Image thinking has its general law and its special law. Its general law is that image thinking, like abstract thinking, must pass through the stages of perceptual and rational understanding in the process of recognizing things. That is, by the phenomenon of things, each side and the external connection of things, the stage of feeling, impression, and then to the essence of things, the whole, the internal connection of the rational understanding of the stage. It is because of this, dance choreographer only to the rich social life to observe, experience, research, analysis, it is possible to enter the specific creative process, if only by "vivid intuition", based solely on the feeling of things and impression of the creation, the result may be only a skimming list of phenomena, but can not reveal the essence of life, the truth embodied in the image. The truth is embodied in the image. Only by analyzing and researching the rich materials of life, by removing the roughness and selecting the best, by removing the falsehoods and reserving the truth, can we have a clear knowledge and a correct understanding of the felt events of life, so as to make a concentrated generalization, and to create a vivid image of the dance.
Image thinking has its own special law, and this speciality is highlighted in the following three aspects:
I. When choreographers and directors are engaged in artistic thinking, in the process of centralized generalization of life materials, they are not gradually leaving and detaching from the concrete images towards abstract theories, but they are always detaching from the perceptual materials, and just discarding the purely accidental, secondary and superficial things. things. In dance creation thoughts and feelings are not expressed abstractly, but through vivid images. Lu Ji, an ancient literary theorist in China, pointed out that when writers and artists create ideas, they are often "pupils of love". And fresh, things clear and mutual advancement", the ancient literary theorist Liu Feiqi this thinking activity is summarized as "God and things to swim". The meaning is that artists, choreographers in the creative thinking, the image of the activity not only does not stop or recede, but with the accumulation of life, understanding of the development of more and more specific, more distinct, more rich, more personalized.
The choreographers who are engaged in dance creation mostly have such opportunities: in the process of in-depth observation of life, there may be certain phenomena that particularly attract their attention and move them, and then they may seize the things and certain images that particularly move them and leave an impression in their minds that is hard to fade away. This impression may be the "seed" of the future work. If the choreographer brings it to a wide world, so that it can be enriched by continuous nutrition, then this "seed" of image will grow and develop, and at an appropriate time or under some kind of external cause, it will take the form of a complete work. The image will grow and develop, and at an appropriate time or under some external inducement, it will manifest itself in a complete form, resulting in an artistic image.
From in-depth life to the completion of the artistic conception, the choreographer's mind has not left the "image" for a moment, only at the beginning of the image is still isolated, thin appearance, with the choreographer's life is constantly enriched, feelings continue to deepen, feelings continue to blaze, associations continue to be broad, the image is more and more specific, more distinct, more abundant, more and more powerful, more and more powerful, more and more powerful. The more specific, the more distinct, the more rich, the more personalized.
The Tajik dance "Mountain People" performed by the Xinjiang Military Region Cultural and Industrial Troupe is a work that shapes the image of a group of ordinary cultivators with a strong sense of life, peculiar artistic conception, and exquisite modeling. The choreographer and director of "Mountain People" traced the familiarity of the archetypal impression of the cultivator's life back to the heartfelt attachment to the earth, fruits, labor, life, etc., such as grinding knives, milling grains, harvesting and other laboring actions in the vernacular life of a deep impression and grasp, and rose to shape the dance image of flesh and blood, giving it the qualities of an artistic image. Life prototype action is not equal to the dance image, and the dance image must come from real life. Of course, the process of rising to the dance image from the prototype of life is not copying and imitating, but discovering and claiming factors with typical significance, and evolving into a flesh and blood dance image. For example, in "Mountain People", the choreographer uses the rhythm of waist and hip twisting to exaggerate the series of movements of hands crushing the grain and throwing it up to taste, which both expresses the content and expresses the feelings accurately.
Second, in image thinking, imagination - association and fantasy has a prominent significance. Artists get the basic material of image thinking from real life. However, any choreographer can not only write his personal experience or personally feel the things and emotions, which requires association and fantasy. Because creative artistic imagination "can supplement the insufficient and as yet undiscovered links in the chain of facts." For example, dance choreographers have not been to heaven, nor into the ground, have not experienced all kinds of events in history, not to mention the experience and experience as flowers, birds, fish, insects, but, in the dance works, they can completely use the imagination to supplement the lack of personal experience, feeling, by virtue of the wings of the imagination to fly over the ends of the earth, on top of the mountains, and to reach the world that they have not been experienced. Naturally, imagination must also be based on the artist's life experience, but the life experience mentioned here is the sum of the author's long-term accumulation.
