Answer: 1. Life is dance. Primitive dance is an indispensable part of primitive human labor production and life, and thus can also be called "life dance", it can be seen that human life is the fundamental reason for the occurrence and development of primitive dance and even the whole dance and the external environment.
2. Clear purpose. Constrained by the low level of productivity, most of the primitive dances have a clear purpose and strong imitation, and have not yet entered the stage of pure art without direct utilitarianism.
3. Most of them are group dances. Restricted by the low level of productivity, primitive human production, life, entertainment, recreation, mostly inseparable from the group, the primitive dance is also most of the group form, and has a strong social characteristics, in order to survive the overall goal and a long time in the joint dance, to cultivate the collective consciousness of the members of the community, a sense of belonging and behavioral habits.
4. Song and dance are not separate. In primitive art around the world, every song and dance, song and dance as a whole, and in the more developed performing arts, but also includes the poetry component, that is, poetry, music, dance trinity.
5. Functional diversity. Primitive mankind is directly dependent on the surrounding nature, and thus the primitive dance contains most of the imitation of the surrounding animals and plants of the dance, which meets the requirements of self-gratification of the playful dance, the expression of the spirit of human war, the dance of war, but also to support the pursuit of the human spirit of the lyrical dance, venting the excess energy of the human ecstasy of the dance.
6, the first to self-entertainment. Early primitive dance is used to vent the remaining energy, eruption of sexual desire, and thus relatively simple movements, the form of unconventional, repetitive features obvious, improvisation colorful, to ensure that everyone can participate in it, and enjoy themselves, and the dancers and the viewers are usually not a clear distinction between the often with a clear sense of reproductive worship and sexual intentions.
7. Later it was used to entertain the gods. The later primitive dances began to enter a process of strict ritualization and programming, with varying degrees of religious feeling and religiosity, in order to express reverence for the unknown world, inadvertently revealing a certain sense of fear and helplessness.
8. Showing off strength and endurance. The primitive dance is an exercise of the survival ability of primitive mankind, therefore, cultivating and showing off extraordinary strength and endurance occupies an important position in it, while the act of displaying subtlety and beauty has not yet been given enough attention.
9. Rhythm is important. In the primitive dance, rhythm has always occupied a dominant position, because primitive mankind believes that the same rhythm with the mysterious "other side" communication, and the hunting object to produce hypnotic effect, in order to ensure that the wind and rain, a good harvest, hunting success, the race flourished.
10, male and female boundaries are clear. As a product of the clear division of labor between men and women in primitive society, the two sexes in the primitive dance, but also most of the separate dance.
11, dancing is mostly the prerogative of men. Because the content of the primitive dance with hunting. War and other life-threatening, related to the fate of the race of risky behavior is closely related to the dance often becomes the privilege of men, sometimes, even without women and children to watch.
In short, the primitive dance can be described as primitive human "way of feeling", "way of thinking", "way of behavior", "lifestyle "In short, primitive dance can be described as the most direct, instinctive, distinctive, image of the body form and comprehensive performance.
II. What are the six dance origins and talk about which theoretical perspectives you most revere or tend to favor? (P7-9)
Answer: 1, imitation said
The ins and outs: began with Democritus, Plato, Aristotle and other ancient Greek philosophers.
Classical doctrine: "Art is a form of imitation", the purpose of dance should be "to imitate character, feelings and behavior through rhythmic movements",
2, the game said
ins and outs: began in the 19th century, the German scholar K.K. Kurtz. 19th century German scholar K. Bichel.
Classical theory: the human "instinct of imitation and love of all experiments" leads to a variety of games that exclude utilitarian purposes, bringing people the pleasure of physical and mental relaxation, and making people's excess energy to get a healthy and reasonable outlet. Play precedes labor, and art precedes the production of useful objects."
