Modern Dance Choreography Technique for Single Dance
Modern Dance has won the favor of a group of young people with its unconventional concept and spirit in the present time, and the free and casual dance style it advocates and the creative concept of directly referring to the inner experience have already made it a taxonomically significant ? Dance type? Here is my search for you to organize about modern dance single dance choreography techniques, I hope you like it!
And from a doctrinal point of view, modern dance is not a kind of dance, but a concept with a wide outreach, is the reflection of the twentieth-century modern trend of thought in the dance world, but also the state of dance in progress. In the free space given by modern thinking, the development of modern dance is a process of constantly exploring the infinite possibilities of choreographic techniques. The author discusses the choreographic techniques of modern dance solo, hoping that it will help the theoretical learning of beginners or fans of dance choreography, so that they can understand the content of the choreographic techniques of modern dance solo, and in the practice of choreography, to provide strong theoretical support and guidance.
I. Technique training of modern dance solo choreography
The teaching of modern dance choreography is composed of ? The basic theory of solo dance technique? The basic technique technical training? and The choreography of modern dance is a combination of three parts. The three parts of the content of the combination, and by analyzing the movement, the movement of the body parts of the creative reconstruction of the structure, and try to cultivate the completion of choreography technical technique of formal training and movement thinking ability [1]. The basic theory and technique of solo dance choreography are fundamental to choreography teaching. After the modern dance choreography pioneers of movement research and years of teaching practice, a set of clear and effective teaching system has been formed: starting from inspiring students' understanding of movement, introducing changes in time, space, force and other related factors, allowing choreographers to gradually understand the linguistic layers of the dance, and ultimately presenting different dance vignettes in a purely movement-based way.
(I) Dance Motivation
? Motivation? The term is borrowed from music, often referring to a short melodic type, usually 1 bar in length. The famous American modern dancer Doris? Hanfli put the motivation of dance, called ? Movement Motivation? which refers to the 1-bar phrase that serves as the starting point of the choreography. [2]. Dance motif is the most basic structural unit of movement, the gene of dance image, the central element of unified dance movement, and the dominant factor in the development of dance language. Usually dance motifs are characterized by image, variability, distinctive personality, conciseness, choreography, and ornamental features. After the formation of motives began to develop, the development of dance motives can be a single motive to the development of composite motives; direction, amplitude, strength, rhythm, space changes; prototype motives in the addition of new elements; increase the difficulty of the prototype motives; repeated many times; changes in the repetition; adjusting the motives sequence of action; change the body to complete the motives of the rhythm of the body parts; change the motives mood; change the prototype motives of the value of time and so on. We can utilize a combination of the above approaches.
(2) modeling conception and its? The solution to this problem is to use a new modeling concept to create a new model. The idea of a modeling concept and its solution.
Modeling, is a relatively static action. The requirement for modeling is novelty, action and expression. This requires that the modeling be a "new" one, and that the modeling be a "new" one. The first step is to create a new model.
(3) Comprehensive Exercises in Time and Space
Through the development of movement, the choreographer can enter the stage of dance segment practice. Dance section technique practice is divided into four plates: time, space, power awareness and movement development and change, as well as the decomposition and reconstruction of the movement. In time practice, we mainly use slow, fast and rhythmic changes to develop the movement and present a new dance passage. In spatial exercises, we can expand and compress the space infinitely. In strength exercises, changes in time and space are caused by changes in strength, giving the movement a new dimension. Prototype? to be richly varied and developed. The best way to change the force is to seek the contrast between the two poles, such as contraction and relaxation, tightness and laxity. The decomposition of movement is to break down the movement to its smallest element. It includes movement decomposition, movement reconstruction, and elemental dance sections. Through such decomposition, the development of movement changes are achieved and new dance passages are composed.
(4) Rhythm, mood and route practice
Rhythm practice, mainly through the slow, fast and change of pace to practice. First of all, the action will be slow to complete, in the slow speed to feel the delicate action; and then the action will be fast to complete; Finally, the prototype combination of rhythm, such as a few simple steps, in the need to express the urgency of the mood, change it into a broken step, and then in a series of broken step after the stop. This kind of rhythmic treatment can cause visual and emotional ripples, creating a certain emotional impact. Emotional exercises, which are based on one's own body movements, also include some expression conveyance, which can make the audience clear the emotional connotation of the action, so that the audience produces emotional **** song. Emotional exercises can effectively cultivate the expression of the choreographer's emotions, laying a good foundation for the emotional core of the finished choreography later. This kind of emotional exercise can be understood as a physiological emotion, or anthropomorphic emotion, such as the anger of the sky, God weeping, etc., or even an imaginative expression. As Mr. Yuan He mentioned in "Theory of Dance Imagery"? Dance to achieve happiness, dance to carry the way, dance to image and? points out the importance and supremacy of imagery in dance [3]. Route practice, a simple understanding is to strengthen the dance of the foot flow, so that the movement can flow on the stage, the movement flow process leaves traces of the road through the formation of a certain route image, can make the whole dance to form a kind of composition, and then form a kind of expression.
(E) sketches
Dance sketches, is also a work. Just on the scale, time on the short some, usually in 3 to 5 minutes, the structure is relatively independent. Since it is also a work, first of all, it requires a clear theme; the integrity of the work; the unity of style. It can be choreographed using various means such as repetition, contrast, scheduling and so on, with strong coherence. In the elements, modeling, dance sentence of the use of materials to be carefully and accurately analyzed, to facilitate the beginner to grasp the work as a whole.
