蔡 爍

引 言

“中國(guó)古典舞”的身體文化與中國(guó)哲學(xué)觀、美學(xué)觀緊密相關(guān)，因此在學(xué)習(xí)“中國(guó)古典舞”時(shí)需要對(duì)其文化先保持一個(gè)開(kāi)放、包容以及主動(dòng)的態(tài)度。特別要關(guān)注身體背后所蘊(yùn)含的文化基因、時(shí)代特點(diǎn)、價(jià)值觀念等因素，以及這些因素對(duì)形成動(dòng)作形態(tài)與表現(xiàn)方式的影響和支撐。由此，才能在學(xué)術(shù)語(yǔ)境、交流語(yǔ)境、價(jià)值觀念上達(dá)到一種適宜的認(rèn)知與理解，避免只知其然而不知其所以然的問(wèn)題。本文依據(jù)筆者學(xué)習(xí)“中國(guó)古典舞身韻”，以及在國(guó)際交流工作中翻譯闡釋“中國(guó)古典舞”身體語(yǔ)言的經(jīng)歷，以“身韻”“圓”與“氣”三個(gè)概念為例，探討“中國(guó)古典舞身韻”在跨文化交流中應(yīng)該持有的學(xué)術(shù)視角及翻譯闡釋方法。

一、對(duì)“中國(guó)古典舞身韻”的解讀

“中國(guó)古典舞身韻”創(chuàng)建于20世紀(jì)80年代初，創(chuàng)始人及代表人物為唐滿城、李正一兩位先生?！吧眄崱笔恰爸袊?guó)古典舞”的核心，代表了“中國(guó)古典舞”的身體文化觀，奠定了該舞種特定的審美特征、語(yǔ)言風(fēng)格。它不僅作用于教學(xué)訓(xùn)練，也影響劇目創(chuàng)作，成為文化身份及理念的實(shí)踐載體。

目前“身韻”常被譯為“Body Rhyme”“Body Rhythm”或“ Body Charm”?？梢钥闯觯癇ody”為“身”的直譯，而上述三種翻譯對(duì)“韻”有著不同的詮釋。在中國(guó)傳統(tǒng)文化中，“韻”指情趣、韻致、風(fēng)范、意味等，而 “身韻”是身體的韻味、氣質(zhì)和風(fēng)格，是“中國(guó)古典舞”身法與韻律的總稱。王偉教授在教學(xué)中對(duì)身韻的價(jià)值進(jìn)行闡釋時(shí)談道，身韻從最初對(duì)傳統(tǒng)戲曲、武術(shù)的動(dòng)作語(yǔ)言提煉，到教學(xué)課程的建構(gòu)，逐漸成為承載文化觀念，形成審美與風(fēng)格特征，繼而影響創(chuàng)作語(yǔ)言的載體，擁有了多重意義的價(jià)值。所以無(wú)論Rhyme、Rhythm 還是Charm都無(wú)法完全涵蓋中文“身韻”的所有寓意。不僅如此，在筆者與系統(tǒng)學(xué)習(xí)身韻的外國(guó)學(xué)生的溝通中也得到了相同的反饋，比起 “Body Rhyme”“Body Rhythm”和“Body Charm”,他們更傾向于“Shenyun”, 因?yàn)樯鲜銎渌齻€(gè)詞組在他們的語(yǔ)言體系中帶來(lái)的是完全不同于中文“身韻”的其他聯(lián)想。由此，筆者認(rèn)為在“中國(guó)古典舞”對(duì)外傳播中應(yīng)將身韻音譯為“Shenyun”并加以闡釋，讓外國(guó)舞蹈從事者在對(duì)“中國(guó)古典舞”逐漸加深了解的同時(shí)熟悉“Shenyun”一詞，繼而使其成為英語(yǔ)語(yǔ)言中，中國(guó)舞蹈術(shù)語(yǔ)中的一部分。

