Undoubtedly, the real rise and development of ballet in China was also after the founding of People's Republic of China (PRC), which is closely related to the basic policy of the China government to actively absorb and support all outstanding cultures and arts of world significance. At first, the Russian school had an influence on China's ballet. From/kloc-0 to February 1954, the first Soviet expert O-A-YEALINA was invited to Beijing to start the first "teacher training class", and from/kloc-0 to China's first classic ballet Swan Lake in 1958, China ballet achieved a rapid "triple jump" in its initial stage. During this period, Dai, who was familiar with ballet art, also played an important role.
The students in the first "teacher training class" (most of whom have received some ballet training) miraculously completed the teaching syllabus of the Soviet Dance School at Grade 65438+Grade 0-6 in half a year, and all passed the rigorous examination. They became the teaching backbone of Beijing Dance School and Ballet Academy established in the same year. Since then, I have constantly improved in practice and grown into a real ballet educator-training a group of outstanding talents.
The important measure to realize "triple jump" is to practice performance while training. During this period, famous Soviet ballet artists often performed in China, and their exquisite performances attracted many audiences. People in China are getting familiar with and love this art.
1957, under the guidance of Chaplin, China staged the ballet LA FILLE MAL GARDEE, which was the work of Jean-Dobezhwal at the end of 18. It has a realistic style and is suitable for the actual level of ballet dancers in China at that time. Through the performance, the team has been improved.
1958 10 under the guidance of gusev, Beijing Dance School concentrated its efforts and successfully staged the world-famous classic ballet Swan Lake (played by Bai Shuxiang), which aroused strong repercussions at home and abroad. Through strict rehearsal, a talented ballet team has been created at high speed. Now, Swan Lake has settled in China-it has become the most attractive ballet.
At the end of 1959, the experimental ballet of Beijing Dance School was established, which was the first professional ballet in China. The following year, Shanghai established a dance school with the same organizational system as Beijing, and also undertook the task of training professional ballet talents. From then on, the north and the south echoed and strived to open up a new situation in ballet.
Following Swan Lake, at 1959 and 1960, under the guidance of gusev, the young China Ballet successfully performed Lecorps Searle and Giselle one after another, which seems to be relatively easy to undertake these two famous ballets with different styles.
During this period, China sent Jiang Zuhui (1934——) and Wang Xixian (1933——) to the director department of Moscow State Theatre Academy for further study, with excellent results. After returning to China, Jiang Zuhui released his graduation work-Spanish Daughter (adapted from the famous poetic drama Yangquan Village by Lobe Deviga, a famous European writer in the Renaissance, which premiered at Tianjin Song and Dance Theatre on 196 1; Wang Xixian directed and performed his graduation work "The Fountain of Shahe I" in Beijing (adapted from the famous long poem of Russian poet Pushkin, premiered by the Experimental Ballet of Beijing Dance School.
1963, the Central Opera and Dance Theatre was established, and the ballet affiliated to the school ended its experimental stage and belonged to the National Theatre. Soon, Jiang Zuhui directed the famous ballet Notre Dame (based on the novel of the same name by the famous French writer Hugo), which premiered at the Central Opera and Dance Theatre. ..... In just 10 years, the directors and actors in China have basically been able to independently control the creation, rehearsal and stage performance of classical ballet.
The creative practice of China Ballet began from 1964. In fact, most of the directors of the first generation of ballet turned from studying national dance to ballet major, and their national cultural background undoubtedly contributed to the exploration of ballet nationalization.
Although the performance of China's large-scale ballet "Red women soldiers" is not strictly the "first record" (there have been different types, different scales and different effects of ballet nationalization before), it can be said that it is the first most successful large-scale ballet in China, with distinctive China style and China style in both content and form.
Red women soldiers premiered 1964, directed by Li Chengxiang, Wang Xixian and Jiang Zuhui; Composers: Wu Zuqiang and Du Mingxin. First performer: Central Opera and Dance Theatre, heroine: Bai Shuxiang plays Qionghua; Company commander Wu Shouxun; Actor: Liu Qingtang plays Hong Changqing; Li Chengxiang plays Nanbatian; Main supporting actress: Zhao Ruheng plays Qionghua's comrade-in-arms; Wan plays the fourth child.
