Chapter 383: Authority

Watching Li Jingting and the two stunningly beautiful female students, Cheng Nianjia and the two directors exchanged glances.

They could roughly guess why this Professor Li had come: specifically to guide Lin Sicheng and Jing Zeyang in choreography.

If one were to rank the dance academies in the country, Beijing Dance Academy is indisputably number one. Especially its Classical Dance Department, which has held the championship for over forty consecutive years. At the same time, it is also the only institution in the country to date that possesses a doctoral program in dance studies.

Nearly half of the older generation of dance artists have teaching experience at Beijing Dance Academy, including Tang Mancheng and Li Zhengyi, who created the "Chinese Classical Dance Teaching System," and Sun Ying, who created the Han Tang dance school. As well as the masters of ethnic dance Xu Shuying, Pan Zhishou, Wang Kefen... and so on and so forth. In the fifty years since the school's founding, they have received so many gold medals and international awards that they have lost count; all other dance academies combined wouldn't even amount to a fraction of Beijing Dance Academy's total. Next, there is this Deputy Director Yan Zhidong.

Most of the time, for one reason or another, the heads of arts departments are not experts in the field. The main teaching and research work within the department is led and headed by the deputies.

Deputy Director Yan is the same, so to a certain extent, it is no exaggeration to call him the godfather of the current classical dance education system.

Being able to be in charge of the top-ranked major at the top-ranked academy in the country, his professional ability is beyond doubt. The key also lies in his background and seniority: Professor Yan Zhidong is a disciple of the founders of Chinese classical dance, the masters of classical dance Tang Mancheng and Li Zhengyi.

If one really had to compare, whether it be influence, academic research ability, or seniority, he is just a little bit higher than Lan Laotaitai.

Therefore, whether it was Cheng Nianjia or the two directors, none of them were just ordinarily surprised:

Since Jing Zeyang has this kind of influence and can get Director Yan to help, there is no need to choreograph any dance or restore any ancient score, let alone specifically invite a professor from Beijing Dance Academy to provide guidance.

Just having Director Yan make a phone call to the old lady would have solved his problem for him.

What is strange is that not only did Director Yan specifically send people, but he also had Professor Li bring two students; this clearly shows they are truly here to provide guidance...

While pondering this, Lin Sicheng stood in the center to make introductions, and both sides shook hands.

Cheng Nianjia clearly felt that Professor Li carried a bit of reserve and a hint of arrogance, and the two students were the same.

But it is not strange: they have the capital to be arrogant. Someone like Professor Li, who is qualified to supervise graduate students, is more than capable of serving as an Editor-in-Chief of a branch troupe at a song and dance troupe. Those with broader connections could even serve as Editor-in-Chief at the main troupe without issue.

After exchanging pleasantries, Li Jingting asked about the general situation.

At first, he was listening seriously, but after only a few sentences, Professor Li's expression became strange, and it grew stranger and stranger. It was the kind of expression that was both surprised and skeptical, even revealing a few parts of disbelief.

Several times, he wanted to speak but stopped, preparing to interrupt Lin Sicheng. But perhaps out of respect, even though the words reached his lips, he forced himself to hold back. After finally waiting for Lin Sicheng to finish, he took the draft Lin Sicheng handed over and scanned it a few times.

Then, he picked up the photocopy of the ancient score and examined it carefully.

He looked at it extremely seriously, almost without blinking. But he flipped through it extremely quickly; the thirty or forty pages of dance figures only took him three or four minutes.

Subsequently, he stared straight at Lin Sicheng.

If this were any other place or occasion, seeing the Six Yao Score, which had been lost for nearly a thousand years, suddenly appear, Li Jingting would definitely cry out in luck and slap the table in wonder. The reason is simple: "Six Yao" is the ancestor of all classical soft dances; it is not only the basis and clue for tracing the origins of Tang Dynasty music and dance, but it will also produce a huge push and transformation for modern ancient dance studies and the education system.

It can be said that this ancient score is far more useful to Beijing Dance Academy than to the Central Song and Dance Troupe.

Therefore, the current Li Jingting is also very surprised, but what makes him feel even more surprised is: the young man in front of him, and the things this young man said:

He could understand every sentence, but put together, he actually couldn't comprehend it?

In shock and doubt, he looked at Lin Sicheng: "Does this mean you have never studied dance choreography?"

Lin Sicheng hesitated for a moment: "I just haven't received systematic study!"

What is the difference?

It's not like this stuff can be learned through self-study, right?

Li Jingting continued to ask: "Before this, you had never been in contact with this line of work either?"

