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第二节 舞蹈是生命力的总动员
Chapter2，Dance is the full-scale mobilization of vitality
感觉—认识—能力
Sensation-cognition-ability
=心灵—思维—筋肉
= Mind-Thought-muscles
=潜意识—意识—身体
= subconsciousness-consciousness-body
人类社会的各种人才，通常都是在这三方面之中的某一方面终其一生而已。
All kinds of talents in human society are usually in one of these three aspects for a lifetime.
艺术家终身生活在感觉（心灵、潜意识）的世界里。
Artists live in the world of feeling (mind, subconscious) all their lives.
科技工作者终身生活在认识（思维、意识）的世界。
Scientists and technicians live in a world of knowledge (thinking, consciousness) all their lives.
体育远动员终身生活在体力（筋肉、身体）的世界。
Sportsmen live in a world of physical(muscles,body)world all their lives.
唯有经典摩登舞的舞者，同时生活在三个世界。
Only classical modern standard dancers live in three worlds at the same time.
所以，经典摩登舞的舞者是人类社会最幸福的人。
Therefore, classical modern standard dancers are the happiest people in human society.
最幸福，得付出最大代价：你得成为最全面的人。别人只对付一方面，你必须三方面同时对付。不然，怎么是天之骄子？
The happiest comes at the greatest price: you have to be the most comprehensive person. Others only deal with one side, you have to deal with three at the same time. Otherwise, how is the pride of heaven?
很多人是这样说的：“我们只不过是娱乐娱乐，休闲而已，就算有点志气的人，也不过是想减减肥，让体形好看一点吧。哪里管得到你说的那么多啊。”
Many people say this: "We are just entertainment, leisure, even a little ambitious people, but also want to lose weight, let the body look better. No matter how much you say.”
经典摩登舞是宝山，进山的人是带着各种目的来的。
The classic modern standard dance is mountain with treasures, and the people who enter the mountain come for various purposes.
经典摩登舞是大海，下海的人是带着各种目的去的。
The classic modern standard dance is the sea ,people who go to the sea with a variety of purposes..
在山下转悠转悠，找棵树刻上到此一游就走人，在海边把鞋打湿或者脱掉鞋袜卷起裤腿在沙滩上踩踩水，拾几个贝壳就回家。这样的人过半数。
Roaming around the hill, finding a tree to make a mark and then leave, wetting shoes or taking off shoes and socks, rolling up trousers and treading water on the beach, picking up a few shells and going home. There are more than half of such people.
另外半数的人，开始的时候是有雄心的，他们要攀登，要远航，但是许多人登山还没登上半山腰，航海还没进入深海，就退回去了。有许多人不肯退回去，在那里坚持但是许多年过去了，老是在半山腰转悠，仰望山峰彩云缭绕，，风光无限，心痒难熬，却再也上不去了。
The other half were ambitious at the beginning. They wanted to climb and sail far. But many climbed the mountain before they reached the upper half of the mountain and went back, before the voyage entered the deep sea. Many people refuse to go back and insist on it, but many years later, they are always wandering around the hillside, looking up at the clouds around the mountains, the scenery of boundless facination ,there hearts itching, but they can't go any farther.
退回去的人们，和虽然坚持却进展不大的人们，除了意志不够顽强和身体条件局限等等原因之外，有一个重要原因就是对于经典摩登舞是心灵—思维—肌肉的综合体缺乏足够的认识，总是把注意力局限于单纯的技术方面。
In addition to the lack of tenacity and limitation of physical condition, there is an important reason for those who have returned and those who have insisted on while making little progress. The reason is that they lack sufficient understanding of the classical modern standard dance as a complex of mind-thought-muscle, and always confine their attention to simple technical aspects.
我说过，在艺术活动中，技术是不可能脱离了感觉和感受而孤立存在的。初学者不妨把注意力集中于技术方面，如果你学习和练习摩登舞已经在五年以上，而你如果感觉进展不大。或者初学时期进展大，入门之后就渐渐停滞不前，我建议你在技术之外去找原因。
As I said, in artistic activities, technology cannot exist in isolation from feelings and experiences. Beginners might as well concentrate on technology. If you have been studying and practicing modern standard dance for more than five years, and you feel that you are not making much progress. Or the beginning of school is progressing rapidly, and it will stagnate after crossing the threshold. I suggest you look for reasons outside of technology.
其实跳舞的人是最重视感觉的，他们开口就是感觉嘛。不过，假如你具体一点深入一点追究一下他的感觉，即使他能够对你以诚相待，十有八九你会落空。除了笼统地说一个感觉之外，他是没有下文的。或者，说到感觉，仍然局限于具体的技术层面，说来说去还是技术。实在要深入一点，谈点艺术感觉，只好说：洋气啊，帅气啊，好爽啊……
可见重视感觉不见得就懂感觉。
Actually,the dancers care most about feelings.Their first words is “feel”when talkig.However, If you go a little deeper into his feelings, even if he treats you with sincerity, chances are that you will fail. Apart from a general sense, he has no following. Or, when it comes to feeling, it's still limited to the specific technical level, to say the technical level.At most,if they have to go deep to talk about some artistic feelings,they will only say:Western style,handsome,amazing…
So,It can be seen that attaching importance to feeling is not equal to understanding it.
