Methodology of dance concept
The starting point of dance creation is, first of all, dance conception, how to conceive dance, where to start, and how to master, analyze and dissect one's own conception intention, which is very important.
Dance comes from life. This truth does not need to be explained too much, but it is often ignored in the early stage of dance conception creation. People always imagine out of thin air, always seize the instant influence they have seen on TV and books, so as to frame the embryonic form of their works. But often this kind of works without careful consideration can't stand scrutiny, and it can't stand the bumps and bumps in the creative process. How to better express our thoughts and how to better innovate more works needed by the times, on the road of innovation, we need long-term study and thinking.
First of all, let's introduce the origin of the early embryonic form of the work, and the integration of the way of artistic treatment and personal innovation in the later period:
1. Dance works often touch our lives the most and are the most grass-roots culture, including folk art, hutong culture and humanistic traditions, including street corners in real society.
2. Accumulated inspiration flashes. This is what we often say: the book has its own golden house, and the book has its own Yan Ruyu. Through this process of quantitative change to qualitative change, we can achieve the creative intention that we need to express in our hearts. Through constant observation of a type, such as wind and rain, people have different views on wind and rain. In the drought, wind and rain are a kind of expectation and luck. This may be another phenomenon in the event of a flood. Just like everyone's happiness, it is different. Through the mastery of all kinds of knowledge, analyze the differences and summarize and deepen your own things. At that time, the wind and rain you expressed may not be what we often say, but may have been transformed into something with other characteristics through new thinking, and so on. This is one of the effects of accumulation.
3. Set an example, learn from different people, learn from old experiences and adapt to the new environment, which can not be ignored in the early stage of dance conception.
4. Copying method, by copying other people's artistic products, this change is a development change, a change that has been processed by itself, not one-on-one. By copying a painting, I am not asking you to draw a painting, but asking you to copy what you see as an integral part of your own dance creation, which may also be an important part. We can not only copy pictures, music and sculptures, but also copy sister art. Replication and transformation is not plagiarism, just like Watt's steam engine, but also a technological innovation based on the early steam engine.
In these methods, we often express our individuality, and praising individuality is an extension of creation. Dance works are often different from other works, so we should consider its expression and influence.
The depiction of characters, the depiction of forms, several components of events, the transformation of emotions, the prominence of personality, the struggle of opposites, the creation after mutation, etc., may all be the starting point. But it must be remembered that dancing must be emotional, and dancing without emotion is empty. No matter how abstract modern dance is, its emotions are just as profound. Artists only need to integrate this personal feeling into their works, just as people often say that dance embodies the ideas in the creator's soul.
In dance creation, we must not fall into praise for some interests. That kind of work is just a flash in the pan. Without a black-and-white mind, it is difficult to highlight professionalism and uniqueness in works. Like an out-of-body experience, no landing.
Briefly list the ways of creation: the need to find the material object (or the author has formed the image emotion in his mind, etc.). )-the analysis of the material (the work is suitable for dance creation)-the expression of the material (analyzed and quantified by the director himself)-followed by the overall framework of the whole work. This is just a common way of personal dance creation, the basic way is like this, and there are many forms of change that need everyone to work hard to find. Don't go into the dead corner of ideas. If you go in, you exit appropriately. In another way, the only thing we should insist on is the essence of dance: "life, emotion and beauty".