"Song choreography" is the abbreviation of a dance form that uses familiar musical images and makes them visual. In recent years, its emergence and prosperity in the field of social dance creation has not only been confirmed by the creative practice of the majority of social dance workers, but also has been recognized by rich and multi-level social aesthetic groups. The masses loved works such as "A Good Start", "Walking Around", "On the Field of Hope" and so on, and personally devoted themselves to the creation and performance of this type of dance. From the analysis of the works in dance activities across the country in recent years, "song and dance" is like a cloud, and it is very popular. In the ranks of social dance choreographers, not only the fledgling newcomers to the field of dance are favored by this dance, but also the mature ones who have seen success. Such dance competitions are held almost every year across the country, and there is an endless stream of participants. It can be seen that as a social and cultural phenomenon, the mystery of "song and dance" has greatly surpassed the frame of "just a choreography technique" in people's previous thinking, and thus has a higher cultural taste. Of course, in the analysis of "song and dance", in addition to making multi-valued judgments on the integration of dance ontology, it is also necessary to clearly define its connotation and extension.
1. The difference between "song choreography" and "singing and dancing" or "dance and song"
"Song and dance" or "dance and song" are the cross-development of modern people's aesthetic psychology As a result, it is also the traditional continuation of the "music" form of the trinity of ancient poetry and dance in the new era. From a semantic perspective, "song with dance" seems to emphasize more on the performance of the dance part, while "song with dance" uses dance to set off, create an environment with dance, or use dance to create excitement, and serve the singing of vocal singers. In fact, whether singing accompanies dance or dancing accompanies song, the two are inseparable and indispensable. They constitute a complete and unique form. Since what is shown to the audience on the stage are two visual images of the highest tense (i.e., the performance of vocal actors and the performance of dancers), these two different visual images are relatively independent and complementary to each other, which satisfies Modern audiences have complex aesthetic requirements, so this is a kind of one-piece art. Without this conjoinedness, there would be no "companion". But looking at it from the perspective of "companion", it focuses on the harmony and unity of the two, without overemphasizing the prominence of a certain aspect. Therefore, even if it is a perfect combination of "singing and dancing" or "dance and singing", there is still a lack of certainty in the audience's final aesthetic image formation. Some audiences may find sustenance in the musical image with the performance of the vocal actors, and some may It is possible to find a home in the dance image with dynamic associations. The so-called benevolence sees benevolence, and a wise man sees wisdom. Not so with “Singing and Choreography.” It presents only one visual image on the stage. Although the audience was aurally shocked, it was because the familiar songs stimulated him once again. However, the auditory sense is only an auxiliary, and since there is no interference from vocal actors in the visual sense, which is the main organ of people's aesthetic feeling, it is the performance of the dancers that really stirs up the artistic image deep in their souls. The dance image unites and unifies the music image, continuously clarifying and deepening it, allowing the audience to sublimate the beauty in appreciation. Therefore, in the form of "song and dance", the audience has no choice but to be led into the aesthetic track of dance. It can be seen that in terms of the above different aesthetic media, "song and dance" expresses its subjectivity in the category of dance art, while "song and dance" or "dance and song" express its dance in the conjoined art. Sex, the two are completely different.
2. The relationship between "song and dance" and music
If we say that the difference between "song and dance" and "song and dance" or "dance and song" is due to the different aesthetic media If they belong to two types, then the difference between "song choreography" and other dances that are also rooted in the field of dance art lies in their relationship with music.
As dance music, its method of expressing objective material objects is D? Kirk believes that there are mainly the following three types: The first is for things that can emit fixed pitches, such as cuckoos or hunters. Direct imitation of horns, etc.; the second method is to approximate imitation of certain things with no fixed pitch, such as gurgling water in a stream; the third method is to use music to imply or suggest material objects that are purely visually discernible. symbol. In other words, every dance choreographer looks for the appropriate fitting point in the complexity of the various ways that music reflects objective things, so that the subject's emotions can be integrated into the music and create a vivid and distinctive dance image. The first method is "Silent Song" as an example, the second method is "Mountains and Flowing Waters", "Streams, Rivers, Seas", etc., and the third method is often used by most dance choreographers and is commonplace. However, the most direct and strongest means of situational lyricism in music is singing that incorporates the expressive function of language. Because songs use and play the role of people's second signal system, allowing people to alternately produce and interact with rational abstraction and perceptual representation in the process of understanding music, it is the most powerful in conveying people's emotional information. It can be said that "song and dance" finds the opportunity to combine with music exactly where people's emotions are most easily excited and infected. This combination determines that "song and dance" must be preceded by musical images. It uses dance to visualize the original but actually vague perceptions in the audience's mind. If there were no "prototypes" left by songs in people's hearts, "song choreography" would not be able to build a bridge to the other side for the audience in the transition from pure auditory to visual and auditory beauty. At this point, the creation of other dances is not subject to such restrictions. Therefore, "song and dance" is the form of dance art that is most closely integrated with music, and it is also the most dependent on music. It is true that this dependence in turn promotes the aesthetic effect of dance, which is precisely a major advantage of "song and dance", because the more people know the music, the more it is understood, then the resulting The appeal of the dance image will become stronger. The organic combination of audio and visual, and the repeated stimulation of the two signals, continuously enhance the audience's aesthetic feeling, thereby achieving the purpose of using the superiority of the combination of audio and video to express a broader and deeper emotional life and ideological life.
3. The value and implication of “song and dance”
If we only examine the artistic value of “song and dance”, it is undeniable that it is first and foremost a dance creation. method. Because this method is an in-depth creation based on a certain foundation provided by music, it is often understood as an exercise for beginners when they are just starting out, and is often dismissed by some professional choreographers who are devoted to seeking "positive results". In fact, even as a director's technique, it has high and low levels. From the analysis of the "song and choreography" works currently displayed, they can be roughly divided into three levels. The first is limited to the interpretation of songs, that is, using dance movements to translate the content of the songs word for word; the second is to use the concrete representation of music to reproduce the dance image. Although the "song and dance" at this level has a complete dance The image is basically developed based on the intention of the songwriter, with little change to the original structural form of the song; third, through the abstraction of music, it is completely restructured according to the characteristics of dance to form a new concrete image, and uses the unique characteristics of dance way to present this new reality. This kind of "song and dance" is not limited by the songs, but also gives full play to the strengths of the songs. The two are harmonious and complement each other. In fact, in the technical application of various song forms, and in the more perfect combination of song, music and dance, the third level of "song and dance" has entered the realm of symphonic dance, at least its pursuit and symphony Lopukhov, the founder of dance theory, argued no differently. It can be seen that the artistic value of "song and dance" is not in poor taste. The word-for-word translation is obviously not the same as the latter two, and it is by no means inevitable in the internal mechanism of "song and dance". On the contrary, it is the latter two that occupy a larger proportion in reality, and they continue to launch excellent works, which is obvious to all.