It's based on the movie of the same name. Tell the story of the second revolution in China: Qionghua, who was tortured, escaped from the tiger's mouth because she couldn't bear the oppression of the landlord for eight days in the south, and met Hong Changqing, the representative of the Red Army. Under his guidance, Qionghua participated in "Female Soldiers", and after being honed and tested, she grew into an excellent revolutionary soldier. After Hong Changqing's death, she marched bravely with a red flag.
This dance drama, with its shocking tragic plot, magnificent scenes, distinctive characters and regional customs of Hainan Island, has won many praises since its birth. For the first time, China, a female soldier wearing pointed shoes, was portrayed as a hero, which combined the essence of ballet with China's style and added a wonderful flower to the world ballet.
The Red women soldiers is a milestone in the history of China's ballet development. It is a deeper practice of "making foreign things serve China" and stands on its own feet in the world ballet art forest with unique China characteristics. The collective wisdom made up for the lack of experience, which made China's ballet exploration start from a higher starting point and start quickly.
Different from the fate of other dance and ballet works, this work was designated as a "model drama" during the Cultural Revolution-one of the few dance dramas allowed to be staged at that time. The Red women soldiers has stood the test of time and society, and still retains its artistic vitality, and is recognized as a "20th century classic".
The performance of the Renaissance in the field of ballet is to restore the performance of western ballet classics, so that the audience who have only seen 1 "red" and 1 "white" for a long time will set off a wave of watching Swan Lake.
China ballet in the new period is developing vigorously.
First of all, we should absorb and learn from the world with a more open eye, not limited to the influence of a single Russian school. Since the early 1980s, famous ballet artists from Britain, France, Germany, Switzerland, Canada and other countries have taught their skills in the form of friendly exchanges. Anton Dowling, a veteran ballet master, and B-STEVENSON, a famous ballet choreographer, have rehearsed their works in the Central Ballet Company: TE-PASDE kixode, Prelude for Men and Women and Serenade by balanchine, a famous ballet master.
In addition, in recent ten years, China has also staged many western classic plays with different styles, such as 1980. Under the personal guidance of Lisette Sanval, the ballet master of the Paris Opera House, the Central Ballet performed the famous French romantic ballet Sylvia; 1984, the famous British ballet artists Belinda Wright and Jurisa Gilkau rehearsed and performed Anton Dowling's version of Giselle. From 65438 to 0985, Don Quixote); It was conducted under the personal guidance of world-class ballet artist R-NUREYEV and ballet master Eugene poliakov. There are Romeo and Juliet (1989, directed by Roman Walker) and Sleeping Beauty (1994, directed by Morico Parker), all of which are very successful. Nuriev, in particular, with his unparalleled superb skills and profound understanding of the dramatic characters, combined with the reality of the Central Ballet, conducted strict training, which greatly promoted the improvement of the level of actors-leaving a precious page in the history of China ballet. In the above-mentioned international exchange activities, Dai played a very good role as a bridge.
Under the new situation, the exploration of China's ballet has also stepped onto a new stage. The ballet adapted from China's literary and dramatic masterpieces has made remarkable achievements. It is a bold and beneficial attempt to make some breakthrough explorations in structure and expression techniques.
Among these works, the dance drama of the same name adapted from Lu Xun's famous novel Blessing and Lin Daiyu adapted from Cao Xueqin's masterpiece A Dream of Red Mansions are quite influential.
New Year's greetings 1980 premiered, directed by Jiang Zuhui; Composer: CICI?; First performer: Central Ballet. Heroine: Yu plays Xianglinsao; Wu Shouxun Liu.
The original novel reveals the tragic fate of working women in the old society under the feudal shackles with profound brushwork: a simple and filial young widow, Sister Xianglin, worked as a maid in a rich family and was sold to the mountains to be his wife. She fought to death, but was moved by the kind He Laoliu, married her and gave birth to a son. But the good times didn't last long-the husband died and the son died ... Because of feudal consciousness, people regarded Sister Xianglin, who remarried twice, as an ominous symbol, and the vast sky could not tolerate this unfortunate woman. On a snowy night, she died with resentment and accusations about life.