二、對(duì)“中國(guó)古典舞身韻”中“氣”與“圓”的解讀

“氣”與“圓”是“中國(guó)古典舞身韻”中重要的基礎(chǔ)概念，而在與學(xué)習(xí)身韻的外國(guó)舞蹈從事者的溝通和交流中，筆者發(fā)現(xiàn)他們大多僅僅關(guān)注動(dòng)作形態(tài)與軌跡的表層現(xiàn)象，而忽略了其背后的多重指意和文化承載中的內(nèi)在含義。例如，對(duì)呼吸的認(rèn)識(shí)，現(xiàn)代舞常將呼吸理解為生理現(xiàn)象，且常以解剖學(xué)的概念分析呼吸對(duì)動(dòng)作的影響。被西方所熟知的瑪莎·格雷厄姆現(xiàn)代舞技術(shù)核心“contraction” 與“release”，“強(qiáng)調(diào)的是在呼吸的一張一弛中運(yùn)作脊柱多角度運(yùn)動(dòng)，伴隨著吐氣與吸氣的兩個(gè)身體元?jiǎng)幼?，逐漸強(qiáng)化，使之從真實(shí)的呼吸運(yùn)動(dòng)發(fā)展成為獨(dú)立于真實(shí)呼吸的深層肌肉運(yùn)動(dòng)”［1］91?！八暋怪巧畼洹?，在強(qiáng)烈地、近乎痙攣般緊張的收縮以及隨后而來(lái)的脊柱有力地伸展之中，傳達(dá)出人性強(qiáng)烈的內(nèi)在沖突與外部的撞擊?！保?］26可見(jiàn)，在格萊姆技術(shù)中雖也強(qiáng)調(diào)呼吸，但更多的關(guān)注點(diǎn)在于呼吸所帶動(dòng)肌肉的肌力外化，多具有爆發(fā)性強(qiáng)且短促的特點(diǎn)。從技術(shù)層面上升到表演層面之時(shí)，會(huì)呈現(xiàn)“像突然被刺穿的痛苦帶來(lái)的急驟收縮，蘊(yùn)含著生命悲劇性的壓抑；而由深深吸入的氣息帶動(dòng)骨盆的推動(dòng)，轉(zhuǎn)而呈現(xiàn)某種對(duì)抗與沖突，在這種對(duì)抗與沖突中暗示著精神的、心理的、生理的極度焦慮與掙脫”［2］27。

然而“中國(guó)古典舞”中所講求的“氣”卻更趨于意念的引導(dǎo)與傳導(dǎo)，并賦予“氣”更多指意?？此票硐蟮膭?dòng)作其背后主導(dǎo)為“氣”，而非力。由此，王偉教授在“身韻巡禮”教材對(duì)身韻教學(xué)邏輯系統(tǒng)的重新梳理中，確立了對(duì)“氣”的提煉與運(yùn)用，進(jìn)而找到了動(dòng)的內(nèi)在原力。她談到“氣”對(duì)中國(guó)哲學(xué)而言，是指構(gòu)成萬(wàn)物和宇宙的始基物質(zhì)，而且也是藝術(shù)和美的根源，與人的心靈相觀照。由此，在教材中建立了“氣息”練習(xí)的模塊，并命名為“氣之源”，所謂“源”，旨在探求動(dòng)作的根由和原力，確立動(dòng)作啟動(dòng)的出處的內(nèi)在性。從“坐之相”到“氣之源”，再到后面的“手之語(yǔ)”“臂之動(dòng)”“圓之軌”“步之勢(shì)”，建立起由靜至動(dòng)、由內(nèi)引外的延伸、發(fā)展的邏輯軌跡，其中，“氣”是重要的內(nèi)在動(dòng)力?！皻狻辈皇枪铝⒋嬖诘?，它對(duì)力產(chǎn)生主導(dǎo)作用，也與動(dòng)作的運(yùn)動(dòng)方式及軌跡息息相關(guān)。王偉教授在教學(xué)實(shí)踐中將古典舞動(dòng)作的動(dòng)態(tài)特點(diǎn)概括為“伸、展、曲”，其中“伸”與“展”靠的并非筋骨和肌肉，而是“氣”的擴(kuò)張與收縮，以及“意”的轉(zhuǎn)化與延續(xù)?！皻狻辈粌H是所有動(dòng)作的原動(dòng)力，也是動(dòng)作轉(zhuǎn)化的方法，與“意、力”的結(jié)合，形成形神兼?zhèn)洹⑸硇慕y(tǒng)一的美學(xué)特征。由此而見(jiàn)，西方現(xiàn)代舞對(duì)“氣”的運(yùn)用強(qiáng)調(diào)其借力的外化之象，而“中國(guó)古典舞”對(duì)“氣”的運(yùn)用強(qiáng)調(diào)其內(nèi)在的意韻。

