1. What is the subject of dancing (dance theory)?
The oral test is to tell the general rhythm of dancing.
The written test is to judge the basic movements and steps of dancing.
2. I want to know about dancing theory or dancing theory.
The inevitable process of development. It is the development process of dance art from primary to advanced from the self-entertainment, sociality and etiquette of the masses to the expression of complicated and diverse social life contents and the formation of artistic dances with various dance forms and genres. In the historical development of dance art, in order to expand the scope of expressing life themes and enrich the expressive ability of dance art, dancers constantly draw nourishment from art forms such as literature, drama, music and art, and gradually form a highly developed comprehensive stage performance art. Dance originates from life, and has a positive effect and influence on life. Dance art has the functions of cognition, education, aesthetics, entertainment, friendship and fitness.
The research of dance theory is divided into two main categories: basic theory and applied theory. The basic theory of dance mainly includes: the relationship between dance and life and their interaction, the essence and characteristics of dance art, the origin and development of dance, the content and form of dance, the types and genres of dance, and the relationship between dance and other arts. Dance application theory mainly includes: dance creation theory (or dance choreography theory), dance performance theory and dance education theory. The theory of dance creation mainly studies the general law of dance creation, the special law of creating various genres of dance, the process of dance creation, the method of dance creation, and the professional knowledge, ability and skills that a choreographer should have. The theory of dance performance mainly studies how dancers use their own bodies as tools and means to create vivid and vivid dance images, profoundly reflect and express broad and rich social life content, so that the audience can be strongly infected and encouraged ideologically and emotionally cultivated and purified in the aesthetic activities of dance; As well as the conditions, professional knowledge and skills that dancers should have. The theory of dance education mainly studies the methods of training and cultivating various professional dance talents such as creation, performance, teaching and theoretical research, the setting of compulsory major courses and the principles of teaching syllabus, etc. Through the cultivation of various dance talents, it is expected to maintain its scientific and systematic nature in inheriting, preserving, creating, developing, improving and popularizing dance culture.
Because of the richness and complexity of dance art, and because of the different research methods and emphasis, the research of dance theory is bound to develop in many aspects and produce various new subjects. If we study dance from the perspectives of sociology (including folklore and ethics), aesthetics, psychology and physiology, some new disciplines such as dance sociology, dance aesthetics, dance psychology and anatomical physiology in dancing will be formed and developed. Since the 198s, some dance theorists in China have begun to engage in the research and exploration of these disciplines, and have achieved certain results and published some academic works, which are still in the pioneering construction stage.
3. What modules does the art examination dance curriculum system include?
If the art dance curriculum, * * * is three modules and your body.
4. How to build a distinctive dance teaching system
Dance teaching is a main way of traditional national culture communication and an important and key part of students' aesthetic education system. Therefore, in the process of dance teaching, Based on the "student-centered" educational philosophy and teaching policy, under the leadership of the school's educational reform team, we should creatively break the traditional and unchanging backward teaching mode, actively reform and explore new ways of dance teaching, and attach importance to characteristic dance teaching and artistic practice on the basis of respecting students' interest in learning and personality development. Actively encourage the new development of the dance system.
5. What is the definition of the curriculum system
The curriculum system refers to the arrangement of different courses in the same major according to the category order, which is the sum of teaching contents and processes. The arrangement order of the courses determines what kind of knowledge structure students will gain through learning.
the curriculum system is the guiding ideology of educational activities, the concretization and support of training objectives, and it stipulates the planning scheme for the implementation of training objectives. The curriculum system is mainly composed of specific curriculum view, curriculum goal, curriculum content, curriculum structure and curriculum activity mode, in which the curriculum view plays a dominant role.
(5) Extended reading of dance curriculum system theory:
1. Course classification
1. Ideal curriculum:
It is a course that scientists think is valuable and useful. Such scientists are at the forefront of their work and field, and they are rethinking how students who receive secondary education and higher education can acquire newly developed knowledge.
2. Written curriculum:
It is a document detailing the learning objectives, contents of related fields, test requirements and achievement standards that must be achieved. The level of detail of written courses varies from the overall description-for example, in the official documents of the country-to textbooks and workbooks.