感觉这东西是需要加以研究的。
The feelings needs to be stuied.
而且，除了极其个别的天才人物之外，即使很聪明的人，也不能时时刻刻、时时处处把心灵的感觉和身体的动作非常直接地联系起来，而完全不靠一点思维的帮助，认识的帮助。
如果你真是一个舞蹈天才，就是说，你的感觉和感受能力极其发达，发达到根本不需要想起，“从来不需要想起”，那么你也许可以例外。伊莎多拉. 邓肯该是稀世少有的舞蹈天才吧？可是她这能跳那种不收约束的自由舞蹈，就连比摩登舞自由得多的芭蕾舞她都受不了，跳不了，摩登舞不要了她的命才怪。
Moreover, apart from very few talented people, even very smart people can't connect the feelings of the mind and the movements of the body very directly from time to time and everywhere, without any help of thinking or understanding.
If you're really a dancing genius, that is to say, you're so developed in feeling and experience that you don't need to think about it at all, "Never need to think about it", then you may be exceptional. should Isadora Duncan be a rare dancing genius? But she could only dance the free dance without restraint. She could not stand ballet, which is much freer than modern stanard dance. It would be strange that modern standard dance did not take her life if she tried it.
摩登舞和其他舞蹈的一个非常重要的区别就在于：其他舞蹈都没有像摩登舞一样对于一举一动都有严格严密的规定。在摩登舞中，全身上下任何一个地方，任何细节都是有规定的，都不允许随便乱来的。
但是机器人却跳不了摩登舞。假如能够研制出非常精细的全自动机器人，给它编制出华尔兹的舞蹈程序，即使不要求男机器人和女机器人共舞，退一步只要求独舞，也还是不行的。因为，虽然在摩登舞中任何细节都有规定，但是这些规范化的动作却必须是由活生生的人满怀激情带着对音乐的感受来做。
A very important difference between modern standard dance and other dances is that other dances do not have the same strict rules for every move as modern standard dance. In modern standard dancing, there are rules in every part of the body, and no details are allowed to come randomly.
But robots can't dance modern standard dance. If a very fine fully automated robot can be developed and a waltz dance program can be programmed for it, even if it does not require male and female robots to dance together, taking a step back and only asking for Solo dancing,it would be not competent. Because, although there are rules for any details in modern dance, these standardized movements must be done by living people with passion and feelings for music.
之所以我这么热爱摩登舞，正是因为它既是理性的又是感性的，而且是理性和感性高度结合、渗透在每一个动作之中。这种事情对我来说是在适合也没有了。这种事情能够把我的优势发挥到淋漓尽致。
The reason why I love modern standard dance so much is that it is both rational and perceptual, and it is the combination of reason and perception that permeates every movement. There is nothing else suiting me so much. It can give full play to my advantage.
非务虚不可，否则是没有前途的，除非你不打算登上山顶。
苏东坡：“腹有诗书气自华。”
胡宗翰：“心中有云烟，脚下有鬼神。”
诗人奚静之写到：“你把手臂指向月亮。”
我们经营手臂，是为了让人们通过我的手臂的引导，看见我那美丽的月亮。许多人只经营他的手臂，却不去把他的月亮搞好。人家要看的是月亮，不是你的手臂。
我们苦练舞蹈究竟为了什么？是为了把心中锦绣外化出来让别人看见。你心中没有锦绣云烟，人家可以称赞你的技艺高超，可以为你拍掌叫好，你休想感动人心，触动灵魂。
用舞蹈的技术来展示舞外美景。舞外无美景的人技术再好也是不可能打动人心的。
我喜欢观察一个人在不跳舞时候的神志和言行举止。非常遗憾地发现为数不少的高手，在跳舞的时候几乎无懈可击，而一旦不跳舞的时候，哪怕仅仅是从舞池的这一点走到另一点，就那么几步，腰也塌了，背也驼了，和他跳舞的时候判若两人。这样的人舞蹈中很难会有什么动人的表现。
一个素质低劣的人，一举一动无不流露出他的低劣。这样的人要是能够学好摩登舞，那才是咄咄怪事。
You must develop your feelings.There is no future unless you don't intend to climb to the top of the mountain.
Sudongpo:”The temperament will be elegant with poetry and opus in the belly.”
Huzonghan:”Clouds and mist in your mind will make you powerfull with ghosts and gods at your feet.”
The poet Xijingzhi:”You pointed the moon with your arms.”
We run arms so that people can see my beautiful moon through the guidance of my arms. Many people only manage his arms, but not his moon. People want to see the moon, not your arm.
