The important link in the process of dance artistic image shaping
The specific creative activities of a dance work of art can be roughly divided into two phases, namely, the stage of artistic conceptualization (creation and editing) and the stage of artistic communication (rehearsal-performance). If the entire creative process is regarded as a complete system, then artistic conception and artistic communication are sub-systems of this complete system. They are interrelated and relatively independent. Mutual connection is manifested in that, if the dancer does not get feelings and enlightenment from life, does not have the passion for creation, does not have creative conception in the concept and form the aesthetic image of the dance, then the requirements of artistic communication will not arise at all; and if there is artistic conception and no artistic communication, then even the most exquisite artistic conception can only stay in the choreographer's mind, and cannot be materialized into a concrete and palpable Artistic image. This inseparable relationship between artistic conception and artistic communication is manifested in the process of artistic creation of dance as follows: Firstly, when choreographers and directors carry out artistic conception-creation, they are subject to the constraints of artistic communication-rehearsals and performances (for example, how many actors are available for rehearsals; how receptive and expressive are the actors; how are the conditions of the stage? Music and choreography of the level of cooperation, etc.), that is to say
that, the choreographer in the specific action choreography and structure, layout must be taken into account in the realization of its artistic conception of the material conditions. Second, in the specific rehearsals and even after the official performance, the dancer's conceptual activity is not suspended, but on the contrary, more active, more in-depth, more specific. Therefore, in a sense, artistic communication is both a reflection and a test of artistic conception. Because the choreographer conceived the image, when they are still only in the form of the appearance of the existence of activities in the concept of the choreographer, this image there are many fuzzy and uncertain places, is still in a kind of hazy state, only through the conveyance of the activities that are rehearsals, performances so that it is transformed into the form of the material existence of the form of the choreographer in order to "really see" their own. Only after the materialization of the idea through rehearsal and performance can the choreographer and director "really see" whether his or her idea is moving and perfect. In the process of rehearsal and performance, the choreographer often modifies his or her idea to make it more satisfactory. Therefore, although the creation of dance image can be theoretically divided into before and after the two stages, but in fact, in the specific practice process is difficult to divide, sometimes staggered. It can be said that artistic conception is the necessary premise of artistic communication, and artistic communication is the embodiment and deepening of artistic conception. However, there is a clear difference between these two stages: if the artistic conception activity is centered on the choreographer, then the artistic communication activity is centered on the actor. In the whole process of artistic communication, all artistic activities are centered around the actor. The actor and carry out, for the art of dance is especially so.
Some modern scholars use information theory to study the image of art, put forward the "what is art?" proposition. They believe that "art, in the final analysis, is a kind of information process, a means of social communication between people.' They believed that "art, in the final analysis, is a kind of information process, a means of social communication between people." Artistic information has both material form and spiritual content, and it is a special kind of "aesthetic information that has been organized and materialized" with "spiritual content contained in the material form, and the spiritual content is presented through the material form." At the same time, they attach great importance to the role of the audience in the creation and appreciation of art, believing that the audience is the terminal of the relationship between the artist and the recipient of artistic information. In the process of art appreciation, the audience is not only a passive receiver of information, but they can also receive the information through the aesthetic judgment, feedback to the artist, so that the artist can not only correct and adjust their own art information, but also according to the information feedback, that is, the audience's aesthetic interests and expectations of the psychology of the development of the next selection of artistic creation and goals. Since the artist's creation is subject to the influence and constraints of the audience, the audience is both the recipient and, to a certain extent, the creator of artistic information. It is worth noting that the above view of information theory aesthetics is unusually similar to that of another contemporary Western academic school-reception aesthetics. Reception aesthetics regards the creation, communication, and appreciation of art as a process that consists of two parts: the first part is the author, the work, i.e., the creative process; the second part is the work, the reader, the viewer, i.e., the reception process. Together, these two parts constitute a complete process, i.e., author-work-one reader, viewer. Like information theory aesthetics, reception aesthetics attaches great importance to the process of reception, believing that the aesthetic value and social significance of works of art can only be expressed in the process of reception. Some acceptance aesthetics theorists even think that the life of a work of art does not start from the time when the writer or artist begins to create, but starts after the completion of the work. When it meets the audience and readers. In the view of acceptance aesthetics researchers, the vitality of a work of art is inconceivable without audience participation. Since audience participation is required, of course, artistic communication, rehearsal and performance are required, and as a performing art, the main bearer of its artistic communication task is the actor. From this point of view, the proposal of this new theory has changed the one-sidedness of the past art research that focuses solely on the creative side, and has extended the point of view of the research to the whole process of the circulation of aesthetic information. In order to study the whole process, the importance of dancers as creators of aesthetic information and disseminators of aesthetic information is also highlighted.