對(duì)于“中國(guó)古典舞”外部“力”的效果，不是以肌力為主導(dǎo)或僅靠生理上的呼吸而獲得的，而要在呼吸的基礎(chǔ)上，以不同的用氣方式，如長(zhǎng)氣、短氣、頓氣、偷氣、展氣等（引自王偉 的《中國(guó)古典舞·身韻巡禮》）啟動(dòng)動(dòng)作的傳導(dǎo)與連貫，產(chǎn)生不同的勁力效果與動(dòng)作質(zhì)感。多數(shù)情況下，“中國(guó)古典舞”對(duì)“氣”的運(yùn)用不在于短時(shí)間內(nèi)具有爆發(fā)力的凝聚與外放，更強(qiáng)調(diào)氣平、氣勻、氣穩(wěn)。將“氣”運(yùn)用于表演時(shí)，體現(xiàn)的并非具有戲劇張力的對(duì)抗與沖突，而是更為圓融、內(nèi)斂、和諧適度。中國(guó)古人對(duì)“氣”的論述，更強(qiáng)調(diào)與道德精神和人格力量結(jié)合起來(lái)，“氣”不僅顯示出藝術(shù)家的性情、風(fēng)格和氣質(zhì)個(gè)性，更在作品中張揚(yáng)人格的大度氣節(jié)、氣度、氣象與氣概的風(fēng)骨。由此可見(jiàn)，在跨文化舞蹈交流中若將用“氣”單純翻譯為“breath”（呼吸）而不加以闡釋，會(huì)使對(duì)方在其自身所固有的知識(shí)體系中將其解讀，殊不知在不同背景與語(yǔ)境下，“氣”與“breath”從理論到實(shí)踐都有著本質(zhì)性的區(qū)別。