3. Interpreted curriculum:
It is the teacher's interpretation of the written curriculum document.
4. Implemented curriculum:
It is composed of the way that teachers construct content, provide information and describe the problems that students should solve.
5. Evaluated curriculum:
It represents the students' grades obtained through exams, formal tests and attitude questionnaires.
second, the role of the curriculum
1, the basic basis of education and teaching activities.
2. The basic guarantee to achieve the educational goals of the school.
3. The intermediary of all teaching activities in the school.
4. Provide standards for school management and evaluation.
5. The basis of teachers' teaching and students' learning is the link between teachers and students.
6. The basis for the state to inspect and supervise school teaching.
7. The guarantee to realize the educational purpose and cultivate all-round talents.
6. The theory of modern dance
At the end of the 19th century, classical ballet began to decline, and the unchanging action traditions and stereotypes made dance lose its fresh breath and noble taste. People are also eager to break the shackles of the human body since the Middle Ages. No matter in ideology or code of conduct, a revolution is needed to answer and liberate the body and pursue freedom. In the hustle and bustle brought by the industrial revolution, artists are keen to return to nature, pastoral and ancient culture to find a perceptual truth and human power.
The appearance of Isadora Duncan set off a magnificent revival of human body culture in the 2th century. She gave up corsets and ballet shoes, put on a Tunik shirt and danced barefoot, seeking inspiration from nature and ancient Greek culture. The slogan of "anti-ballet" and the declaration of a high degree of integration of soul and body put forward by her were consistent with the internal needs of people at that time and the spirit of the times. Duncan's longing for nature is the victory of natural emotion over social habits, which reflects the spirit of the times at that time.
If Duncan unconsciously and instinctively rebelled against the ballet tradition and brought about a dance revolution, then when German Mary Weigmann, American Martha gleim and Doris Humphrey appeared, they were consciously and consciously creating and establishing a new order.
Modern dance in the true sense is not only a physical revival movement, but also a brand-new artistic form and viewpoint. It is marked by the emergence of a new action system and action theory and its gradual maturity. With the observation of human spirit as its original intention, it creates a personalized and contemporary way to recognize the world and express emotions with body movements.
In the development of modern dance, Europe and the United States are generally synchronized and influenced each other. In Europe, modern dance happened earlier. At the end of 19th century, the bud of modern dance gradually grew from Europe to America. Even Duncan, who was born in America, was first recognized in Europe. At that time, art and culture followed a European standard. Fran? ois Delsarte, a French dramatist and singer, created the theory of expression system, which divided human movements into different expressions and became a dramatic gesture. Denise, the first pioneer of American modern dance, was deeply influenced by him and included his system in her teaching course. Delsarte's disciple, Swiss musician Emile Jacques Dalroz, invented "Dance Rhythm" again. Weigmann, Yus and Holm, great modern dancers, once learned from him. When Rudolf Laban's "Body Dynamics" and Mary Weigmann's expressionist dance appeared, Central Europe became a central highland of modern dance. Both Laban's scientific analysis of movements and Weigmann's concern about the theme of life and the inner universe of the human body have impacted the oriental sentiment that the United States was obsessed with in the 192s. At the same time, the second generation of mainstream modern dancers, such as Martha gleim of the United States, under the influence of German expressionism and humanistic spirit and the inspiration of ancient culture, began to establish local dance images and seek a way out for their complicated and slightly chaotic emotional motives.