What are we practicing dancing hardly for? In order to externalize the beauty of the heart for others to see. You don't have any beautiful clouds in your heart. People can praise you for your superb skills and applaud you. You can't imagine touching people's hearts and touching souls.
Use dance techniques to show off-the-dance beauty. It is impossible to impress people with no beauty outside dancing skills.
I like to observe a person's mind and behavior when he is not dancing. It's a pity to find that a lot of good dancers are almost impeccable when dancing, but once they don't dance, even if just taking a few steps to go from one point of the dance floor to another, they will collapse their waists and hunch their backs.They are totally different with what they are in dancing. It is difficult for such a person to have any moving performance in dance.
A man of inferior quality shows his inferiority in every move. It would be strange if such a person could learn modern standard dance well.
韵味基于柔韧性
气韵生动是舞蹈的最高境界，韵味基于柔韧性，柔韧性源于丰富到溢出，丰富到足以挥霍而且需要挥霍，这种人才有柔韧性可言，才有韵味可言。缺乏柔韧性的人，一切姿势和动作总是死板僵硬的，总是过头，过火，做作，谈不上分寸感，没有缓冲过渡，一切表现浮在表面，没有从内部焕发出来的感觉。这种人的一切舞姿和动作哪有什么韵味可言。
Charm is based on flexibility
Vivid charm is the highest realm of dance. Charm is based on flexibility. Flexibility originates from richness to spillover, rich enough to waste and need to waste. This kind of talent has flexibility to speak of, as well as charm . Lack of flexibility, all postures and actions are rigid and stiff, always excessive, overdone, artificial, not to mention the sense of proportionality, no buffer transition, all performance floating on the surface, no sense of shining from the inside. What charm does this person have in all his dances and movements?
柔韧性是一个人全部人格全部精神和肉体全部先天条件和后天学养的总表现，总判据。柔韧性说明一切，柔韧性就是一切，柔韧性在潜意识里，不在头脑里。成天只知道理论，只知道争辩，只知道技术，就是不肯加强后天的学术营养，结果只能是先天不足，后天失调。这种人哪怕他每天苦学苦练八小时，也等于零。
Flexibility is the general expression and criterion of a person's all personality, all spiritual and physical， innate conditions and acquired learning and upbringing. Flexibility shows everything. Flexibility is everything. Flexibility is in the subconscious, not in the head. All day long, they only know theory, debate and technology. That is to say, they refuse to strengthen the acquired academic nutrition. The result is congenital deficiency and acquired maladjustment. This kind of person even if he studies hard for eight hours every day, gets zero.
光练舞内功夫，沦为单纯的体育运动，筋骨强健却没有优雅风韵和万千仪态。光练舞外功夫，沦为书斋中的学者和匠人，心气高灵魂没却不能以身体来闪光。唯有两者结合才能成为一个美丽的人。这是人类所能有的最高境界的生活。
天赋就是柔韧性。
Only practicing the inner skills of dancing is reduced to a simple sport, strong in muscles and bones, but without elegant charm and thousands of postures. Only practicing extracurricular skills makes a scholar and craftsman in his study. He has a high spirit but can not shine with his body. Only a combination of the two can make a beautiful person. This is the highest level of human life.
Genius is flexibility.
《性灵干凅的人学不了舞蹈》序言
《The poor in spirit can not learn dance》preface
数不清的古今中外文艺理论家都论述过性灵是艺术的命根子。缺乏性灵的人可以搞别的，就是不能搞艺术。何况舞蹈是艺术的最高峰。
Countless literary and art theorists at home and abroad have discussed that spirit is the lifeblood of art. People who lack spirits can do something else, that is, they can't do art. Besides, dancing is the peak of art.
成都市有一个跳舞的男人人称大老李，是第一批学习摩登舞的人中的一员。他说过这样一句话：“跳舞需要天赋。天赋的作用占百分之九十九。我劝那些缺乏天赋的人不要学摩登舞，白折腾。”
大老李还有一番话是关于柔韧性的。他说看一个人的舞最根本就是看他的柔韧性。他说：“成都市跳摩登舞的人，女的还有几个好的，男的一个也没有。”他说这些话是在我刚开始学摩登舞的那些日子。有一天我正在上课，他跑来旁观，看了一会儿把我拉出来，硬要我中断上课听他教训。他滔滔不绝地讲了一个多小时，从头到尾就两个单词：天赋，柔韧性。然后他重复几次对我说：“你不错，你不错，我看得出来你是好材料，多下点功夫是值得的。由于他把我硬生生的揪出来给我 “上课”，我的老师很生气，我说有什么办法，人家也是好心嘛。
十八年过去了，现在回想起大老李讲了一个多小时的那两个单词：天赋，柔韧性，刻骨铭心的感到他说得太对了，太精辟了。
here is a dancing man named Dalao Li in Chengdu. He is one of the first people to learn modern dance. He said something like this: "Dancing requires talent. Genius accounts for ninety-nine percent of all functions. I advise those who lack talent not to learn modern standard dance,it is just wasting time.”
