中国自先秦时期便出现了《诗经》等“诗、乐、舞”三位一体的艺术表现样式,经历汉唐高峰,至宋元逐渐融入戏曲,此艺术传统以不同形态呈现于舞蹈史上,却从未间断。表演者在表演中如何更恰如其分地呈现“乐舞相融”的古典舞审美方式,笔者结合表演剧目《英台·翩跹》,对此进行分析,总结《英台·翩跹》表演过程中如何将音乐的轻重缓急内化为舞蹈的起承转合,使舞蹈不仅是肢体的运动,更与音乐的情感与形式相契合。一、“乐舞相融”的实质内涵与重要性 Since the pre-Qin period, China has appeared in the style of “trilogy”, “poetry, music and dance,” Trinity art performance style, experienced the peak of Han and Tang Dynasties, Song Yuan gradually into the drama, this art tradition in different forms were presented in the history of dance, but Never stopped. How the performers present a more appropriate way of aesthetic appreciation of the classical dance of “harmony and harmony between music and dance” in the performance, the author combines the performance repertoire “Ying Tai Pinao” to analyze and summarize the performance of “Ying Tai Pinao” in the performance process The emphasis on music is internalized as the starting point of the dance, so that the dance is not only the movement of the body, but also the emotion and form of the music. First, “music and dance blend ” the essence and importance of the substance