It is evident that the presentation and communication of artistic image of dance occupies an indispensable and important position in the whole dance creation and appreciation activities.
Section 2: The value and role of dancers in the creation and display of dance images
Throughout the ages, aestheticians and dancers have given various definitions to the art of dance, and elucidated the characteristics of this art from different angles. For example: "Dance is the art of human movement"; "Dance is the rhythmic movement of the human body to shape the image of dance, the expression of human thoughts and feelings in society"; dance is "visible music"; dance is "the music of the visible"; dance is "the music of the visible"; dance is "the music of the visible". Dance is "visible music"; dance is "flowing painting and living sculpture"; dance is "the human body rhythmic poetry" and so on. These people in the long-term artistic practice and aesthetic experience in the generalization, not only pointed out some of the essential features of the art of dance and its relationship with other forms of art, but also affirmed the important role of dancers in this art. It is said that dance is the art of "human body movement", then in a work of art through
whose human body movement to shape the image of art? Another example is to say that dance is "visible music", "flowing paintings and living sculpture", "the human body rhythmic poetry" and so on, then who makes the elusive music, melody, Who made the elusive musical notes, melodies and rhythms coalesce into concrete and visual images? And who is it that makes the standing statues, static pictures flow up and become vivid and smooth ever-changing scenes? Naturally, these are dancers. If the poet is to use words and language to write poems, our dancers are using their own dynamic, changing body to write poetry, painting, singing ......
Vivid facts are often more persuasive than the dry theory, where people talk about ancient and modern dancers at home and abroad, the first to list most of those who are The first to be listed are those who dance in the court, the square and the stage above the dance performers. In ancient China, some of them are as light as a floating cloud, can make palm dance; some of the majestic and magnificent, a dance to move the four directions. In modern Europe and the United States, some of the outstanding arts, amazing skills, and dominate the ballet for dozens of years; some of the love like fire, potential as Teng, creating a generation of new dance style. No wonder some people say, dance, in the end, is the art of the actor.
We are highly affirmative of the value of dancers, but not to devalue the role of choreographers, composers, choreographers and dance educators. On the contrary, we are keenly aware that it is the coordinated efforts of these artists that form a solid pedestal of great potential, and it is this rocket-propelled pedestal that lifts talented dance performers into the clouds.
Dancers in the process of creating and conveying dance works is not only the creator of dance beauty (aesthetic information sender), but also the material material on which the image of the dance depends (aesthetic information dissemination tools and means), and at the same time is the audience to obtain aesthetic enjoyment of the aesthetic object, is the center of the process of conveying the beauty of the dance. For example, "Dunhuang Colorful Sculptures" was choreographed by Luo Bingcheng and premiered by Yang Hua. The conception of this work and the dance movements and modeling gestures were created by Luo Bingniu after a long period of living, studying and researching. However, the choreographer's conception of these is through Yang Hua's human body movement and performance, externalized into the objective existence of the dance image, the audience can see. At this time, Yang Hua's human body is the material material for Luo Bingniu to express her artistic conception, which can also be said to be the choreographer's tool for creating artistic images. However, what Yang Hua expresses through her own body is not entirely Luo Bingniu's original conception, but only (and only) the part that she can express after accepting the choreographer's rehearsal, plus the "sum" of the part that she creates personally. This "sum" is not a simple addition of the above two parts, but a creative manifestation of the actor's melting in accordance with the laws of beauty. Therefore, for this new dance image, she is both the conveyor and the creator. Finally, the image formed by the choreographer's first conception, the actor's second creation, melting together, through the actor's body in front of the audience, the actor has become the fruit of artistic creation, and has become the aesthetic object of the appreciators. Therefore, the dancer is a set of creators, creating tools, creating results in one of the artists.