Lin Sicheng paused again: He must have been in contact with it in his past life, and quite a lot at that, but unfortunately, that was his past life.

So, if he said he had been in contact with it, and the other party followed up, how would he smooth it over?

While pondering, Lin Sicheng nodded again: "Yes!"

"From dance drama structure and group composition, down to school research and movement footwork, you haven't studied those either?"

"Yes, Professor Li, but I have studied the history of ancient music and dance, and I understand some ancient Yan Music, drama, martial arts, as well as costumes and props..." Professor Li was noncommittal, staring at his face for several seconds: "How long have you studied it?"

Lin Sicheng froze, unable to respond.

How should he answer?

He couldn't exactly say that in his past life, he stayed at the Mogao Caves for three whole years.

Studying with him were the head of the Classical Dance Department at Northwest Minzu University, Professor Gao Jinrong, the founder of the Dunhuang Dance teaching system, and Director Xi of the Music and Dance Research Institute at the Dunhuang Academy.

As well as the lead performer of China's first classical dance to win the Ministry of Culture Gold Medal, "Silk Road Flower Rain," and the current head of the Dunhuang Dance Research Office at Beijing Dance Academy, Shi Min, who would be the head of the Beijing Dance Academy Classical Department two terms from now.

This isn't Wang Qi Zhi, who would believe whatever he bluffed. Furthermore, he invited these people to help, so he must show basic respect.

Look at his face and his resume: if he said he had studied it, and they asked when he studied it, how would he answer?

Lin Sicheng sighed: "Professor Li, you might not believe me, but I really do know a little bit about professional knowledge related to classical dance." Li Jingting did not doubt this point: looking at this draft, and looking at these analysis compositions of costumes and makeup, it could basically be concluded that the young man in front of him must have had some research.

But research is one thing, and knowing and being able to do it are another.

A dance work, from design to choreography, to rehearsal, and finally being brought to the stage, requires involvement in every aspect: historical research, music composition, spatial coordination, costumes and makeup, as well as technique, rhythm, and emotion.

Li Jingting also understood Lin Sicheng's meaning: he wanted to extract from this ancient score and then piece together a work.

But the problem is, this is an ancient score, brief to an infuriating degree. More importantly: it is also a fragmented score?

Just the translation alone would take years. In two to three months, he estimated they wouldn't even be able to translate the "Preface."

It is no exaggeration: he just felt that what Lin Sicheng said was like a joke.

After thinking for a while, Li Jingting put down the manuscript and looked at Lin Sicheng: "Xiao Lin, can we do this: let's step outside this scope, make the creative space as large as possible, and then redesign a set of plans."

"It could be Han Tang Banquet Music, it could be Song Dynasty Palace Dance, or even Dunhuang Flying Apsaras, Xiliang Vigorous Dance..."

Including Lin Sicheng, everyone was stunned: what does that mean?

Although this Professor Li didn't say it explicitly, the subtext was self-evident: as long as Lin Sicheng was willing, he could personally take the lead and help them design a work. To be honest, if this were before, Jing Zeyang would have been able to jump for joy. He didn't believe that, faced with a work produced by an industry expert that was very likely to win an award, Lan Laotaitai wouldn't be tempted?

But unfortunately, it was too late: four days ago, Jing Zeyang had patted his chest and made a military pledge: no matter what kind of dance it was, it must be based on the "Six Yao" score.

Sure enough, Lin Sicheng shook his head immediately: "Sorry, Professor Li, it can only be based on the 'Six Yao' score for restoration and re-creation." Li Jingting was stunned: "And there's only three months?"

Lin Sicheng nodded: "Yes, three months!"

To be precise, it was two months: the final plan had to be produced before New Year's Day.

Li Jingting was exceptionally uncomprehending: isn't this making things difficult for people?

To be honest, let alone this layman in front of him, even he couldn't do it.

Uncomprehending as he was, since the Director had given the order, this matter had to be done no matter how difficult it was.

He sighed: "Little Lin, how do you intend for us to help?"

"First, I ask the two students to assist with the action storyboards: I plan to first complete the draft of the segmented structure, including actions, footwork, body movements, positioning, and counterpoint; then, I will perform the integration, including the sequence and logic of the action sequences, the division and connection of dance segments, the interval settings for the opening, climax, and trough, and the changes and control of the rhythm... This part also requires the two students to help and cooperate..."

"Third, the overall structural adjustment, the coordination of actions and force, the techniques of connection and transition, and the connection between emotion and action—this part requires the guidance of Professor Li..."