In image thinking, imagination is important not only because it can supplement the deficiency of actual experience and feelings, but also because it can make the artistic image created by dance more colorful, glowing and changing. Tang Dynasty's famous "Nishang Yuyi Dance" is a dance full of wonderful fantasy intentionally to create the mood of the dance ...... music at the beginning of the chime, xiao, zheng, flute interlaced, liltingèh long, music and dance since the beginning of the audience to create a subtle and hazy poetic mood, so that people can not help but from the flow of the music to unfold the dance of the rich imagination, followed by a slow beat of the Then the slow beat of the middle sequence introduces the dancers: sometimes they hover in a hurry, sometimes they dance lightly, sometimes they are like silk willows brushing the wind, sometimes they are like dragons playing in the water. Skillful, low brow hanging hands; rush, the skirt, misty and hazy, like near and far, but also virtual and real, heaven and earth ...... so that people are in a "fairyland" and "forget me". Large-scale dance drama "Silk Road Flower Rain" is also rich in artistic imagination of the dance boutique. The performance of some of the contents of the play although there are historical traces can be found, but as the main line of the structure of the dance drama: in the Silk Road on the Yingniang, Inus, the divine pen Zhang and other people in distress to help each other, sad and happy to part with the moving story, but the choreographer in the history of the material under the inspiration of the development of a rich artistic associations results. Imaginative vivid and touching plot, coupled with the flying sky dance style free and unrestrained, a thousand dance images as well as makeup wonderful, gorgeous costumes, *** with the creation of a gorgeous and beautiful historical picture and a spectacular dance epic, was named "the Chinese nation in the twentieth century dance classics" is not surprising. China's ancient literary theorist Liu Fu has pointed out that in the conceptualization of the idea should be "thinking of a thousand years", "see through the miles", which means that their minds break through the limitations of space and time, flying over the millennium, 10,000 miles away to seek the strange beauty and novelty of the artistic image.
Three, image thinking is another important feature, that is, it is accompanied by choreographer's strong emotional activity from beginning to end, and dissolve this feeling in the dance works. Dance choreographers only have feelings for objective things, some excitement, or love of pleasure, or despise the time, to dance, feet. Dance is the human body movements and gestures woven into a poem, so it can also be said that there is no emotion, there is no dancer, there is no dance, emotion constitutes the life of the art of dance. We say that dance creation cannot be separated from artistic imagination, but the wings of imagination cannot be unfolded without strong emotion as the driving force. Only when a choreographer or director has an emotional impulse to express a certain phenomenon of life, can he or she dance with passion and imagination. The Tibetan female solo dance "Mother" by the famous choreographer Zhang Jigang is just such a work. On the stage, the Lhasa River twists and turns and meanders for a long time, a Tibetan old woman walks, deep wrinkles on the forehead engraved with the vicissitudes of time, bent body without words to tell the old man's heavy life, dark skin reveals the hardship of life, but she is so kind, cheerful, open-minded, deep, unforgettable. The old man is also a national "mother", like the Yarlung Zangbo River with milk to feed the people, she is soft like water and resolute as a mountain, as if it is a history of suffering, cohesion and recounting the suffering of a nation. The mother's heart is pregnant with the hometown, the native land, the nation, the relatives, the motherland's deep, obsessive, great feelings, so that people stand in awe, and this strong and deep emotion is the choreographer's deepest feelings for the motherland's strong feelings and affectionate praise. The success of this work lies in the sincere emotion and rich imagination. The rich imagination comes from the sincere emotion, it is the deep love for the motherland mother that makes the choreographer's artistic imagination to soar. The dance "Mother" has produced an extremely strong shock to the audience's vision and mind, which makes them burst into tears. Therefore, the creation of image thinking is always in the rich and fiery emotional impulse of the situation. If the dance choreographer on their own performance of the characters and events simply do not move, then regardless of how correct the content, the form of how to pay attention to, it is impossible to move the audience's heart, and even more unlikely to make the work after many years and is still touching.
Dance creation mainly relies on image thinking, but does not exclude abstract thinking. Image thinking and abstract thinking is not only not mutually exclusive, on the contrary, under certain conditions complement each other, and even abstract thinking can promote the development and deepening of image thinking. For example, the choreographer in the process of life, collected a large number of materials, accumulated a wealth of feelings, filled with many images from life, when he entered the artistic conception, it is inevitable that these materials, feelings, images for some screening and typical work, choreographer in the conduct of these activities, in addition to the image of thought is never detached from the deepening of thematic ideas, characters, The arrangement of the plot and so on can not leave the abstract thinking. In the creation, if the relationship between image thinking and abstract thinking is correctly dealt with, it will make the theme of the work more profound and meaningful, the structure is more hierarchical, the image is more distinctive, concentrated and touching, the artistic impact of the dance work is also more and more intense and vivid.
Responsibility Editor: Jia Shuying