3. Labor theory
The ins and outs: It began with Wilhelm Funt, a German psychologist in the 19th century, and G. Plekhanov, a Russian Marxist theorist and politician in the late 19th and early 20th centuries.
Classical doctrine: "Play is the spawn of labor. There is no form of play that is not modeled after some kind of serious work. Needless to say, this work precedes the game in time." Vonte puts it this way. "Solving the problem of the relation of labor to play-or, one might also say, play to labor-is extremely important in elucidating the origins of art." So said Plekhanov.
Contemporary viewpoint: After repositioning his predecessor's "labor theory" and "play theory," contemporary Chinese aesthetician Bao Chang defines the different essences of play and dance: "The central purpose of play is "The central purpose of play is to re-experience the pleasure of using excess energy, while the central purpose of dance is to express a certain kind of human life, thought and emotion." Bao Chang also puts forward two arguments for the "labor theory": first, "the tendency to standardize and qualify the labor movement itself created the need for the creation of labor dances". The second is that "primitive people, in order to disseminate labor skills and production knowledge, created ...... a lot of labor dances with educational and training significance".
4, totem said
The ins and outs: began at the beginning of the 20th century, the American-German art historian C. Sachs.
Classical doctrine: Totem worship is one of the earliest beliefs of primitive mankind. The word "totem" is a translation of YOTEM in the Indian languages, meaning "kin" and "mark". People believed that different surnames originated from different animals, plants or other species, and only with the dance of the most basic and most direct form of life to worship them, can achieve communication and unity with each other, so as to not only ensure their prosperity and development, but also to seek their protection, to ensure that the wind and the rain, the grain harvest, people and animals, the world's peace, which led to a large number of these dances! This led to a large number of such dances.
5. Witchcraft
The ins and outs of this theory: it began in the 19th century with the British ethnographers E. Taylor and W. Grande, as well as with the American ethnographer and founder of scientific anthropology L.H. Morgan.
Classical doctrine: In primitive societies, the earliest witchcraft dances were danced by all clan members, while solo performances by overly skillful shamans came later. In the daily life of primitive society, the witchcraft of the specialized business sorcerer can be said to be all-encompassing, including driving away evil spirits, fighting ghosts, curing diseases, eliminating disasters, begging for blessings, divination, invoking souls, vengeance, matchmaking and so on, but none of them is not with the help of dance. Witch-dance phenomenon in any of the original shamanism has passed through the nation, are almost without exception have existed.
6. Religion
Index and context: The first creators were the 19th-century British ethnographers E. Taylor and W. Grande, as well as the contemporaneous American ethnographer and founder of scientific anthropology L.H. Morgan.
Classical doctrine: "All dancing, in its origin, is religious." "Dancing was a cultic rite among the Native Americans, and became a part of the ceremonies performed in all religious sacrifices."
7, sex said
Index and context: began in the 19th century, the founder of the theory of evolution, C. Darwin, as well as a large number of Western scholars field research conclusions.
Classical doctrine: "Music and dance have their origin in the sexual impulse, in falling in love." Darwin put it this way. "The only activity of the Bushmen along the Aouine in Africa during puberty ceremonies is dancing!" So said Western scholars. The same with all the lower animals is through the body movement to complete the whole process from courtship to lovemaking between the two sexes, as a high-level animal of human beings, is also through the embryonic dance to complete the great mission between the two sexes of succession, and at the same time to enjoy the extreme pleasure of male and female love pleasure. Figuratively speaking, dance is the continuation of "flirting" between various animals. In this regard, the originally very different between the East and West dance appeared to be the same.
8, the unity said
The book's point of view: through the whole of the human dance and the development of the course of the dance can be found, the origin of the dance is by no means only any kind of a single reason, but a variety of "internal basis" and "external conditions" It is the result of the combination and interaction of multiple "internal bases" and "external conditions". The heavy "inner grounds" should at least include the material foundation of "unity of mind and body", the self-indulgence consciousness of "dancing" and the communication need of "conveying feelings and expressing meaning". "The need for communication is an important attribute of human beings.