Big Lao Li has another remark about flexibility. He said that the most fundamental thing to see a person's dance is his flexibility. He said: " Among Chengdu City modern standard dancers, there are a few good female dancers, and none of the men." He said these words in the days when I began to learn modern standard
dance. One day when I was in class, he came to look on and pulled me out for a while, insisting that I interrupt class to listen to his lessons. He talked for more than an hour, with two words from beginning to end: talent and flexibility. Then he repeated to me several times: "You are good, you are good, I can see you are good material, more effort is worth it. My teacher was very angry because he pulled me out and gave me a lesson. I said what I could do, and people were kind.
Eighteen years later, I recall the two words that Big Lao Li had spoken for more than an hour: talent, flexibility, and a deep feeling that he was right, very incisive.”
我反复论述柔韧性具有精神和肉体两重属性。我也在《艺术家的本质》系列论文中论述过”丰富是一切美德之源”这样一条胡宗翰定理，而且论述过丰富并不是芜杂，纯粹也并不是单调。
I have repeatedly discussed flexibility has both spiritual and physical attributes. In my series of papers on the《Essence of the Artist》, I have also discussed the Hu Zonghan's theorem that "richness is the source of all virtues", and that it is not miscellaneous or monotonous.
尼采论述过所谓天赋，实际上就是继承了家族和民族的世世代代的精神和肉体的遗产，因而具有丰富性。这一观点，也进一步证明了“丰富是一切美德之源”这条胡宗翰定理。就是说，天赋优异的人是他的家族和民族的丰富性的缘故。
天赋较差的人，继承的丰富性比较薄弱，也就是比较贫乏，尤其需要后天加强精神文化的积累，通过丰富多彩的艺术熏陶优化自己的潜意识。我在大量文章中一贯坚持舞内功夫和舞外功夫双管齐下的方针。大多数朋友对此都很理解。然而让我遗憾的是一直有一些人不能落实，一旦我加强舞外功夫，他们就认为离题了，甚至连我对表演艺术的介绍和欣赏，他们也只愿意局限于范围很狭窄的和摩登舞有直接关系的芭蕾，似乎除了芭蕾，其他表演艺术就不是营养，他们只看见不同表演艺术 之间那些表面和具体技术方面的区别，而看不见不同表演艺术骨子里的深层的一致性：柔韧性！他们以为吃牛肉就会变成牛，吃猪肉就会变成猪，吃鸡肉就会变成鸡 ，他们想变成天鹅就只能吃天鹅肉，结果什么也没变成，变成了尸体。
性灵干凅的人学不了舞蹈。
Nietzsche has discussed the so-called genius, in fact, inherited the spiritual and physical heritage of the family and the nation from generation to generation, so it is rich. This viewpoint further proves Hu Zonghan's theorem that "richness is the source of all virtues". That is to say, gifted people are the cause of the richness of his family and nation.
Those who are less gifted inherit less richness, that is, they are poorer. Especially, they need to strengthen the accumulation of spiritual culture and optimize their subconscious through rich and colorful artistic edification. In a large number of articles, I have consistently adhered to the principle of combining both inside and outside dancing. Most of my friends understand this very well. However, I am sorry that some people have been unable to implement it. Once I intensify my extra-dance efforts, they think it is off the point. Even when I introduce and appreciate the performing arts, they are only willing to confine themselves to the narrow range of ballets directly related to modern dance. It seems that other performing arts are not camps except ballet. Nurture, they only see the surface and specific technical differences between different performing arts, but can not see the deep consistency of different performing arts: flexibility! They think that eating beef will become cattle, and eating pork will become a pig. If they eat chicken, they will become a chicken. They want to become swans, they can only eat swan meat.They gain nothing in the end but turnging into a corpse.
The poor in spirit can not learn dance.
2007-04-15 23:36 发布者：沸腾的思想
那么你的知识面到底有多广呢？你的知识结构是怎样的呢？或者，你的知识结构是以丰富的生活经验为基础的吗？
你认为一个年轻人超过你的最好方式是什么呢？或者我要超过你要经历怎样的磨练呢？
2007-04-15 23:36 Publisher: Boiling Ideas
So how broad is your knowledge? What is your knowledge structure? Or is your knowledge structure based on rich life experience?
What do you think is the best way for a young man to surpass you? Or do I have to go beyond what kind of discipline you're going to experience?
宗翰回复2007-04-16 05:44
在文艺方面达到相当造诣的人，在自然科学方面几乎是痴。徐迟的悲剧就在于他在自然科学方面几乎是白痴。
自然科学知识不足去探索人生，是非常危险的。这种人动不动就神秘兮兮的，把一些平常事也看得神秘兮兮以为又是什么奇迹，又要怎样怎样了。固然科学是有边界的，在科学的边界之外的确是神秘地世界。自然科学知识不足的人总是把神秘地世界扩大化，一天到晚犯神经病。
Those who have attained considerable attainments in literature and art are almost idiots in natural science. Xu Chi's tragedy is that he has almost idiots in natural science.
