl" was staged in Shanghai by Shanghai Dance School, which also received warm praise. The successive launch and successful performance of these two large-scale ballet works indicate that ballet art has entered a new stage of development in China, and China ballet with national characteristics and style has really taken shape. From the perspective of material selection, the two works focus on reflecting the struggling life of modern China people and exploring the spiritual outlook and ideological and emotional connotation of the nation. Structurally, the two works pay attention to absorbing the framework of plot infiltration and suspense setting in Chinese dramas, and show the artistic form of ballet in the ups and downs of the plot. In terms of performance skills, the two works make full use of the particularity of ballet forms, and at the same time organically combine ballet techniques with folk dance techniques, creating a brand-new dance vocabulary, whether it is group dance fragments such as kicking the purple and gold crown backwards, jumping off the field, practicing tiptoe dance and hat dance in The Red Female Soldier, or solo dances such as big red dates, black-haired girls, gray-haired girls and white-haired girls in The White Haired Girl.

Fourthly, China's various styles of ballet creation are increasingly active.

From 65438 to 0979, The Mermaid was adapted and staged by the Central Ballet, which can be regarded as a signal to revive China's ballet. The blueprint of this work is a dance drama that uses the classical ballet structure for reference to express the theme of national mythology. After the adaptation, the technique is more ballet, but the figure, shape and rhythm of national dance are skillfully integrated into the ballet technique system. For example, the dance movements of the leading actor Hunter are mostly the combination of ballet jumping and national classical dance, such as clapping step, praising step and hot wheels, which fully shows the heroism and intense emotion of the workers. Another example is the mermaid's dance movements, the traditional double-handed orchids in ballet, and the curves of arms and bodies all show the national charm based on ballet. Since then, China's various styles of ballet creation have become increasingly active, such as Blessing and Lin Daiyu performed by China Ballet, Thunderstorm and Soul performed by Shanghai Ballet and Home performed by Beijing Dance Academy, which are all representative works. The protagonists in these works are mostly insulted and damaged female images, such as Lin Daiyu in Cao Xueqin's works, Xianglinsao, Mingfeng and Sifeng in Lu Xun, Ba Jin and Cao Yu's works. The introverted nature of female images insulted and damaged in spirit and temperament regulates and changes the extension form of ballet skills. It is in this adjustment and transformation that China's flexible charm is injected into the rigid principle of ballet posture, which embodies the unique realm of China's ballet.

Today, China ballet is not only close to the appreciation habits of China audiences, but also striding out of the country and into the world. The performance level of young ballet dancers in China has improved rapidly, and they have won prizes in various international ballet competitions. Their youthful vigor will make China ballet have a more brilliant prospect.