III. Explain the definition of religious dance and folk dance and give five or more examples of each.
A: Religious Dance
Definition: The word "religion" in English means "binding people together". Therefore, religions generally have worship rituals in which people make group sacrifices in order to pray for the blessing of the gods, while religious dances are entertaining dances in which people dance in groups*** in order to pray for the blessing of the gods.
These dances must have a clear theme, unified rhythm, pleasing to the eye, immensely pious, and often with the element of wishing to win the hearts of various deities; specific scenes vary according to the different races, regions, religions, and beliefs and beliefs of different times.
Cases: primitive religious dance, Buddhist dance, Hindu dance, Jewish and Christian dance, Islamic dance.
Folk Dance
Definition: Performing folk dances are folk dances intended to please the gods and men through performance, and therefore need to maintain the self-indulgent characteristics of self-indulgent folk dances while placing greater emphasis on the purpose of entertaining the gods and men, with the intensity of the movements and the difficulty of the techniques being increased in order to adapt to new types of performance venues, such as temples, squares, and theaters.
Cases: Indonesian folk dance, Egyptian folk dance, Spanish folk dance, Irish folk dance, Russian folk dance.
IV. Elaborate on the definitions of Classical Dance and National Standard Dance and give five or more cases of each.
Answer: (a) Classical Dance
Definition: The word "classical" is Latin for "classicus", meaning "classic", therefore, "classical dance" in the broadest sense of the word means "classical dance". The broad sense of "classical dance" refers to the traditional culture of those ancient civilized countries, long history, time-tested, and passed down to the present day, with a classical meaning of the excellent dance; narrow sense of "classical dance" refers to "European classical dance Classical Dance" in the narrow sense refers to "European Classical Dance". This is usually translated as "ballet", also known as "academy dance".
Cases: Japanese Classical Dance, Indian Classical Dance, Indonesian Classical Dance, Spanish Classical Dance, European Academy Classical Dance.
(2) National Standard Dance
Definition: National Standard Dance, known as the "International Standard Dance", is the British dancers will be refined by the sorority dance performance and competitive dance, *** there are ten kinds of dance in two series of performances and competitions included in the content. One of the "five modern dance" also known as "five modern dance", including waltz, tango, fox trot, quickstep and quickstep waltz, and "five Latin dance" includes rumba, cha-cha-cha, Samba, Bullfighting and Cowboy.
Case in point: overall, the five "modern dances" are from Europe and the United States, while the five "Latin dances" are from Latin America, which has a close lineage to African dances as a result of the slave trade. "The five modern dances, also known as the five modern dances, include the waltz, tango, foxtrot, quickstep and quickstep waltz; the five Latin dances include the rumba, cha-cha-cha, samba, bullfighting and cowboy, Rumba, Cha Cha, Samba, Bullfighting and Cowboy.
V. What are the characteristics of Romantic ballet, and give examples of important figures and works of the period.
A: Characteristics: romantic ballet is the second period in the history of ballet development. It is the flourishing period of the French school ballet, and its overall characteristics and the whole French culture, can be described as noble and elegant, rigorous and standardized, light and airy, romantic feelings, with the typical characteristics of the Romantic art, and the Paris Opera Ballet in the development of the rise and fall of the blight and glory of the experience so far is still the French culture of the overall heritage and imposing dancers in the line-up of the world's ballet companies ahead of the rest of the world. The influence of romantic ballet has also been spread and even flourished in Italy and Denmark.
Because the technique and image of the pointe dance, as well as a set of related aesthetic ideals, became increasingly mature in the period of "romantic ballet", the central position of this period in the history of the development of ballet has also been determined, therefore, before it, the "Early Ballet Therefore, the "Early Ballet" before it has the nickname of "Pre-Romantic Ballet" period, while the "Classical Ballet" period after it has the title of "Post-Romantic Ballet" period.