在“中國(guó)古典舞”中很難被準(zhǔn)確闡釋卻又極為重要的概念便是“圓”?！皥A”存在著“顯性”和“隱性”兩層含義，所謂“顯性”是直觀可見(jiàn)的形態(tài)和軌跡，所謂“隱性”是其蘊(yùn)含的文化屬性。“中國(guó)古典舞”是尚“圓”的藝術(shù)，無(wú)論從靜態(tài)的舞姿造型到動(dòng)態(tài)的運(yùn)動(dòng)路線，無(wú)一不追求“圓”，也是學(xué)習(xí)“中國(guó)古典舞”中易于可視的現(xiàn)象。因此，在跨文化的交流中，“圓”容易被淺顯地理解為動(dòng)作層面的形狀，即圓圈、圓形等。然而，“圓”看似是一種動(dòng)作現(xiàn)象但更為核心的文化承載是其代表著中國(guó)傳統(tǒng)文化觀念的審美原理與運(yùn)動(dòng)法則。王偉教授在“身韻巡禮”項(xiàng)目的介紹中曾說(shuō)道：在儒家倡導(dǎo)的“圓潤(rùn)、中庸、和諧”之美，以及道家子午陰陽(yáng)辯證統(tǒng)一思想的引領(lǐng)下，“中國(guó)古典舞”確立了子午陰陽(yáng)的動(dòng)作原理，體現(xiàn)在“交錯(cuò)”的身體靜態(tài)以及“走留”“合分”的對(duì)立統(tǒng)一動(dòng)態(tài)中，通過(guò)“擰”與“含”的轉(zhuǎn)換使動(dòng)作周而復(fù)始、循環(huán)往復(fù)，形成了“圓”的理念。與此同時(shí)，“中國(guó)古典舞”中腳下重心陰陽(yáng)、虛實(shí)的轉(zhuǎn)換，動(dòng)中有靜、靜中有動(dòng)，剛中有柔、柔中帶剛以及逢上必下、逢前必后等“一切從反面做起”的運(yùn)動(dòng)法則，無(wú)一不是陰陽(yáng)對(duì)立統(tǒng)一在身體上的辯證呈現(xiàn)。正是在掌握了上述身體運(yùn)動(dòng)法則的基礎(chǔ)上，加以氣息、勁力、節(jié)奏的處理，以及對(duì)度的把握，才能使動(dòng)作在起承轉(zhuǎn)合中呈現(xiàn)無(wú)始無(wú)終且通達(dá)、流暢、自如之感。就好似中國(guó)人對(duì)待生命的態(tài)度，相信生命的輪回，不把任何事物絕對(duì)化，尚中庸，求和諧。由此可見(jiàn)，“圓”既是可視的外形特征，也具有價(jià)值觀念等精神層面的內(nèi)在寓意，是中國(guó)傳統(tǒng)文化觀的綜合體現(xiàn)，而若在不加闡釋的情況下僅將“圓”譯為“Circle”“ Circular”“ Rounded”等詞，是無(wú)法讓外國(guó)舞蹈從事者體會(huì)其深層內(nèi)涵的。

由此，筆者建議在跨文化語(yǔ)境下翻譯傳達(dá)“中國(guó)古典舞”特屬概念時(shí)，盡量采用音譯為主的方法，比如身韻中“氣”與“圓” 可以先將其分別音譯為“Qi”“Yuan”，以此，為學(xué)習(xí)者提供簡(jiǎn)潔、明了的概念印象，同時(shí)揭示“氣”與“呼吸”，“圓”與“圓圈、圓形”在不同文化認(rèn)知上具有差異性，保證信息接受者能理解“Qi”與“Breath”,“ Yuan”與 “Circle, Circular,Rounded”并非是完全同屬的關(guān)系。然而，音譯并不能全然完成對(duì)其內(nèi)涵的闡釋，面對(duì)中國(guó)文化的特殊與復(fù)雜性，深入的解釋是更為關(guān)鍵的手段，也是解決中國(guó)語(yǔ)言表達(dá)的多義性特點(diǎn)的方法。

結(jié) 語(yǔ)

語(yǔ)言不僅是一種工具，更需要在實(shí)踐認(rèn)知的基礎(chǔ)之上，對(duì)相關(guān)現(xiàn)象加以判斷和選擇。對(duì)翻譯而言，準(zhǔn)確揭示詞義僅僅是開(kāi)始，對(duì)于文化傳播而言，學(xué)會(huì)在不同文化背景、學(xué)術(shù)語(yǔ)境和交流語(yǔ)境的基礎(chǔ)上，兼顧多樣性，提高接受度、理解度以及溝通的有效性，找到最佳的表述方式，才是更為重要的。

筆者在異國(guó)生活10余年后回國(guó)求學(xué)，在深入學(xué)習(xí)“中國(guó)古典舞”的身體語(yǔ)言兩年后，倍加感悟到舞蹈?jìng)鞑パ芯烤o密結(jié)合身體實(shí)踐的重要性。因?yàn)橛袡C(jī)會(huì)參與多項(xiàng)文化交流的翻譯工作，在翻譯和闡釋“中國(guó)古典舞”時(shí)，筆者開(kāi)始有了一些思考。跨文化語(yǔ)境下的交流與對(duì)文化的解讀，是較為復(fù)雜的，若想做好翻譯和闡釋的工作，需要譯者具備對(duì)舞種的本體實(shí)踐與理論認(rèn)知的能力，關(guān)注動(dòng)作背后的文化理念與指意，運(yùn)用更為多元、全面的素養(yǎng)站在不同文化視角上加以溝通，以實(shí)現(xiàn)對(duì)“中國(guó)古典舞”更為精準(zhǔn)且客觀的解讀。

lnterpreting of “Chinese Classical Dance”in the Cross-cultural Context

Cai Shuo

[Abstract]