It is very dangerous that the knowledge of natural science is not enough to explore life. This kind of person is always mysterious, and sees some ordinary things mysteriously as what a miracle it is and what it is going to be like. Although science has boundaries, beyond the boundaries of science there is indeed a mysterious world. People with insufficient knowledge of natural science always enlarge the mysterious world and commit neurosis all day long.
尼采的悲剧也在于他在自然科学方面几乎是白痴，以及身心不够强健。尼采尚且如此，徐迟尚且如此，轮番上演的这气功那气功，这大师那大师，这易经那八卦，全是自然科学的白痴们在那里胡闹骗人。
Nietzsche's tragedy also lies in his almost idiot in natural science and his lack of physical and mental strength. Nietzsche is the so,Xu Chi is the same. The successive performances of vairies ofqigong, the master of Qigong and the master of Yi Jing and Ba Gua are all fools of natural science who lie there.
在自然科学方面达到相当造诣的人，在文艺方面也达到相当造诣的，倒还有几个。但他们的共同点就：他们从事的自然科学和热爱的文艺相互之间没关系，是两张皮。
There are still a few people who have attained considerable attainments in natural sciences and in literature and art. But what they have in common is that the natural sciences they are engaged in and the literature and art they love have nothing to do with each other. They are two skins.
只有胡宗翰在自然科学而且在还有工程技术方面都达到相当造诣，在文艺方面也达到相当造诣，而且把自然科学和工程技术知识具体和深入的应用到他的舞蹈事业中去了。这在人类是没有先例的。人类的舞蹈家和舞蹈研究者没有任何人在自然科学知识方面是胡宗翰的对手。
Only Hu Zonghan has attained considerable attainments in natural science, engineering technology, literature and art, and has applied the knowledge of natural science and engineering technology to his dance career concretely and deeply. There is no precedent for this in humankind. No human dancer or dance researcher is Hu Zonghan's opponent in natural science knowledge.
而且在自然科学和工程技术这样广阔的汪洋大海中，包括哪些最优秀的科学家和工程师在内，都是毕生局限于一两个狭窄的专业。唯有胡宗翰横跨了许多风马牛不相及的相隔千山万水的专业，这些专业连基础理论都是不相通的。
而且胡宗翰还有大量的丰富的工程实践经验。
And in the vast ocean of natural science and engineering technology, including which of the best scientists and engineers, are limited to one or two narrow majors for life. Only Hu Zonghan has crossed many majors that are not related to each other. These majors are not related to the same basic theory.
In addition, Hu Zonghan also has a lot of engineering practice experience.
我如此宽广和深厚的知识积累，客观上是中国几千年不遇的历史巨变，让我成了一个跨时代的人，前后两个截然相反的的时代，具有截然相反的机会，都让我抓住了。
我的同龄人为什么没有抓住这些几千年不遇的机会呢？一是他们的天赋不够，二是他们不肯在世俗利益方面作出牺牲。要知道，世俗利益并不和你的知识文化的高度成正比。在绝大多数情况下，水平越高反而越被埋没。获得世俗名利所需要的的知识在我看来是少的可怜的，而更重要的是人际关系和在世俗社会左右逢源的那一套虚伪地“本事”。大多数人都只把百分之几的才智用于知识的积累，而把百分之九十几的才智用于学习和操练儒家那一套鬼把戏去了。
I am so broad and profound in knowledge accumulation, objectively thousands of years of unprecedented historical changes in China, let me become a trans-era person, two completely opposite times, with completely opposite opportunities, are all seized by me.
Why haven't my peers seized these rare opportunities for thousands of years? First, they are not gifted enough. Second, they are unwilling to sacrifice their secular interests. You know, secular interests are not directly proportional to the height of your knowledge and culture. In most cases, the higher the level, the more buried it is. The knowledge needed to acquire secular fame and wealth seems to me to be poor, but more importantly, the hypocritical "ability" of interpersonal relations and common sources in secular society. Most people only use a few percent of their intelligence for the accumulation of knowledge, and more than ninety percent of their intelligence for the study and practice of the Confucian tricks.
的确也有为数不少的人把主要精力用于知识方面，但是收到专业分工的严格限制，不可能像我一样横跨许多相隔千山万水的专业，因为职称啊工资啊这些切身利益不受只看知识水平，更重要的因素除了人际关系还要熬年头，谁敢一会儿天上一会儿地下乱跑啊，到了评职称升工资的时候，到底算你天上的年头还是算你地下的年头？所以谁都得乖乖的死守一个专业直到退休，个别人换了专业然后也得继续乖乖的。
Indeed, there are quite a few people who devote their main energy to knowledge. However, due to the strict limitation of professional division, it is impossible to cross many different majors like me, because professional titles, salaries, these vital interests are not based solely on the level of knowledge. More importantly, besides interpersonal relationships, working time are needed.Who Dare to fly in the sky a period and then run on the ground in another period?When it comes to job evaluation and salary promotion, is it based on your age in the sky or your age in the ground? So everyone has to obediently stick to a major until retirement, and some people change their major and then stick to it obediently.
