As one of the imitators and learners of Master Yang li Ping, Master Yang li Ping opened the door to dance for me. I used to change the channel as soon as there was a dance on TV, because I was not interested. Now whenever there is a dance on TV, I will immediately change the channel, because I know that it is not a real dance compared with Yang li Ping's dance. Take The Spirit of Sparrows as an example. As you get older, experience grows, and you understand dance, you will see something completely different. I used to think that the "spirit of the sparrow" was modeled after a bird, but now I think it is a flying soul.
Yang li Ping's dance seems simple. A professional dancer can learn all the movements of "The Spirit of the Sparrow" in half an hour, but the taste of jumping out is totally wrong. Why? Because dancing is not an action at all. Dance is like a language, and actions are words, but only Yang li Ping can accurately express his meaning with these words. It takes a long process from the outside to the inside. I've been dancing for ten years, and now I feel like I jumped out of it.
I feel that I often see such remarks as "Yang li Ping lived by dancing all his life", so I only discuss one question here, that is, does Yang li Ping only know how to dance peacock dance? Look at this problem from teacher Yang's works. First of all, look at her solo works, among which the early famous works are Sparrow Spirit, Two Trees and Plum, with different styles. I don't need to say that the spirit of the sparrow is a godsend. A peacock hand in Yang li Ping broke the dance mode of "looking at thighs" at that time, which not only amazed colleagues in the dance circle, but also showed the public what the real China national dance was. In the following decades, "The Spirit of Marquee" was a compulsory course for almost every dancer. Dancers such as Tai Lihua have climbed it, but they have been imitated and never surpassed it until today. Venus even bluntly said in a dance talent show that Yang li Ping's "Spirit of the Sparrow" was "unprecedented, and there was no one after it".
So since the birth of the spirit of Marquee, the label "Princess Peacock" in Yang li Ping has been nailed and branded, so that the audience who have not seen her later works can't escape the influence of this label, and naturally think that the work compiled by Princess Peacock must be a peacock! This shows that the sparrow spirit is an insurmountable monument, and I wonder if the spirit of Yin and Yang sparrows also originated here.
To sum up, this is probably Yang li Ping's book with the richest body language, which can best show her extraordinary body flexibility. Some clips can almost be described as rapidly changing, but I don't know if I think it's speeding up the playback. Both dance itself and body painting were very Leng Yan at that time. Later dance works mainly include Moonlight and Lotus Heart. We all know that dance pays attention to fluidity, and the expression of fluidity needs stage space. Moonlight, on the other hand, created a precedent for fixed-point dance. Yang li Ping worships natural creatures, including the sun, the moon and the stars. She thought the moon was beautiful, and it would be nice if she could dance in it, so the moonlight came into being.
This is another classic style of Yang li Ping besides peacock hands. The book revolves around the moonlight scenery, including many images, but not including peacocks, and there is no iconic peacock hand shape. "Lotus Heart" is a directed work, which was played by Yang Dance in the Spring Festival Evening of Beijing Satellite TV. Although Yang li Ping also played Tara the Lotus in the ballet The Secret, their images are not the same. The work is contrary to Yang li Ping's agile and agile style, and its modeling and movements are extremely serious. Therefore, the Spring Festival Evening works embody the meaning of auspiciousness and happiness.