As a new country with diversity, the United States is full of optimism and freedom. In such a living environment, the constant rebellion, rebellion and independence of modern dance has become a renewed force, which has prompted the dance school to split up quickly. Thelma Jenny Cohen, a famous aesthete and historian, also came to the conclusion that "modern dance is an art to overthrow idolatry." With the high industrialization of American society, post-industrial civilization began to deconstruct everything in the alienation of human nature and the sense of disillusionment after the war. After the birth of Judson Dance Experimental Base in 196s, postmodern and postmodern dance movements developed in full swing. Since the 192s, there have been five training systems of classical modern dance, namely Martha gleim, Moss Cunningham, Paul Taylor and Hose Limmon, Hanji Holm. This movement is a rebellion against classical modern dance and a reflection on the living conditions of human beings in post-industrial society. Dancers walked out of the theater in the costumes of daily life, creating a "strange" visual environment and auditory atmosphere in familiar life scenes such as lakes, roofs, streets and art galleries. Dancers, on the other hand, are more engaged in the practice of pure action, from the early generation of action from emotional motivation to the germination of meaning on the action itself. Anna Halprin used a large number of amateur dancers to restore dance to a social function and group fun. David Gordon deliberately eliminated the distance between life and dance, and the use of life-oriented movements and satirizing the deformation of ballet showed the broken and deconstructed jokes of postmodernism, and also reflected the relaxed mentality and personality of contemporary dancers. Post-modern dance is indifferent and chaotic, but it is more and more true to life. In such a country without the burden of tradition, modern dance is constantly updated, and the rapid metabolism also leads to the exhaustion of innovation and some confusion, and innovation has become its own tradition and law.
Germany, as one of the important cradles of modern dance, has been developing slowly in the shadow of war and is full of pessimistic mood. Under the tradition of German rationality, German modern dancers were the first to establish action norms and make theoretical analysis of noumenon. Although their dance aims are irrational and emphasize the self-experience of personal feelings, the "expressive" way still reveals profound rational thinking and profound humanistic details. Unlike the United States, modern dance in Germany is diverse and arbitrary, but retains the characteristics of introspection and the habit of thinking. This expressionist dance style has spread to the United States and has also had a certain impact on modern dance in the United States. In 196s, the appearance of Pi Na Bausch's "Dance Theater" made the introspective tension of German modern dance reach a peak. "Dance Theater" is not a style, but a state of mind. As she said, "What interests me is not people's actions, but the connotation of actions." The unfettered action vocabulary calmly expresses the true human nature, which makes German modern dance more powerful and keeps the posture of never falling behind. The 2th century is the century when the human body fully awakens.
Modern dance, from anti-ballet's free action, to digging action from emotional motivation, to the practice of pure action, to a large number of participation in daily action, is returned to the people, becoming a dance of life, and plays a role of awakening the body. When industrial civilization restrains people's body and mind, modern dance becomes an internal need of people, and it highly promotes individual life.
From the perspective of modern dance appreciation, it is appropriate to adopt a tolerant attitude, which may be an appreciation gesture for all modern and contemporary arts. Experimental deviance, the heavy mystery of serious themes, will be as unacceptable as an excessive performance art and a novel without punctuation. Tolerance can accommodate some pseudo-art, but tolerance can make people try to accept and understand a stranger and a new form. In modern dance, the audience can appreciate the impact and * * * of fresh and strange action forms, and find special consciousness in the relationship between action and auditory and visual environment. They can cough loudly and leave early. Modern dance makes you angry, happy, moved and disgusting, but it can't make you indifferent. Please make your reaction, your action. The modern dance mentioned here focuses on the two cradles in Europe and America, and the development of modern dance has always been a worldwide topic. Butoh in Japan, New Dance in North Korea and China, and modern dances with unique features such as Israel, Australia and Africa cannot be included here, but it is clear that the survival, development and growth of modern dances of these nations and countries have finally found their own body language and expression in their own lives, times and cultures. The concept of contemporary dance is gradually replacing modern dance, which is more tolerant and approachable in time and dance types than modern dance. Modern dance has become an inherent style, and a new generation of dancers need to be rebellious and legalistic. Modern dancers have discovered the true meaning of modern dance aesthetic standards contained in Yi, and "change" is "constant". Change is the way to survive and the secret to keep fresh. Only by constantly abandoning some existing things can we achieve self-transcendence.
7. Main courses for dance majors
Main courses: choreography, basic dance training and dance science; Tutorial, dance form study, China dance history, China folk dance answer dance culture, world ballet history outline, European and American modern dance history, dance professional English, dance literature retrieval and utilization.
China's dance imagery theory, Chinese and foreign dance thought course, modern dance techniques such as dance anatomy, dance material combination training, dance repertoire analysis, dance creation practice, music (piano, musical form)