Important figures and works:
Filippo Taglioni, "The Nymphs"
Jean Coralli, "Giselle"
Jules Perrault, "Esmeralda", "Giselle"
Arthur St. Leon, "Gabrielle"
Marie Taglioni, "The Nymphs"
Carlotta Tarrioli, "The Nymphs"
Marie Tarrioli, "The Nymphs"
Carlotta Tarrioli, "The Nymphs"
Carlotta Tarisi "Giselle"Théophile Gautier "Giselle"
Carlo Blassis "Canon of Dance"
Luigi Manzotti "The Death of Masanello", "Michelangelo and Lola", "Cleopatra"
Fourth, what are the two countries in which the modern dance originated, and elaborate on a few historical periods, representative figures and masterpieces of the development of the modern dance in Germany? historical periods, representative figures and masterpieces.
A: Expressionist Dance (1914-2007)
Representatives and masterpieces:
Rudolf von Raben Choreography, Dance Score, Modern Dance Education, Grasping Stage Movements, Born for the Dance
Mary Wegman Witch Dance Festivals, Changing Landscapes, Monument to the Dead, Songs of Destiny, The Rite of Spring
Harold Kreutzberger, Light and Airy Dance, The Black Angels, Dance for the Children, Three Crazy Men, The Annunciation Angels
Dore Hoyer, Dance for Carter Kohler Huichol, Bolero, Moses and Aaron
Susannah Rink. Simplicity, Funeral Dance, The Doll, Death and the Maiden, Changes
Géha?lle Bernard, Secular Legends, The Wolf, Science Fiction Stories, Untitled Ballet, Abstract Group Dance
Henrietta Horn, Walking Away, Mandalorian, Solo Dance, Surfacing
Oscar Schlemmer, Dance in Space, Dance in Gesture, Dance in Form, Dance on Stage, Stick and Stick. Stage Dance, Stick Dance, Tire Dance, Metal Dance, Glass Dance, Trinity Ballet
Dance Theater (1932- )
Representatives and masterpieces:
Kurt Juss, The Wings of the Painted Bird, Room 13, Petruszka, The Return of the Wanderer. Card," "The Return of the Prodigal Son," "The Big City," "The Seven Heroes," "The Mirror," "A Springtime Tale"
Pina Bausch, "He Leads Her Into the Castle Hand in Hand and Others Follow," "The Legend of Chastity," "Café de la Muller," "The Crossing Place," "The Carnation," "The Rite of Spring," "Bluebeard," and "Seven Deadly Sins."
John Koresnick, "Macbeth. Reinhild Hoffmann The Couch Solo, Five Days and Five Nights, The Wild Steppe, The King and the Queen, Dido and Aeneas
Sasha Waltz 20 Minutes Short of 8:00, Tears Shatter Quickly, Always Jumping in Six Steps, Traveling Insights, A World of Two
Seven, elaborate what are the characteristics of all the Russian Classical Ballet and give examples of the important figures of this period and their works.
A: Characteristics: Classical ballet is the third period in the history of ballet development, with the rise of the Russian school as the background. Compared with the previous two periods of "Early Ballet" and "Romantic Ballet", "Classical Ballet" period left more legacy, including the "Three Great Dances" by Tchaikovsky. Among them, Tchaikovsky's "Three Great Dances" have the most vitality and influence, and are still performed all over the world with full houses; works selected from the French repertoire are often used as a subplot, and are active in the ballet evenings of various dance companies, and have moved to become time-tested classics, and have formed the "duo" and "sex dance" styles. The two models of "Dance for Two" and "Sex Song and Dance" were formed, as well as the dominant ideas of "Dance Theater and the Highest Form of Dance".
Important figures and masterpieces: In a nutshell, a large number of ballet classics of the "classical ballet" period came to fruition due to the sincere cooperation of three artistic giants: Marius Petipa, Lev Ivanov and Peter Ilyich Tchaikovsky.