我说老子天下第一，是含着眼泪说的。
我说我的真诚是世界第一，不是开玩笑，不是幽默，我就是认为全人类找不出第二个象我这么真诚的人。
I said Lao Tzu was the first in the world, with tears in my eyes.
I said that my sincerity is the first in the world, not joke, not humor, I just think that the whole mankind can not find a second person as sincere as me.
要在知识结构和渊博方面超过我，不可能。因为任何人都不可能离开他的时代，造成我的知识渊博的时代条件，你们不具备。
没有必要追求超过我，奉送你四个字：真诚热情。只要你毕生坚持这四个字就足够了。
t is impossible to surpass me in knowledge structure and profound knowledge. Because no one can leave his era, and you do not have the conditions of the era that made me knowledgeable.
没有必要追求超过我，奉送你四个字：真诚热情。只要你毕生坚持这四个字就足够了。
There is no need to pursue surpassing me , I give you four words: sincere enthusiasm. As long as you stick to these four words all your life, that's enough.
和另外一位来访者对话中的胡宗翰答问如下：
Hu Zonghan answered the following questions in a conversation with another visitor:
就你涉及到的三个要点，我说一下。
Let me talk about the three main points you have touched upon.
（1） 陈逸飞之死揭示的教训，在于有一次沉痛的证实了一个胡宗翰定理：单纯的劳累是累不死人的，应激状态的劳累才可能累死人。真正的杀手是应激状态。我关注过陈逸飞之死的各种报道和说法，认定他的死亡是上述胡宗翰定理的又一个沉痛例证。陈逸飞是个非常有才华的优秀画家，遗憾的是他不够纯粹，特别实在后期明显不纯粹。
(1) The lesson revealed by Chen Yifei's death lies in a painful proof of Hu Zonghan's theorem that simple fatigue is not fatal, and fatigue in a stress state may lead to death. The real killer is stress. I have paid close attention to all kinds of reports and statements about Chen Yifei's death, and concluded that his death is another painful example of Hu Zonghan's theorem. Chen Yifei is a very talented and excellent painter. Unfortunately, he is not pure enough, especially in the later period.
佛家的核心要义是心无挂碍，这个的确极为深刻和精辟。
问题如何做到心无挂碍，佛家和一切宗教一切哲学各门各派的共同办法是修心养性，是说教，是以忍耐或麻醉逃避现实人生，唯有胡宗翰是直面现实人生而且以生命力总动员的生活站在现实人生之中而又是现实人生之上从而实现心无挂碍的。
The core of Buddhism is that the mind is free, which is really profound and incisive.
The common approach of Buddhism and all religious philosophies is to cultivate one's mind, to preach, to escape from real life with tolerance or anesthesia. Only Hu Zonghan is facing the real life directly and standing on the real life with the life force mobilized, and thus realize free mind.
(2) 纯粹的艺术家是越来越少了，因为世俗生活的诱惑力的确是巨大的。能够抵御那些诱惑的艺术家非常罕见。我的切身体会是如果世俗生活的各种诱惑不能被艺术活动的过程本身的幸福体验所代替和压到，那么就需要以金钱去购买世俗生活的必要性。这是导致艺术家不能保持他的纯粹性的根本原因。如果我继续是科学技术专家，或者改为当作家，当画家，等等，由于那一切活动的本身不会获得能够代替和压到世俗生活的幸福体验，因而仍然需要以金钱去购买世俗生活，我也不能保证终身是一个纯粹的科学技术专家，纯粹的作家，纯粹的画家，也不得不在根本动机和原始动力之中渗入相当程度的交易成分。
(2)There are fewer and fewer pure artists, because the temptation of secular life is indeed enormous. Artists who can resist temptation are rare. My personal experience is that if the temptations of secular life cannot be replaced and suppressed by the happiness experience of the process itself of artistic activities, then it is necessary to buy secular life with money. This is the fundamental reason why the artist can not maintain his purity. If I continue to be an expert in science and technology, or become a writer, a painter, and so on, because the activities themselves will not be able to obtain a happy experience that can replace and suppress the secular life, so I still need to buy secular life with money, and I can not guarantee that I will be a pure expert in science and technology all my life, pure Authors, pure painters,I also have to infiltrate a considerable degree of trading elements into the fundamental motive and original motive.
