This dance idea comes from Yang li Ping's capture of natural images and the deepening of life scenes. Through two intertwined trees with dependent branches, the work alludes to the common feelings of human beings, which are hand in hand, friendly and mutual assistance, and implies that two young men and women in love are in love with each other, and they are intimate, and you and I are sharing the same wind and rain.
this dance takes the creation of natural images as the starting point of the work, and uses Dai dance vocabulary to depict the image of the work "tree". For example, the basic posture (three-way bend feature) in Dai traditional dance and the unique dynamic vocabulary have become the dynamic media to create the image of the tree. In order to emphasize the dynamic images of the two trees, the choreographer also adopted some choreography techniques (such as two-person plane modeling and aerial lift) to weave the works. However, the works do not deliberately follow the general rules of duet arrangement (for example, the running-in of two people's contact and the application of two people's resultant force, component force and antagonism), but focus on the image depiction of two trees and the shaping of two people's images. The contrast between two people in the works is realized by the contrast between the amplitude, strength and style aesthetics. For example, the contrast between the calmness and grandeur of male movements and the softness and delicacy of female movements; The contrast between the upright, straight, tall and masculine image of the male tree and the supple, twisted, small and slender image of the female tree, etc. Even the contact relationship between two people (such as the winding and interweaving of imitation trees in the works) is realized through the combination of some local movements of hands or bodies, and the whole body is not used to describe this relationship. Of course, the dynamic vocabulary choice to deal with this relationship is very reasonable, so that the works not only successfully portray the image of trees, but also portray the image of people very vividly.
The exaggeration, deformation, abstraction and extension of arm movements, which show the whole with parts, see the big from the small, and at the same time reflect another world (on the one hand, simulating natural things with hands, on the other hand, expressing the inner world with hands), are the most unique places of Yang li Ping's dance, and also the most commonly used techniques. No matter in the work Rain, or in the work "Spirit of Sparrows", arm movements depict objects. This work is no exception. Yang li Ping expresses two intertwined branches with his hands, and also expresses the swaying leaves in the air, the excitement of his inner world with his hands, and also expresses the love of men and women with his hands. These are achieved through the change of the arm, which can be described as multi-purpose with one hand and multi-meaning with one hand. Secondly, the swing of the upper body from side to side and the coordination with the arm are also the focus of the whole work. At the same time, the painting creates the image characteristics of the twisted tree, which also reflects the unique curve aesthetics of oriental dance and the personalized posture characteristics used by Yang li Ping. At the same time, the short rhythmic movements of the upper body, shoulders and arms, which are similar to cartoon features, are also the charm of this work. On the one hand, it forms a contrast with the action of winding soft long lines. On the other hand, it also creates a contrast between action paragraphs for the structural design of the whole work, which increases the visibility and interest of the work and is memorable.
another main feature of Yang li Ping's works is the integration of characters' modality (people and natural objects are kneaded into one, people use things to express things, and things to insinuate people), and natural scenery is poetic, natural scenery is alive and natural scenery is emotional, and this work is no exception. Among them, the organic combination of objective and subjective world, the magical transformation between human and natural objects, the imitation of trees by people, and the metaphor of people by trees, which are similar to the expressions of Fu, Bi and Xing in the Book of Songs, can be described incisively and vividly in the works, and at the same time, it is sublimated into a spirit through the process of transforming people into things (for example, describing the kindness of human nature through the depiction of trees, implying the beauty of love, etc.), which is the place where the works are most deeply rooted in people's hearts.
On the basis of pure folk dance, conciseness and sublimation, and seeking modernity from tradition are another distinctive place in Yang li Ping's dance. People often say that Yang li Ping's dance is relatively new and strange. This novel feature is not a direct imitation of western modern dance, but a transformation and reform of traditional folk dance with a modern concept. There is no deliberate emphasis on showing off technology, no emotional moaning, and no need for a huge dance beauty foil. It uses a simple and clear personalized dynamic vocabulary to create a fresh, elegant and high artistic taste dance form, which has the roots of traditional folk dance rather than the traditional folk dance concept. The reason is that it contains the essence of national culture and regional culture, full of life breath and vitality, and combined with the aesthetics of the times, it makes people emotional.
This dance has been talked about by audiences all over the country since it was broadcast at the Spring Festival gala in 1993. At the same time, it has also been spread by folk dancers who love Dai dance. It was rated as one of the most popular works at the solo work gala in Yang li Ping, and it is well-known at home and abroad with Yang li Ping's performance footprint.