But, in the creator, the creation of tools, the creation of results in the three most important is the creation of tools that is the material material. This is because, it is because the art of dance is the dancer's body as a material material to create an image, so it makes the art of dance has a unique character, exudes a unique fragrance, produce irreplaceable artistic charm. This is manifested in:
1. The human body is an organic whole with vitality and vigor. To the living human body. As a material to express human emotions, "is the most direct, the most substantial, the most intense, the most acute, the most simple and the most adequate expression of the mood of life", ② Therefore, it is also easiest to be appreciated as a... People perceived, accepted, and most likely to trigger the appreciation of the beauty, the most likely to get the appreciation of the emotional **** song.
2. Life, fluttering flow of the human body is the most varied, can be shown in the change in a variety of forms. Rodin believes that the human body is very rich in expressive power, "the human body, because of its power, or because of its beauty, can evoke a variety of different images. Sometimes like a flower ...... sometimes like soft ivy, strong swaying tree ...... sometimes the human body bends backward, like a spring. And like the good bow of Eros, the little god of love, who shoots invisible arrows. And sometimes like a vase." Finally, he concluded that "the greatest beauty of the human body, especially the mirror of the soul, lies in this." (3) Our famous poet Ai Qing praised the Soviet dancer Ulanova's performance of Serenade by writing, "As soft as a cloud, as light as the wind, more serene than the night, - a human body marching in space." Artists praise the human body with such wonderful words, visible human body performance . Power is very rich.
3. Just because the dance is alive, the purest sense of the human body, in motion to express thoughts and feelings, it is bound to be subjected to certain physiological constraints, that is, can not go beyond the limits of a living being a living organism can be loaded to go at will. However, excellent dancers are often able to give full play to the potential of the human body within the scope of the objective, and seek freedom in the limitations. In the limited to seek unlimited, to create a marvelous vivid, flesh and blood of the artistic image to.
Because the human body is the material material for the creation of the image of the art of dance, then, the material ontology of the merits of the image of the creation of the success or failure of the image is often critical. This is probably the reason why many teachers in dance colleges and universities go to great lengths to find materials that can be created. The human body is very important to the beauty of dance art, however, the human body does not directly produce the beauty of dance art, after all, dancers are completely different from mannequins, actors are not the natural beauty of the human body directly in front of the audience to cause the admirer's sense of aesthetics, but in the natural human body on the basis of the beauty of
According to the rules of dance art beauty, to create a vivid and beautiful dance image to the audience to aesthetically cultivate. Aesthetic cultivation. Therefore, even with a human body that meets anatomical and aesthetic requirements, it is difficult to create artistic beauty in dance without strict training that meets professional requirements. Generally speaking, a well-trained human body that can be used as a material material to create the beauty of dance should have at least three professional skills, namely, the basic ability (strength, openness, softness, flexibility, plasticity, imitation, sense of rhythm); the technical ability (jumping, rotating, tumbling, control, mastery of difficult techniques); the ability to artfully express themselves (the ability to understand and recreate the creative intent, passion, Poetry, musicality, imagination, etc.). Only when a dancer has mastered these abilities can he or she gain the freedom to create the beauty of dance. It is only through beautiful movements, beautiful gestures, beautiful lines and beautiful compositions that they can express beautiful contents, beautiful characters, beautiful state of mind and beautiful meanings.
The third section of the actor's ego and character image
The common fault in the dance performance is that the actor is intoxicated with self-expression in the dance, and do not go to the serious performance of the character, portrayal of the image. It is usually manifested as three "away", that is, 1, away from the character image in the dance to show the actor's own human beauty; 2, away from the content of the dance to simply show off their personal skills; 3, away from the psychological state of the characters in the dance to vent the actor's own joy, anger, sadness and happiness. All this reflects that these actors lack a correct aesthetic view in the process of artistic communication, and do not make clear the sacred mission of actors in the process of artistic communication of dance.