(F) finished dance
In today's study and reference material literature, solo dance technique practice is usually divided into seven parts. Recognize, select action; action elements of the decomposition; modeling of the construction; the use of time and space force; the construction of the dance section; the form of structural sketches; music improvisation. Music improvisation refers to a relatively fixed dance sketches, in different styles of music with the dance form, dancers can dance in sync with the music, but also the music can be used simply as a background and dance. This kind of exercise is mainly to break the conventional choreography mode, try a new way to connect with the music, and give the viewer a different artistic perception so as to enrich the imagination of the work.
Second, a few comments on the study of modern dance
Modern dance emphasizes the self, respect for individuality, so the appearance seems to be almost no aesthetic rules to follow, unrestrained, and sometimes even freewheeling, lethargic, and do nothing. What's more, it may even follow other modern art absurd, bizarre, strange ideas, and the usual sense of the dance drift away. Therefore learning to draw on it should master the proportion and scale. After macroscopically learning the basic techniques of modern dance solo choreography, what is needed is more practical creation, which is also the purpose of learning the theory of practice. China's dance career should be a dance career of Chinese characteristics, not to worship foreigners or alienation of their own culture, not blindly demanding technical skills? We should not blindly pursue the high precision of technical skills. The dance becomes a juggling act and a perverted ballet. The author to their own university dance learning environment, the synthesis of China's dance development status quo, for us to learn how to learn a good modern dance choreography put forward the following insights.
(a) the development of national characteristics of modern dance
Currently in China, modern dance is still a niche art, but the famous modern dance troupe Cloud Gate has a large audience, the reason for this is that the choreographer Lin Huaimin put forward ? The reason for this is that choreographer Lin Huaimin put forward the idea of "Chinese people choreographing for Chinese people to see". The reason for this is that choreographer Lin Huaimin's idea of "Chinese choreography for Chinese people" is a result of Yunmen Dance Company's long-term accumulation and cultivation of audiences [4]. In the latest work of YUNMEN, "Walking Grass", the philosophical thought of life's flavors and calmness is well displayed, and this connotation is rooted in the bone marrow of every Chinese, which is a modern dance with Chinese characteristics. A choreographer with a light body to convey the deep Chinese cultural heritage, not only can be a good development of China's modern dance, but also to promote traditional Chinese culture to the world. 09 LeiDongWorld Modern Dance Company's "A Table and N Chairs" is a modern dance captured from the opera singing. The predecessor was "One Table, Two Chairs" premiered by Beijing Modern Dance Troupe in 2000, whose main choreographer Cao Chengyuan was based on traditional opera, seeking for new changes in content and form. Although the performance was once controversial, it innovated with the help of traditional culture, creating a certain impact in the midst of the controversy of mixed reviews. The entire dance drama is selected from the most characteristic 'eight genres' (Peking Opera, Yueju Opera, Qinqiang Opera, Yu Opera, Cantonese Opera, Chiu Chow Opera, Two People's Songs, and Huangmei Opera), and the wonderful repertoire of the songs are chosen, each of which represents a special situation of human relationships. On stage again after so many years, the choreographer still borrows the highly condensed abstraction and spiritual intent of Chinese opera, and boldly deconstructs the structure and presentation of the play in an original and refreshing way. The great success of these two works lies in the fact that they are supported by a profound traditional Chinese culture. As Chinese dancers, in addition to learning from the strengths of foreign countries, our ultimate goal should be to develop and promote our own culture. In my opinion, no matter how well a dancer dances or choreographs, it is most noble and great for him to promote our traditional culture.
(2) do not be a dance machine
China's dance community is a performance as the core of a system, little innovation, even the CCTV Dance Competition conveys the message of technical supremacy, which has led to the formation of the dance in China, the development of a development of a deformity towards. There are countless anonymous networks author frankly: ? The so-called dance in today's official and professional fields in China is no longer dance, but should be renamed as the art of gymnastics; the art of acrobatics; the art of human sculpture; variant ballet. For more than a hundred years, China is not opening up enough to the outside world, but China has lost its spiritual home for a long time!!!? [3] Such a sharp criticism is all of our dance art practitioners deserve deep reflection. Choreographers create with heart, dancers dance with heart, sincere, genuine creation of dance form, this is the work to reach the ultimate invariable theorem. Because the most moving part of any work should be its love! Learning choreography technique is a perfecting of dancers and helps to cultivate comprehensive dance talents who combine performance, education and choreography. In the study of technique, the dancer's personality and thinking to develop and cultivate, which will help the dancer's self-awareness of the awakening, and no longer mechanical physical activity, not programmed choreography.
3. Conclusion
China's dance industry is developing rapidly, we need to develop our Chinese modern dance, and always take innovation as the dominant core, to form a benign development atmosphere that can give full play to the art of dance criticality and independence. This requires our dance talents to have a clear and sober perception of dance. China's dance talent should not be strictly divided by dance specialists, but, not only can dance any dance, can teach, but also should be able to choreograph, can express the sense of life, can provide fresh blood for the development of the dance of a comprehensive talent. Dai Ailian said: further development and prosperity of China's dance art is not a matter of one or two people, it is a cause that requires many people to participate in, and it takes a long time and a lot of energy [5]. For young dance professionals, there is a long way to go.
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