我一直认为,中国当代舞蹈艺术事业的发展,以编导而论,大约可以简略地分成三代。第一代,是以吴晓邦、戴爱莲、贾作光为代表。第二代,以舒巧、门文元、李承祥、马跃等为代表,这是实力雄厚而人数众多的一大批人;第三代编导,佼佼者中有张继钢、陈维亚、丁伟、赵明、王玫等人的名字,这是一些“文革”之后成长起来并支撑着当代舞蹈艺术创作舞台的人,从年龄上看,他们已经或正在走人中年人的阶段。当然,在他们之后,又已经有了新鲜的创作气象,一批二十多岁的年轻人已经毫不客气地向所有的前辈们发起了艺术上的挑战,如张云峰、张元春等。他们或可称作“新生代”? I always think that the development of Chinese contemporary dance art can be briefly divided into three generations according to its guideline. The first generation, represented by Wu Xiaobang, Dai Ailian and Jia Zuoguang. The second generation, represented by Shu Qiao, Men Wen Yuan, Li Cheng Xiang and Ma Yue, is a large group of people with great strength and large number of people. Among the outstanding third generation directors, Zhang Jigang, Chen Weiya, Ding Wei and Zhao Ming , Wang Mei and others, which are some of the people who grew up after the “Cultural Revolution” and supported the stage of contemporary dance art creation. They are, or have been, taking a middle-aged age from the perspective of age. Of course, after them, there has been a fresh creative atmosphere. A group of young people in their twenties have unmoved artistic challenges to all their predecessors, such as Zhang Yunfeng and Zhang Yuanchun. They may be called “new generation”?