我的人生阅历和人生探索最终导致的胡派摩登舞，是人类的全部活动之中唯一能够取代世俗生活的生活方式。与其说胡宗翰是多么高尚，不如说胡宗翰找到了世俗生活之外更幸福的生活方式。这样一来，我就能够终身保持艺术家的纯粹性。
My life experience and exploration eventually led to Hu-style modern dance, which is the only way of life that can replace the secular life in all human activities. Hu Zonghan finds a happier way of life beyond the secular life rather than how noble he is. In this way, I can maintain the purity of the artist for life.
(3)徐迟自杀的教训是自然科学不足的人探索人生非常危险。
胡宗翰是中国历史上唯一的真正学贯中西而且身心强健而且风度翩翩的优美男人（是否是一个身心强健而且风度翩翩的优美男人关系到他能不能探索人生的秘密），所以能够前无古人的揭示人生的根本奥秘，而且在中国千年不遇的历史机遇中找到胡宗翰学派摩登舞这种人类最美好最幸福的生活方式。
(3) The lesson of Xu Chi's suicide is that it is very dangerous for people with insufficient natural sciences to explore life.
Hu Zonghan is the only really beautiful man in Chinese history who has learned Chinese and Western knowledge, strong body and mind, and elegant demeanor (whether he is a good man with strong body and mind and elegant demeanor is related to whether he can explore the secret of life), so he can reveal the fundamental mystery of life unprecedented. And in China's historic opportunity of a thousand years,he finds Hu shool modern dance as the best and happiest way of human being life.
胡派摩登舞和其他舞蹈和其他摩登舞的本质区别在于它不追求竞争，不介入竞争，他不说娱乐，不是健身，不是社交，也不是原始本能的两性相悦。它是什么？是把舞蹈建立在人格基础上的艺术活动。
The essential difference between Hu-style modern dance and other modern dances is that it does not pursue competition and does not intervene in competition. It is not entertainment, fitness, social interaction, or primitive sexual pleasure. What is it? The dance is an artistic activity based on personality.
任何真正的艺术都是以人格为基础的，但是人们对此只当成是说教和套话对待，极少有人对此当真。胡派摩登舞由于在技术和训练体系中具体地贯彻了“生命力总动员”这一原则，离开了人格提高的动态追求就不可能学习和练习胡派摩登舞。胡派摩登舞这种正宗艺术性从根本上决定了它不可能大众化。
Any real art is based on personality, but few people take it seriously，just as a homily or a stereotype. Because Hu style modern dance has implemented the principle of "general mobilization of vitality" in the technical and training system, it is impossible to learn and practice Hu style modern dance without the dynamic pursuit of personality improvement. The authentic artistry of Hu style modern dance fundamentally determines that it can not be popularized.
大人格和小人格对幸福的理解是不同的。说摩登舞（华尔兹、探戈、狐步舞、快步舞、维也纳华尔兹）是贵族舞蹈，其实是说它是大人格的舞蹈。以小人格的境界和对幸福的理解决不能认识和掌握这种舞蹈，这就是事情的核心所在。
Big personality and small personality have different understandings of happiness. To say that modern dance (waltz, tango, fox-trot, trot, Vienna waltz) is noble dance, in fact, it is a dance of great personality. With the realm of small personality and the understanding of happiness, you can never understand and master this dance, which is the core of the matter.
人的灵魂是在音乐舞蹈中，不在文字中，不在政治中，不在科学技术中，不在绘画中，不在体育运动中，不在别墅和三妻四妾中，不在美食中，不在滔滔雄辩中。
人的灵魂在音乐舞蹈中，不在其他一切之中。
万般皆下品，唯有舞蹈高。
The soul of man is in music and dance, not in words, not in politics, not in science and technology, not in painting, not in sports, not in villas and wives and concubines, not in food, not in eloquence.
The human soul is in music and dance, not in everything else.
Everything is inferior, only dancing is high.
脱离肉体去提升灵魂，脱离灵魂去提升肉体，都达不到目的。宗教脱离肉体去提升灵魂，结果不能提升灵魂。书斋生涯和官场和商场生涯因为脱离肉体也是全部有害。体育运动脱离灵魂去提升肉体，如果说灵魂参与那是竞争意识，有弊无利，而且没有激素分泌的单纯身体锻炼也无意义，体育运动员缺乏灵气并不完美，而且不能长寿。
To ascend the soul separated the body, to ascend the body separated the soul, can not achieve the goal. Religion separates the body to ascend the soul, and as a result it cannot ascend the soul. Studying and officialdom and business careers are all harmful because they are separated from the body. Sports breaks away from the soul to improve the body. If the soul participates in sports, it is a sense of competition. It is harmful without advantage. Moreover, it is meaningless to exercise without hormone secretion. Sportsmen lack spirituality, which is not perfect, and can not live long.
脱离男人去提升女人，脱离女人去提升男人，都达不到目的。性激素是生命激素，是生命活力之源泉。
灵魂和肉体是否结合，男人和女人是否结合，是考察人类一切活动是否有效的判据。
It is impossible to promote a woman without a man, or a man without a woman. Sex hormone is the life hormone and the source of life vitality.
