Dance Music: Yao Ming
Dance Costume: Deng Lin
Dance Premiere: 1994 Beijing
Premiere Group: Shanghai Dance School
Premiere Performer: Huang Doudou
Won the awards: 1994 won the National Youth In 1994, it won the excellent teaching repertoire award in the National Youth Peach and Lee Cup Dance Competition, and the performers won the first prize for performance; in 1995, it won the first prize for the creation of the third National Dance Competition (single, double and triple dance), and the performers won the first prize for performance; in 1995, it was transformed into a group dance to participate in the Spring Festival Gala of the China Central Television (CCTV), and it won the gold prize for the "People's Most Favorite Program"; in 1996, it won the gold prize for the fourth Shanghai Dance School; in 1996, it won the gold prize for the fourth Shanghai Dance School. In 1996, it won the highest gold medal of Kim Il Sung in the 4th North Korean International Art Festival. Drunken Drum" is one of the classic works of Chinese classical dance for male soloists. With the drum as the main line, the author expresses the true feelings of a folk artist after getting drunk, as well as his persistent pursuit of art and infinite feelings. The work unfolds through three sections: a drunken folk artist who leaps onto a square table, accompanied by the intermittent sound of the drums, and expresses his feelings on the drums, as if he were intoxicated, as if he were in a dream, as if he were intoxicated. Drums are the most sincere emotional support in the hearts of artists, and drums are the material carriers of folk art. Inspiration, drums and gongs ring out, shouts boil over, stirring up infinite feelings in the hearts of artists.
The choreographer and director of Drunken Drums uniquely captured the typical prop of the drum in folk culture, and used it throughout the work, creating a series of movements, such as holding the drum, lifting the drum, resting on the drum, and lifting the drum, etc. The choreographer and director also made a breakthrough in the use of classical drums. The choreographer also made a breakthrough in the basic movement rules of classical dance by incorporating the "leaning on the drum" of the folk dance "Drum Rice-planting Song" and the "cutting step" of martial arts, which skillfully unified the style. This is rare in the style and subject matter of previous classical dance works. In addition, the choreographer also designed an image of pouring out sorrows with wine, playing drums with drunkenness, and expressing emotions through drums. Between seemingly drunk and not drunk, seemingly awake and not awake, when people are drunk and not drunk, and when the form is drunk and the spirit is not drunk, he expresses the despondency in his heart. Especially in the second section of the drum: the dancer sits on the square table, half-supporting his body, fiddling with his arms, seemingly talking to the drum, playing with the drum as self-satisfied. The audience can imagine the rich inner world of the artist from the delicate and appropriate self-indulgent performance of the actors.
The performance of "Drunken Drum" has always been regarded as a touchstone for testing the skills of classical dancers. The dance is known for its difficult technique and high tempo, and at the same time, it is performed in one go on a several-foot-high stage, which can be considered even more difficult, requiring the performers to have outstanding technique and excellent psychological quality. The choreographer did not focus on the complexity of the staging, but deliberately developed the space on the square table and designed the movements and techniques. The choreographer borrowed the high platform technique from the opera, expanding the visual space of the stage and making a new attempt and innovation to the difficult, dangerous and extreme performance style. In the tense, intense and fast rhythm, the dancers sometimes swept the hall to explore the sea in a deformed turn, sometimes walking silk turn, left and right open bow, sometimes double spinning and spinning 360 degrees off the table. The choreographer and director have made the choreography of the technique and the emotional performance of the actors as well as the style of the dance organically, so that the technique is in line with the whole plot and the movement is in line with the needs of the whole character. The whole dance fully demonstrated the talent of the actors and gave the audience an uplifting and fighting feeling. The creativity of Drunken Drum opens up a new way for the creation of repertoire of Chinese classical dance, which is no longer a contemporary portrayal of ancient characters, nor a distorted presentation of opera and dance, nor a stage reproduction of courtly yanle songs and dances, nor a pictorial pursuit of flowers, birds, fishes, and insects, but rather, the classical dance of the elegant culture draws its sustenance from the popular folk culture of folk art, so that the classical dance from the subject to the material has been blended into the elements of the folk dance. The premiere performer of Drunken Drum, Huang Doudou, added color to the work with her superb technique and mature performance, and won several first prizes in important national dance competitions.