In the second act-Anti-Marriage, the director carefully applied the Chinese wedding custom of "Bride Covering the Head" and carefully designed the plot of "Revealing the Head Three Times": When the relatives and friends of the simple mountaineer He Laoliu danced cheerful national dances and opened the head for the bride layer by layer, he never expected that the bride in front of him was tied up and stuffed with cotton balls. She ran into the console table in tears-but she wanted to die! He Laoliu sympathetically set her free. Sister Xianglin was moved by his kindness and decided to stay. The second act of Blessing has become an independent chapter of dance drama with its strong local flavor, wonderful duet and touching plot handling.
"Lin Daiyu" 1982 premiered, directed by Li Chengxiang and Wang Shiqi; Composer: Shi Fu; First performer: Central Ballet, heroine: Wang Pingping plays Lin Daiyu; Feng Ying plays Xue Baochai; Actor: You Guoqing plays Jia Baoyu.
This masterpiece of Qing writers at the end of 19 describes the rise and fall of feudal nobles and rings the death knell of China feudal society. Hundreds of characters in the book have different personalities-everyone has a voice and a smile.
The ballet "Lin Daiyu" abandons the elaborate and complicated plot of the original work, and captures the most touching love story-the emotional entanglement between Lin Daiyu, Jia Baoyu and Xue Baochai and the final tragic ending, among which the "Death of Daiyu" in four acts is quite ingenious. It describes that Daiyu, who is dying, still loves Baoyu deeply, holding a token of love-Spa, and she has hallucinations ... She suddenly feels that Baoyu is close at hand, and they talk to each other. Suddenly I felt that it was dark and terrible around me, and Baoyu disappeared without a trace; Suddenly, I saw Baoyu and Baochai get married-she was erratic during this period ... The drum music of Baoyu and Baochai's wedding came from a distance, and Daiyu returned to the cruel reality-she burned the silk handkerchief angrily and passed away in extreme grief. The director boldly uses the technique of stream of consciousness to fully reveal Daiyu's mental journey with nationalized ballet vocabulary, which is very infectious. The four acts of "Lin Daiyu"-"The Death of Daiyu" has also become an independent dance drama chapter.
Ballet art has made great progress in China for more than half a century, and now it is ambitiously stepping into the ranks of "big ballet country". In the 265,438+20th century, the troupe stepped up the creation of national ballet and modern ballet, and created famous plays such as Nutcracker (China Edition), Hanging Red Lantern High and Peony Pavilion. I rehearsed Harold Randall's etudes Who cares and george balanchine's Four Temperaments, John Cranno's Romeo and Juliet and onegin, Maurice Rebecca's Firebird, Uwe Schultz's Symphony No.7, and William Foces and Mauro Bigonzetti's How Many Are Hanging in the Air. Roland Petit, a world-famous ballet choreographer, made a special trip to the troupe to guide and rehearse his plays such as Carmen, The Girl of Alec City, Young People and Death, and created the ballet work The Last Paradise for the troupe. Perl Isberg, the Swedish ballet choreographer, rehearsed the ballet "Gabriella" for the troupe, and also adapted the national ballet "Butterfly Lovers" for the troupe. In addition, Frank Anderson, artistic director of the Royal Danish Ballet, came to rehearse Gonzalo's Flower Festival duet Naples (Act III), and Ben Stevenson, a famous British choreographer, rehearsed five poems for the group. Among them, masterpieces such as "Hanging Red Lantern High" and "Peony Pavilion" have won awards such as "National Stage Art Boutique Project".
After 20 10 years, under the initiative of Feng Ying, the troupe vigorously promoted the construction of innovation mechanism and founded the "ballet creative workshop", which provided a platform for young directors to create and practice; At the same time, the troupe actively introduced world-class modern ballet, and invited John Neumeier, a famous contemporary choreographer, to come to the troupe to create the classic modern ballet "The Little Mermaid" (CMB version). In addition, works such as Sacrifice of Spring (CMB Edition) and Bolero (also known as Monument) directed by China director Wang Xinpeng and our group director Fei Bo are also deeply loved by the audience and well received by the industry.