1, Russia's "father of classical ballet" Marius Petipa, a French choreographer. For Russia's new "Don Quixote" (1869), "Dancing Girl" (1877), "Sleeping Beauty" (1890), "Cinderella" (1893, co-operation), "Swan Lake" (1895, co-operation), "Raimunda" (1898) and other **** 54 classical ballets, re-edited the "Pirates" (1880), "Pagitta" (1881), "Giselle" ( 1884), "Gabrielle" (1884), "Esmeralda" (1886), "Nymphs" (1892) and other 17 French romantic ballets, and choreographed interludes for 35 operas.
2. Lev Ivanov. He choreographed and directed Acts II and IV of the classical ballets The Nutcracker (1892) and Swan Lake (1895) on his own.
3. Peter Ilyich Tchaikovsky. "Three great dance dramas" Swan Lake (1877/1895), Sleeping Beauty (1890) and The Nutcracker (1892). The opera "Evgeny Onegin" (1879), the dramas set to music "The Snow Maiden" (1873) and "Hamlet" (1891), the fantasy overture "Romeo and Juliet" (1880).
4. Italian performer Pierina Lainiani. Starred in "Salandra" (1890), "Aladdin's Lamp" (1892).
8, modern dance originated in which two countries, and elaborate on the development of modern dance in the United States of several historical periods, representative figures and masterpieces.
A: the United States and Germany.
America:
Freestyle Dance Period (1981--1927)
Loy Fuller, "Dance of the Serpent," "Butterfly," "Dance of Fire," and "Dance of Radium.
Isadora Duncan, "Mother of Modern Dance," Bacchus the Wine God, Orpheus, Beethoven Suite, Iphigenia in Aulis, Waltzes of Brahms, Waltzes of Chopin, Nocturne, Marseillaise, March of the Endeavors, Funeral March, The Internationale, The Revolutionary. Song of the Russian Worker, The Mother, The Three Goddesses.
Maude Allen, Songs of Spring, Phantom of Salome.
Early Modern Dance Period (1915-1931)
Ruth St. Denis "Rada," "Cigarette Smoke," "Cobra," "Indian Dancer," "Yogi," "Egyptian Dance," "Peacock Dance," "Alabaster Goddess," and "Farewell My Concubine.
Ted Shawn, "The Death of Adonis," "The Mauravian Torah Monk," "Prometheus in Bondage," "The Cult of the Object God," "The March of the Laborers," "The Vitality of Motion," monographs, "Ruth Dennis - Herald and Prophet," "Dancing Gods," "Fundamentals of Dance Education," "Every Little Movement," autobiography A Thousand and One Nights Forever.
Classical Modern Dance Period (1926-1960s)
Martha Graham, "Topography," "Dancing in the Streets," "Primal Mystery," etc.
Louis Horst, "Primitive Mystery," "Topiary," and "The Dervishes" compositions.
Doris Humphrey "Aria on the G String," "A Study in Water," "Double Drama," and more.
Charles Weidman, "The Return Phenomenon," "Opus 51," "The Movie," and others.
Postmodern Dance Period (early 1960s - late 1980s)
Anna Halprin, "The Prophetess," "Male and Female Sacrifice," "The Celebration of Life - The Age Cycle.
Trish Brown, "Ground in the Woods," "Ice Cold Seduction," "12 Tons of Roses"
Lucinda Childs, "Geraniums," "Untitled Trilogy," and "Crazy Rush"
Post Post-Postmodern Dance Period (Late 1980s - 2007)
Bill T. -Jones "Last Night on Earth," "Last Supper at Uncle Tom's Cabin/Land of Hope," "The Definition of Love.
Carol Armitage, "Neon"
Martha Clarke, "Garden of Secular Joy," "Endangered Species," "Poetry of Fire.