The body culture of Chinese classical dance is closely related to Chinese philosophy and aesthetics.Therefore, an open, inclusive and active attitude towards the underlying culture is crucial for learning Chinese classical dance.In particular, attention must be paid to the cultural genes, characteristics and values underlying the body culture in a certain historical context, as well as the influence of these factors on the formation of action patterns and expressions.This would improve the cognition and understanding of relevant academic issues,the communication context and values, avoiding the problem of “knowing the surface without knowing the root”.This paper takes the three concepts for example:“body rhyme,” “circle” and “qi” and examines the academic perspective and interpretation methods for communicating “Chinese classical dance rhyme” in the cross-cultural context.

The concept “Chinese classical dance body rhyme” was first introduced in the early 1980s.The advocaters and representatives are Tang Mancheng and Li Zhengyi.“Body rhyme” is the core concept of Chinese classical dance and embodies the body concept of Chinese classical dance which supports the aesthetic characteristics and language style of Chinese classical dance.It not only works in teaching and training, but also affects repertoire building and becomes the practical carrier of cultural identity and concept.From the initial extraction of movement language from traditional operas and martial arts to the academic development of teaching curriculum, body rhyme has gradually become a carrier of cultural concepts, acquired its own aesthetic characteristics and style, and then influenced the language of creation.In short, it has multiple values.Therefore,neither “rhyme,” “rhythm” nor “charm” can cover the meanings of “body charm.” Therefore, this paper believes that in international communication of Chinese classical dance, the concept “body rhyme” should be referred to with the transliteration of the Chinese term “Shenyun”and supplemented with an explanation.

“Qi” and “circle” are important concepts of “Chinese classical dance” and its body rhyme.This paper discovers that most foreign dancers focus exclusively on the superficial forms but ignore its multiple meanings and its inherent cultural connotation.For example, the term “qi”in Chinese classical dance is more about consciousness,so the concept means more than physical breathing.“Qi” is not only the source of all movements, but also the means of action transformation.Combined with “will” and“strength”, it generates the key aesthetic characteristics of Chinese classical dance: integration of form and spirit and unity of mind and body.The usage of “qi” in Chinese classical dance emphasizes its deep-level meaning.When “qi” is applied to performance, it does not create confrontation or conflicts with dramatic tension but makes the presentation more harmonious and smoother.In short, if “qi” is literally translated into “breath” or“breathing” without further explanation in the crosscultural dance context, it would be interpreted in the schematic knowledge system of the audience.It must be remembered that in different backgrounds, “qi” and“breath” have fundamental differences either in theory or practice.

Another concept in Chinese classical dance which is difficult to explain accurately but is extremely important is “circle”.“Circle” has the explicit and implicit meanings.The explicit meaning refers to visible forms while the implicit meaning is its deeper cultural connotation.“Circle” seems to be an action concept but essentially it represents the aesthetic principle and law of movement under a certain cultural concept.Prof.Wang Wei once remarked that under the Confucian principle that beauty rests with “roundness, moderateness and harmony” and the Taoist beliefin the unity of yin and yang, Chinese classical dance should simulate the action relationships between yin and yang and highight the unity of static and dynamic forms.When actions are repeated and reciprocated to realize eternal conversion,they would form circles.It is like the Chinese attitude toward life.Believing in samsara, or the cycle oflives,but not seeing anything as absolute, Chinese people advocate the great “mean” and seek for harmony.In this sense, “circle” is not only a visual feature, but also an inner attribute at the spiritual level, just like a value concept.It is an embodiment of the traditional Chinese culture.Without further explanation, the term “circle”or its correlatives like circular and roundness would not make much sense to foreign dancers.