No doubt, dancers are the creators of beauty, the "angels of beauty". But the beauty here is not synonymous with "beautiful" or "good-looking", nor is it simply a matter of jumping higher and higher, spinning more and more beautiful, or performing more exaggeratedly and more beautifully. The beauty here refers to the actor should create a distinctive character image through dance, so that the audience in the appreciation of these lifelike characters to obtain the enjoyment of artistic beauty. This requires dancers to put in long hours of hard creative labor, first of all, on the basis of good talent to refine a free use, plasticity of the body - the creation of dance tools of beauty, and then go to this base to seek and create a perfect artistic image of dance.
1. Three levels of image creation by dancers
When a dancer embarks on the road of seeking to create a dance image, he or she has to go through the process of image accumulation-image feeling-image creation, which is both difficult and full of the joy of creation. As the main actor of a large-scale dance drama, this process is longer, while as the actor of a dance skit, this process is shorter. In the artistic creative life of many outstanding dance performers have gone through this process, now only to dancer Zhang Ping in the small dance drama "the death of the phoenix" in the process of playing the dance image of the phoenix as an example, to see how a dancer from the "self" to the "image". The image of a dancer is a case in point to see how a dancer moves from "self" to "image". ④
The most important thing for a dancer, especially a choreographer, is to have the ability to create a dance image. And the ability to create and express dance images is not a taxing one, but requires long-term accumulation of intentionality and the artist's unique spirituality. A dancer must pay close attention to observing various characters in daily life and store them in his/her "image warehouse" for image accumulation. Generally speaking, the richer the image storehouse of a dancer is, the greater the possibility of her creating a moving image. However, it is not enough to rely only on the usual accumulation. What is more important is that after receiving a creative task, the actor has to purposefully accumulate image materials according to the scope of life reflected in the work. For example, after accepting the task of playing the role of Mingfeng, Zhang Ping first started to read the stage book of the dance drama, and then read the preface, postscript, commentary, and notes of literature, drama, movies, and even the novel Home on the same subject, so that she could have a "general feeling" for the immortal masterpiece, and also for the character she was playing, from her life, sexuality, and emotions. In addition to getting a "general feeling" for this monumental work, I also had a very detailed understanding and grasp of the character I was playing, from his life, characterization, emotions, and situation. After recognizing, imagining, associating and feeling. Zhang Ping and Mingfeng began to "cross the gulf of time, differences in character, and even the distance of life experience, from the two ends of the vast sky to approach to approach ......" and finally embraced the character's heart.
The rich accumulation of image and deep feeling, the purpose is to give "the creation of image" to lay a solid foundation, "the creation of image", success or not is the test of a dancer's level of aesthetic scale. Dance is the intuitive art of human movement as the language of art, no matter how correct and profound the actor's knowledge and experience of the role, to enable the audience to peep into the inner activities of the characters, and to be strongly infected, but also through the emotional and materialized image of the dance. Of course, this emotional material form, often beforehand by the choreographer has designed a good, but the choreographer's set It, from the aesthetic point of view is only a simple form of action, is not vitality and infectious. To make these simple forms of action, into a truly meaningful form, it is necessary for the dancers to give them life, it is necessary for the actors to give their dynamic artistic transformation.
2. Two leaps in the transformation of the actor's self to the dance image
An actor needs two transformations in the process of creating the dance image, namely, the transformation of the feeling and the transformation of the body: the transformation of the feeling refers to the psychological preparation for entering and completing the creation of the role; the transformation of the body refers to entering and completing the shaping of the dance image (character image). The transformation from the song phoenix in Bajin's writing to the song phoenix in Zhang Ping's mind is the first transformation, a sensory transformation. The transformation from the song phoenix in Zhang Ping's mind to the song phoenix in the audience's eyes is the second transformation - the transformation of form. The first transformation: sensory transformation is common to all performing artists. The second transformation: the physical transformation is unique to dance artists, which reflects the uniqueness of the creation of artistic images in dance.
