Relationship Investigation Between Chinese Classical Dance And Local Opera

Chinese local opera originates from a historical and primitive period. It has become a new shining star of the subjective of 500-year Chinese culture, and gradually developed into the symbolic art pattern of "Oriental Beauty" since it appeared on the historical stage of human civilization. Incorporating various art forms, such as literature, music, martial arts, dance, acrobatics as well as magic, it is a valuable intangible cultural heritage of the Chinese nation. The Chinese classical dance originated as a form of opera dance, and evolved into a characteristic and attractive artistic form after reference and refining to opera art. This thesis focuses on the relationships between dance of Sichuan opera (one kind of the local Chinese local operas) and Chinese classical dance (one kind of Chinese dances), and these two different performing arts are extracted from their respective fields for analysis. The existing achievements of this field are improved; while the aesthetic characteristics of two different performing arts are described on the basis theory of aesthetic and their crossed and inheriting relationship are discussed on specific cases. Hopefully, this research would do its small part to contribute to the theoretical research of Chinese opera and dance so that Chinese classical dance and Sichuan opera can have a profound development in artistic creation and aesthetics.This thesis is divided into five sections. The first chapter is the introduction in which the reason and significance of this research topic are described, the research status both at home and abroad is analyzed, all the documents are classified, and research method and innovation are explained. The second chapter focuses on the two different artistic forms in Chinese opera and dance which analyzes their interaction and interdependency from the formation and development. After a brief description, and then leads to local Sichuan opera and Chinese classical dance. The third chapter is a summary of local Sichuan opera which traces back to the pre-Qin period, even earlier, including the genre, tune features business, classical repertoire. The fourth chapter attaches great importance to describing the proposal of the concept and the establishment and development of the Chinese classical dance subject, which also describes the absorption of traditional Chinese culture and its integration with the new artistic elements in Chinese classical dance. The fifth chapter is the central section which analyzes the relationship between Sichuan opera and Chinese classical dance as well as their aesthetic characteristics respectively. It sorts out the process from formation, integration to distribution and development. To declare their similarities and differences, the "body rhyme" in Chinese classical dance and "figure" in Sichuan opera are discussed. Finally, analysis of specific works is made to illustrate the traditional art treasures have never been abandoned in the development of Chinese classical dance, but more deeply into the creation and performance of modern Chinese dance. In contrast, the Sichuan opera also absorbed the essence of Chinese dance for its use. Most importantly, there is no similar analysis with related works before.