On an empty stage, with dim lights, there is an old artist with gray hair on his twilight years. He is curled up, a little crazy, a little crazy, and there are waves of erhu sounds coming from a distance, mixed with sadness and sadness. Desolate, but also full of stimulating dreams and memories. In this fantasy dream, he tells the joys and sorrows of the old Yangko artist's life and his attachment to Yangko. The dancing long silk is the embodiment of his life. In this dream, he dances crazily, as if he wants to dance with all his passion. . This is the strong emotional impact that the solo dance "A Yangko Dancer" brings to us. It uses the life of a Yangko artist to describe the life experiences, joys and sorrows of all folk artists.
In terms of dance language, this dance profoundly depicts the life journey of the old artist through the obvious contrast of body shapes - curled up and upright. At the beginning of the dance, the dancer curled up. This body language immediately made the audience feel the image of an old man: he is in his twilight years, and the years have made it impossible for him to straighten his back. A distant erhu sound came from the still air, stirring up his dreams and memories of the past. Suddenly, the slumped old man stood up, danced with red silk in his hands, and stamped his feet on the ground. In his dream, he was young again and could dance gracefully again. This contrast clearly explains the dancer's present and past, and the audience can't help but be led into the process of tracing traces of his past. Then, the old artist seemed to have regained the past in his dream. He slowly straightened up and danced with the young disciples. His back was straight, his face was high, and his appearance was heroic. He has entered a state of selflessness, in which he dances freely, freely and freely. He taught skills to young students, and infected the young dancers with his own enthusiasm and passion. From them, he saw his past glory. The erhu sound sounded again, and the old artist reluctantly returned to reality. He curled up and walked away from the lively crowd. With trembling hands, he held up the red belt that had been with him all his life, and tears filled his eyes. The emotional impact caused by standing upright and curling up here is very strong. The "upright" body represents his youth, his dancing youth, and his past joy and pleasure. In this "upright" he Realized his own life value and life pursuit. But curling up means that time has left him ruthlessly, and the glory and joy of the past have left him. Only the undiminished passion can resist the aging of the body. This shrinking and stretching vividly displays the joys and sorrows of the old artist's life in front of the audience. This curling up and uprightness condenses his lifelong artistic career, which makes people sigh, pity, and even more moved by his infatuation for Yangko. .
In stage scheduling, dance highlights the contrast between the body’s occupation of the stage space. In this dance, the actors' arrangements on the stage also show the audience the changes in the role of the old artist throughout his life. When the dance begins, the actors are in the back right corner of the stage. This area is relatively weak for stage performances. In addition, the dancers' curled-up posture clearly shows the loneliness and loneliness of the old artist. In the middle of the dance, the actor is always at the center of the stage. At this central point, the actor used large-scale dance movements to express his infatuation for Yangko, recalling the passing years and missing the stage that once belonged to him. The audience can feel the superb skills of the old artists when they were young. But time is ruthless, and he is old after all. At the end of the dance, the actor's position was in the back left corner again, which was still a weak area for performance. In that corner, he curled up and looked at the long-lost stage and the lively crowd. Now it no longer belongs to him. The people who came to watch the Yangko opera passed by him, and no one noticed him. It was also in this corner that he passed away with dreams. The arrangement of the three stages forms a sharp contrast, which also constitutes the semantics and context of this dance.
The use of group dance also adds a lot to the performance of the characters. The sharp contrast between the young and vigorous postures of the group dancers and the crouched bodies of the old artists also reflects the lament and regret in the hearts of the old artists, adding to the tragic mood of the dance. When the old artists recalled the past and danced crazily, the group dancers enhanced the atmosphere and more thoroughly demonstrated the old artists' love for Yangko.
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