The key in the physical transformation is to create a characterization of the physical action. The so-called character, in psychology, is considered to be the individual's attitude to reality and the habitual way of action in the expression of the kind of relatively stable psychological characteristics. The character of an individual is formed on the basis of his social practice. Different environments, times, social practices and life experiences determine the different character traits of each character. The so-called characterization, in the theory of dramatic art, refers to a technique and method used by actors to create character traits. In order to create the character of a character in a play, an actor uses techniques to control and transform his or her feelings, movements, appearance and habits that do not fit the character, and tries to make his or her words and behavior fit the character of the character in the play. ⑤ Zhang Ping follows the principle of characterization: she abandons the actor's "self-indulgence". She has removed her "habitual dance habits", she has got rid of the "temptation of ballet steps", which are "light and beautiful", and she has found the "sinking, inner, soft and slow dance", which is the most beautiful of all. She got rid of the temptation of "ballet steps" that were "light and beautiful" and found a "sinking, inner, soft and slow rhythm", and accepted Jue Hui's love with mixed feelings of "joy and fear" and "hope and trepidation". She finally realized that the floor in front of her turned into a transparent "lake". She finally realized that the floor in front of her turned into a transparent "lake" and saw herself and Juehui in the "lake". Her heart was in a panic, and she realized that she had to bow her body and run away. Body, head down to cover the face of the run away, this run is not played by Ulanova Juliet style run, but the spleen girl Ming Feng in front of the young master "full of love and shame to hide. Zhang Ping here utilized the imagination and creativity of a choreographer to create a distinctive image of Mingfeng through sensory and physical transformation.
Zhang Ping's performance can be summarized as follows: abandoning the ego and embracing the heart of the character with passion; searching for sensation and creating characterizing physical movements; and creating a vivid image of the character with both form and spirit. We thought that these experiences are of universal significance in the field of conveying the beauty of dance art.
Section IV: A Subject to be Explored in Depth -
Aesthetic Requirements of Chinese Dance Performance
We used to pay more attention to the creation of dance image, i.e., choreography, and not enough attention to the presentation of dance image, i.e., dance performance, which on the one hand shows that we have not fully grasped the ontological characteristics of dance art. On the one hand, this means that we have not fully grasped the characteristics of dance art, on the other hand, because the study of dance communication and dance performance will inevitably come into contact with the analysis of psychological state and the description of the dynamic dance posture (which are precisely the difficulties of dance theory research and textual expression). Therefore, it is more difficult to analyze, difficult to express than the choreography problem, thus forming the current dance performance theory is very poor.
However, it is an indispensable part of the study of dance, without which it is almost impossible to have a complete system of dance. Our national dance has thousands of years of development history, we have the founding of the country more than forty years many dancers successful practice and theoretical generalization, at the same time there are foreign experience to learn from, all of which makes us have reason to believe that the time to construct the theory of China's dance performances has come.
We believe that there are three ways to study and explore the aesthetic characteristics and laws of dance performance art with Chinese characteristics: one is to study it in comparison with other sub-systems on the basis of comprehensively grasping the aesthetic characteristics of the large system of dance art. For example, how does dance performance compare with dance choreography, dance teaching and dance theory? What are the characteristics? Another is to comprehensively grasp the stage performing arts on the basis of the aesthetic characteristics of this large system, and other sub-systems (drama performance, opera performance, opera performance, etc.) in the comparison of the study, dance performance and other artistic performances compared to what is the difference? What are the characteristics? The third one is to compare with the dance art performances of other countries in the world, to see what are the different characteristics of Chinese dance performances and the dance performances of other countries in the world? Then we can gradually explore some laws and regulations of Chinese dance performance. It is through such a comparative study that we have come to the following understanding, and we believe that the laws and characteristics of Chinese dance performances can be summarized as follows: dancing with feelings, conveying feelings through dancing; moving and conforming to the degree, changing shape and God's truth; combining skills, fascinating; unique style, and everlasting charm. It is briefly described as follows:
1. Dance with love, dance with love
We know that the art of dance is the art of expression, no matter what form of dance the dancers use to perform, the intention is to express the dancers' feelings of joy, anger, sadness and happiness through the expression of the specific content of life, and to make the appreciators in the aesthetic of the emotion, and then by the thought of the cultivation and infection. Therefore, the function of dance art is to move people with emotions. Then, from the dancer's inner feelings, externalized into a concrete visible image, and then through the expression of emotions, arousing the audience's **** song. Such an artistic communication process, must dance with love, dance to pass the love, and then to achieve the scenario, fascinating.
