There are two key issues in choreography, one is selection and the other is development.
These two issues for choreographers is "critical", selection is to choose a good seed, imagine you do not have a good seed, the growth of the seedling after your careful cultivation, but also failed to see good results, and in the end just a waste of time. Therefore, the choice of good seed is a test of a professional vision of a choreographer whether to establish and strategic thinking is the success of the litmus test, for choreography is crucial to the profession. Development is the choice of that foundation to advance, and more importantly, the existing choice of how to better development, if you can choose good seeds, but you can not develop the whole process, it is also a waste of choice.
Choice and development are two sides of the same coin. Selection is a "foresight" and development is a completion, they are a complementary issue. With the professional means and ability to have the choice of vision and foresight, with a professional vision, you will not lack the professional means to complete the development of the chosen. This is the summary of the choreography teaching experience, general classroom teaching is to consolidate how to develop, once the development does not go on, only to go back to check the "choice", found that the problem in the "choice" at the beginning of the choice at the beginning of the high quality of the action as a prerequisite; and then the development of such a way to go on is the work of the confusion. The overturning of the choice again, in the negation of the negation to improve the "choice" vision and "development" of the ability.
Development and change of the theme movement is to regard the theme movement as a prototype movement, and to develop and change the time and space elements of the prototype movement in a comprehensive way, and to pay attention to the development of the image elements after the development of the time and space elements. The change is a contrasting change in the rhythm and spatial level of the archetypal movement on the basis of the archetype. In general, the developed movement must be a member of the family of prototypical movements; it can also be the development of the elements of the theme movement, such as the development of the emotional color of the prototypical movement, and so on. Since the theme is considered to be a prototype, the choreographer also needs to compare the developed movement with the prototype, to see if it is over or underdeveloped.
The development of the theme movement should be carried out according to the following principles: one is with music. The development of the "dynamics" and "rhythm" of the movement is based on music. The other is without music. Practicing without music creates thematic movements based on one's own choices, either "characters" or "observations of nature" or "inner feelings". After creating a theme movement with four eight beats, you change the "nature of the movement" of the prototype movement. The nature of the prototype movement is changed into one that is "smooth" and another that is not smooth but rather dry with a "staccato" feeling, and finally, it is synthesized and edited.
The technique of choreography is nothing more than the creation of a mechanism to promote the growth of our choreographic ability, and in turn, as long as it is able to promote the choreography of a thematic, figurative dance language passages, we can be used for our own purposes.
The choreography of a group dance is 70% to 80% the same as that of a solo dance in terms of creative concepts and methods. In terms of choreography, we need to understand the simple function and development of group dance, and try to trace the original template of group dance, the original group dance is a crowd participation type, we can find the choreographer's understanding and interpretation of the function of group dance from the "circle dance". After breaking down the circle line of "Circle Dance", a straight line is truncated and stretched; a straight line is truncated into four segments, which are listed together as the square formations of the group dance. Because the function of the circle dance is to participate in the square, it is more suitable for the "circular circle dance" form.
As a form of artistic dance displayed on the stage, group dance has to face the problem of orientation, because there is a problem of observation and performance, we must distinguish between participatory perspective, which is why the choreographer in the choreography of the group dance when the use of the "starry star formation" "square" "figure eight" and so on the formation. The reference function is to apply the original "circle dance" function to the qualities of "artistic dance" after the stage performance. In other words, the original "circle dance" is not choreographed and is formed naturally, whereas stage dances are choreographed or rehearsed, and the function of the group dance changes drastically when the dance is changed from its original state to a stage performance with the participation of a choreographer. Thematic motifs or thematic movements and their development are needed to produce "communication" and "reception".
Because communication and reception are involved, the original multi-dimensional observation of the "circle dance" becomes a fixed point of observation." Circle dance is a participatory group dance, you can stand in the south and watch, you can stand in the north and watch, you can stand in the east and west and watch, and you can participate and watch, and you can stand high up and watch (bird's-eye view), which creates multiple points of observation. The group dance of artistic dance presents a stage that separates the audience from the performers, and the only way to see the performance on stage is to stand in the audience, thus creating a relationship between "conveying" and "receiving" placed between viewing and performing.
This requires the dance to present the expression of the dance language. In order to accomplish such an expression, group dance, which was separated from dance theater, eventually developed into symphonic, which is concerned with the richness of the body and the layering of space occupation. The group dance of the artistic dance from the square to the stage is a highly condensed and summarized version of the interest and emotion of life, which is purified and embodied in the stage art work. In the symphonic group dance, it is about the refining of the dominant motive, which is created according to the symphonic music and applied in the choreography technique. Most group dance choreographies apply the selection and development of thematic movements to their creation. The proportion of group dances using dominant motifs and thematic movements is as follows: symphonic group choreography uses dominant motifs, while group choreography of classical Chinese dances and folk dances uses thematic movements.
The method and principle of generating thematic movements in group dance are the same as those of solo choreography in terms of the method and principle of generating thematic movements, except that there are differences in development. It is mainly because of the artistic characteristics of the group dance itself, and the number of people is definitely related to the problem of changes in the formation and the composition of the picture. Therefore, it is necessary to consider the audience's visual point, from the audience's visual consideration, from the group synchronization of the degree of neatness, etc., many of the characteristics of the group dance itself to take care of the development of the theme of the movement, so as to produce its own rules of the development of the theme of the movement. The use of dominant motifs in group dance is mainly used in the choreography of symphonic ballet, so we can draw on this method to increase the choreography of group dance to reflect the richness of the level of space occupation, time allocation reflects the vast contrast.
This method of choreography requires the choreographer to have a high level of musical education, and a deeper understanding of music and basic music knowledge, so that he or she can understand the function of the dominant motif in the group dance choreography. In addition to the theme movement, there are image connotation and emotional factors in it, and the dominant motive pays more attention to the movement itself, which aims to open the way for the convenience of development. Therefore, Chinese dance choreographers use the development and change of "theme movement" more in group dance choreography, while "symphonic choreography" group dances use "dominant motif" and the development and change of motifs more.
The selection and establishment of the dominant motif or theme movement in group dance also includes the image or emotional factors, but the theme movement is more direct than the dominant motif for the image and emotional factors, the proportion of the components is also more, and the motif in the sense of the form of the requirements of the motif than the theme movement and its development is more stringent. The one tends to be more formally demanding, the other more expressive of content.
The use of thematic movement in group dance is related to the choice and development, as for the connotation should include the image factor and the direction of emotional development.