The more Li Jingting listened, the more bizarre he felt it was: at first glance, it seemed to be spoken with great logic, but in reality, it was not the case at all.

Not to mention that it was upside down and chaotic, it was also incomplete. Just ask, what about the theme?

Is it historical narrative, or reverence for nature, or song and fu literature, or even ethical education, religious ethnicity, or even folk life? Without a theme, how can you express emotions, and what kind of emotions are you prepared to express?

Is it celebratory, sad, resentful, passionate, or grand and majestic?

Taking a step back, not to mention how brief and incomplete this score is, whether it is possible to translate enough dance postures and actions to support a work in two or three months. Even if it could be translated, if there is no theme to support it, how would you integrate it?

The so-called Lüyaowu refers only to the type of dance, classified according to dance movements, methods, techniques, and performance styles, rather than narrative types, and it does not involve themes.

A dance drama is a dance drama; if the theme is not determined and there is no central idea, what kind of dance drama is it called?

This is one point; the second is: just the storyboards, just the design of actions and techniques—what about the dance music?

To put it bluntly: the theme and emotion of a classical dance drama are mainly expressed through music, followed by actions and techniques, and the emotional progression presented by the actor's facial language.

Therefore, no matter which academy or school of choreography a designer belongs to, the first thing to determine is the music.

As it turns out, this kid doesn't even mention it?

To be honest, anyone who knows even a little bit about dance studies could not possibly make such a low-level mistake...

It was not just Li Jingting who did not understand; including Cheng Jia, the two choreographers, the two principals, and even Jing Zeyang, as well as the two students brought by Li Jingting, all wore expressions of disbelief.

It was not just a question of whether it was complete or if the order was correct; the key was the part Lin Sicheng asked Li Jingting to guide: it only included overall structural adjustment and the control of technical details.

This meant: whether it was dance movements, rhythmic changes, spatial positioning, or even the stage, lighting, and costumes, Lin Sicheng was prepared to complete them all himself?

How would he complete it—by copying from this incomplete score?

It was equivalent to going in a circle and returning to the starting point: just translating the score would take at least years; two or three months would probably not even be enough to find supplementary materials.

And this was only secondary; the key lay in the fact that in the entire creative process, translating the score was only the foundation, and the focus was on adaptation.

With a historical span of over a thousand years, the aesthetic of music and dance between the ancients and modern people is worlds apart. Just as Jing Zeyang said: ancient banquet music sounds no different from funeral music to modern ears.

To adapt ancient dances so that modern people can accept them, or even understand them and resonate emotionally, requires several or even a dozen times the time it takes to translate the score.

Therefore, Lin Sicheng's claim that he wanted to adapt ancient scores seemed like a fantasy to those in the know. That is why Jing Zeyang was so daunted, and why General Manager Lan made the decision without a second of hesitation.

It was also for this reason that Professor Li suggested to Lin Sicheng: jump out of this category and broaden the creative space a little...

Staring at the manuscript paper on the table for a long time, Jing Zeyang fluttered his eyelids and poked Lin Sicheng with his finger.

Lin Sicheng turned around subconsciously, and Jing Zeyang blinked hard: "Cousin Lin, Professor Li is definitely more professional; we can ask him for more advice!"

After a pause, Lin Sicheng sighed: he naturally understood what Jing Zeyang meant.

Every trade has its master; Professor Li is surely better than us two amateurs, right?

Of course he is better, and many times better at that, otherwise Lin Sicheng would not have begged Wang Qi Zhi to help him hire an industry-renowned dance design Expert. The problem is, Professor Li has never studied any "Wei Family Music Score" or "Six Yao Score"; no matter how professional he is, he can only sigh at the score.

If he were asked to take the lead, how much of the original "Six Yao" score would remain in the final design?

To tell the truth, at this point, whether he could help Jing Zeyang had become secondary. The key was that Lin Sicheng wanted to take this opportunity to try and see if he could open up a new track.

If "Six Yao" could work, did that mean "Startling Soul Dance" could also work?

And in the "Yuedian Collection" he had in his hands, there were over a dozen such lost Han and Tang Dynasty grand suites like "Six Yao" and "Startling Soul Dance". This did not even count the "Wei Family Music Score" he had unearthed from the Guandu Temple in Yuncheng, or the "Illustrated Buddhist Images of Hu Performers" he had unearthed at Panjiayuan. The former was Ming Dynasty court dance, and the latter was Yuan Dynasty court dance; all were lost ancient scores.

Not to mention a complete restoration, even if he only restored half of them, Lin Sicheng would be an authority on classical Yan Music and court music and dance.