To dance with love is from intangible to tangible. It is the intangible love that is embedded in the dancer's heart, with the well-trained human body, externalizing it into a vivid and concrete dance image. Dance to convey emotion is to transform the tangible into the intangible. Through the dance image full of emotion, stirring the audience's emotional response. Passion, for dancers is crucial. Since dance is the expression of human emotion in a highly excited form, it can be said that there is no dance without passion, and it is impossible to produce dancers. If the dancer's chest is not stirred by the waves of emotion, the hands of the dance, the feet of the dance will lose the psychological basis. On the point that dance is lyrical, it seems that there is no disagreement between different schools of dancers in ancient and modern times and at home and abroad. But in where the emotion comes from, dance works should be expressed in what kind of emotion, these aspects but there are different views. Philosophically, they adhere to the materialist theory of reflection, and artistically, they adhere to the realist theory. Dancers who adhere to materialistic reflection in philosophy and realism in artistic method believe that the source of dancer's emotion is not the result of "divine attachment", nor is it the whim of a time, but the enlightenment from social life and the surge of the times. In a word: "Things make it so". So excellent performers not only to make their performances passionate, but also to further understand this feeling is how to produce and should be how to show, so that seriously in-depth life, careful observation of society, the spirit of the times, the masses of passion and personal feelings combined, so that their artistic creation, with a solid and true foundation.
It's true that dancing is not possible without emotion. But the emotion that moves the heart and the form is not always a dance. A person is happy to "jump three feet high", panicked "hands and feet", sad "chest and feet", these movements in the form of external action and can not be called dance. Dance as art, not only need dancers full of inner passion, but also to be good at will be swept up in the heart of the "love", formed into a specific visual art of the "image". This "elephant", not only to be specific and palpable, but also should be vivid and distinctive with aesthetic value, whether to do this is often a measure of a dancer's creativity and expressive power of the key. Knife Meilan's "Water", Yang Hua's "Dunhuang Color Plastic", Wang Xia's "Jinshan War Drums", Huachao's "Hope", Zhang Ping's "The Death of the Mingfeng" are successful because they not only have "feelings" but also "images", and not only have "rich feelings" but also "vivid and distinctive aesthetic value". The success of Zhang Ping's "The Death of Song Feng" lies in not only having "feelings" but also "images", and not only "rich feelings" but also "beautiful dance". The rich and full of love provides a solid inner basis for the development of the dance; the characterization, beautification, and skillful dance also aptly expresses the inner love. The unity of love and dance to create both a sense of reality and the formal beauty of the dance image, and then cause the audience's aesthetic interest, resulting in emotional **** Ming, thus completing the task of artistic communication.
2. Movements and degrees, the shape of the real God
The most important characteristic of the art of dance is movement. All dance must move, not to become a dance. But non-mobile can become a dance, only after the refinement of the beautification, rhythmic action can become a dance, which needs to pay attention to the "movement and the degree of". Both the "movement" and "fit" can produce the beauty of dance. The movement of the human body can be divided into three categories from the point of view of form, i.e. shape, quality and potential. Shape has the size, square and round, high and low, long and short, straight and straight, the points of the slope; quality has just and soft, thick and thin, strong and weak, light and heavy differences; potential speed, static, gathering and dispersing, into and out of, sinking and rising of the state. These opposing factors, if the human body can be appropriately unified in the process of moving is called the degree of harmony, to achieve harmony, thus forming a variety of unified dance beauty.
The movement of dance art, in addition to the requirements of formal beauty, the expression of the content also has a problem of conformity, which is to dance to reflect the laws of life. Correctly deal with the reproduction and performance, similarity and God-like relationship.
Dance has its own aesthetic principles in reflecting social life and shaping artistic images: it is not a straightforward reproduction of life as it is, but a realistic simulation of the character's activities and the course of events, and it is the main expression of the character's emotional reflection of social life and its development and change of the character's inner feelings and character traits in a particular scenario, which is why aesthetes call dance expressive art. On this issue there have been some biased views, a point of view is the excessive pursuit of dance narrative role and dance, costumes, set realism, often to dance and literature, movies and other
Reproduction of the same requirements of art, dance sketches reflecting the life of the hard to "start from the beginning", explaining the complicated The dance is also expected to be as "real" and "reasonable" as the life itself. In this way, dancers on stage can only "real" simulation of life, labor, fighting process, can not focus on the expression of the emotions of the characters, dance has become a "mute play", the loss of the unique charm of the art. Another point of view and comprehensively negate the existence of episodic dance value, that the dance is just express the subjective feelings of the dancers, leaving the specific plot and events as far away as possible, under the influence of this point of view, the dance has become a "hazy poem", making it difficult for people to understand.