Whether the soul combines with the body and whether men and women combines are the criteria for examining the validity of all human activities.
芭蕾舞是肉体和灵魂共同提高的最高境界。它有两个缺点：芭蕾舞运动量过大，对长寿不利。芭蕾舞男女互补程度不如胡宗翰学派摩登舞。
胡宗翰学派摩登舞是人类各种活动中达到优美幸福和长寿的最佳活动，是人的最佳生活方式。
Ballet is the highest level of physical and spiritual improvement. It has two shortcomings:
Ballet’s too much exercise is bad for longevity. Ballet men and women complement each other less than Hu Zonghan School of Modern Dance.
Hu Zonghan School of Modern Dance is the best activity to achieve beautiful happiness and longevity in human activities, and the best way of life.
性灵是什么？
空灵说：
自从看了张慧芳的《玉堂春》，脑海中经常浮现她的身影，这两天练习的时候，也不例外，特别在练习方步和维亚纳华尔兹时，感觉真是好极了，就是注重了身体的柔韧和自身的韵律，不能仅仅是惯性和控制，还要有内在的气息和美好的感觉，以大带小，身体没有动静决不能先动腿脚，身体没有到位决不能有任何自主的动作，动作在身体躯干的引领下去完成，气息要连贯，动作要优美，以气带身，以身带形，带动作。总之，那种感觉是美好的，我要多看张慧芳。
What is spirit？
Kongling said:
Since seeing Zhang Huifang's 《Yutangchun》, her figure has often appeared in my mind. During these two days of practice, it is no exception. Especially when practicing Fangbu and Viena Waltz, I feel very good. I pay attention to the flexibility of the body and its own rhythm, not only inertia and control, but also inner spirit and good feeling, the bigs bring the smalls, without body movement ,you must not start legs and feet. Without body position,you must not have any autonomous action, action in the body under the guidance of the trunk to complete, breath coherence, action should be beautiful, with spirit to lead the body, the body shape, the action. In short, that feeling is good, I want to see more of Zhang Huifang.
宗翰回复如下：
这些体会是何等的珍贵！有性灵的人所见所闻无不是营养。
无性灵的人哪怕来到了百花园也是一无所见，一无所闻。
空灵这些体会很说明问题啊。
Zonghan answered in the following:
How precious these experiences are! What a spiritual person sees and hears is nothing but nutrition.
The immortal man is blind and unheard of even when he comes to a flowers garden.
The experience of Kongling tells us a lot.
“不能仅仅是惯性和控制，还要有内在的气息和美好的感觉，”这是针对某些人的混账说法的。无性灵的人就是尸体，尸体看张慧芳就只看见“眼神的舞蹈，脚尖的舞蹈，头的舞蹈，指尖的舞蹈”，只看见和摩登舞“特定的情感”没关系的另外的情感。
"It's not just inertia and control, it's also a sense of inner breath and inner beauty," is a mockery for some people. The non-spiritual person is the corpse. When looking at Zhang Huifang, the corpse only sees "the dance of eyes, the dance of tips of feet, the dance of head, the dance of fingertips", and other emotions that have nothing to do with the "specific emotion" of modern dance.
有性灵的人哪怕来到沙漠，也有触动有收获，这种人无所不见，无所不闻，触处皆是药石，所见无不珍闻。这种人一天到晚无不处于激动之中，这种人以自我为中心，全世界的人和事都是为我而来的，都是因为我的需要才产生出来的，就是因为胡宗翰需要张慧芳，才有了张慧芳的。鬼都不敢不为胡宗翰服务。
Spiritual people, even when they come to the desert, have touches and gains. Such people can see and hear everything, touch all medicines and stones, and treasure everything they see and hear. This kind of person is always in a state of excitement all day long. This kind of person is self-centered. People and things around the world come for me. It is because of my needs that Hu Zonghan needs Zhang Huifang to have Zhang Huifang. The ghosts dare not fail to serve Hu Zonghan.
有人说内在的气息和美好的感觉太抽象，人家空灵接着就具体了：
Some people say that the inner breath and good feelings are too abstract, and then Kongling said it concretely:
“身体没有动静决不能先动腿脚，身体没有到位决不能有任何自主的动作，动作在身体躯干的引领下去完成，气息要连贯，动作要优美，以气带身，以身带形，带动作。”
“Without body movement ,you must not start legs and feet. Without body position,you must not have any autonomous action, action in the body under the guidance of the trunk to complete, breath coherence, action should be beautiful, with spirit to lead the body, the body shape, the action.”
“身体没有动静决不能先动腿脚!”
“ Without body movement ,you must not start legs and feet!”
尸体不能理解这些，尸体不需要学习张慧芳。
The corpse can't understand this. The corpse doesn't need to learn from Zhang Huifang. |
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发表于 2022-12-28 12:34:37