We know that the expression of the dance is unique to the human body movements and gestures, and literature, theater, compared to the words and language used in reproducing life, explaining things have great limitations. But in the expression of human inner feelings is direct, distinct, infectious. Therefore, it should not be forced to recapitulate too many plot events, but should give full play to its artistic function of moving people with emotion, the audience to play other forms of art is difficult to play the role of aesthetic. In fact, the aesthetic interest of the general audience who love the art of dance is much healthier than those "critics" who demand that dance be equated with life, or else they would not have been "Jinshan War Drums" in which Liang Hongyu beat the drums to help the battle when she was suddenly struck by an arrow in the dance performance - painfully holding the shaft of the arrow slowly down the lower back, and then a "back bridge" to turn down the drum, give warm praise, on the contrary, will ask: since the arrow is hit why not immediately fall on the ground, but also in the drum to dilly-dally half a day for what? In the dance drama "Silk Road Flowers and Rain", people do not pursue whether Yingniang's posture and technique of playing the pipa is correct and reasonable or not, but regard "Bouncing Pipa, Kabuki and Lotte" as one of the most beautiful dance postures. Why do these movements and dances leave a deep impression on people? It is because although they change their shape, their spirit is more real. These changed shape, in the "like and unlike" between the movements and gestures can be very accurate show the emotional state of the characters in the dance at this moment, and is rich in vivid beauty of the form. These movements and gestures seem unreasonable, but reasonable, seemingly not the reason of life, but the reason of art. Form change and God really, in fact, is the form of both God, so the audience not only from the emotional acceptance of them and moved by them. Aesthetician dynasty wen in his "outside the door dance talk" in the article had a pithy exposition of this issue. Taking Joy performed by Cui Misun as an example, he wrote: "Cui Misun's performance does not take the process of imitating the harvest as her highest creative task. Despite having used a tambourine as a dustpan, her performance still focuses on expressing the character's emotional state evoked by the harvest. ...... If, on the contrary, the actor takes the recording of the production process as the highest task of reflecting life, then the dance becomes a living newspaper, and even though it may add to the audience's knowledge of production, it may not be able to elicit the aesthetic joy that these beautiful performances by Choi Mi-seon do.'' @Reviewing the dances that have been popular with the general public since the founding of the nation until recent years, most of them are also works that have both profound ideological contents and vivid expressions of the inner feelings of the characters. Reproduction and performance of the combination of reproduction is the performance of the guide, performance is the purpose of reproduction, the two are not excluded but complementary, *** with the same for the expression of feelings, characterization and show the theme of service.
3. Combination of skills, fascinating
Throughout the ages, people have been accustomed to the appreciation of dancers' skillful performances for the purpose of enjoying themselves and gaining aesthetic enjoyment. In order to meet the audience's aesthetic needs, dancers have increased the skill of the art of dance. Through creative labor, dancers strive to improve their dance skills and artistic expression. The dance works of many famous contemporary dancers have grasped this aesthetic characteristic of dance art and adapted to people's aesthetic demand for dance, thus being welcomed by the audience. For example, in the 50's had won praise at home and abroad "red silk dance" and "flying" is the soft silk ribbon dance out of a variety of changes in the lines, organized into a variety of beautiful patterns and red scenes, showing the dancers of all kinds of emotional state. In the dance drama "Butterfly Lovers", Chang'e danced the long silk for the loyal souls, and in the first "Peach and Lee Cup" Dance Competition, Liu Min played the role of Wang Zhaojun, the long silk danced up to more than two feet long, which showed the actor's superb skills. The "Flower Encouragement", which won a gold medal at the Sixth World Youth and Student Peace and Friendship Festival, was danced by the actors with
.