Western folk proverb says: "Life is natural, and dance is style." Just like defining the style of dance, we should also define the personality of dance and define it in drama creation. For dance, style is a big cultural and aesthetic context; As far as repertoire is concerned, the cultural and aesthetic context of style is condensed in the personality of dance creators and performers. In other words, the creation shows the macro-object style with the micro-subject personality, and its micro-details sometimes even need to be stripped off by individual psychology.
Swan Lake is elegant and graceful, with Russian melancholy and faint sadness. The white swan in ulanova and Plesetskaya have different personalities. The former is delicate and euphemistic, while the latter is noble and irritable. Carmen bears the Spanish style: pride, enthusiasm and unrestrained. gypsy woman's wild beauty constitutes the "one" of classical ballet. This one also includes the vastness of pirates, the liveliness of nutcracker, the heroism of Spartacus, the precision of onegin and the delicacy of Giselle. Due to the vague cultural aesthetic context and immature creative personality, China's dance dramas did not show the overall cultural aesthetic influence in style and personality. These shortcomings are shown in the script or music, but the most important thing is the dance part. Dance fragment is the highest form of dance body language expression, the concentrated expression of style and personality, and the soul of dance drama as the expression of "dance". Literary circles often use the phrase "short stories can fool others, but long stories can't hide from others" to compare the difference between short stories and long stories. In fact, this can also be compared with the creation of short dance programs and dance dramas. However, this does not rule out that we have made impressive achievements in the creation of "short stories", and many highlights have been captured very finely: the pyramid shape of "Soul of Thai Fighter" and the ink and wash of "Fan Dancing Danqing" are full of color; The interaction between man and silk in Flying, and the pull between man and chair in Deep Courtyard. Confucianism, Taoism and Buddhism all show their magical powers. A closer look at the creative context of Song of the Wind reveals that the director who looked up at the starry sky on the country wheat pile in childhood has quietly gathered the complex of dancing with the wind; Similarly, the natural transformation of Taiji consciousness and movements in the "Action Deconstruction Course" of Beijing Dance Academy also provided support for the works.
First of all, the creative personality of China folk dance has existed in its original ecology. The formation of Anhui Flower Drum Lantern Dance benefits from various personality creations: Tian in Fengtai County is good at "three bends" modeling, and Feng in Huaiyuan County is good at intercepting people in big bends and quick movements, and creates an innocent and lively orchid image with smooth "first-line" movements. But after all, they failed to sublimate the creation of dance style to the creation of drama. The establishment of professional dance troupes and the emergence of professional dancers provide a stage for the creation of folk dance repertoires. As far as diachronic state is concerned, the style belongs to the past tense and is a traditional and established ancient porcelain; Personality, on the other hand, belongs to the present tense and is mainly created according to the present living conditions, just like a person who makes pottery himself. Pottery makers can enjoy themselves and freely flow with the emotional consciousness of the present tense, but in the process of this flow, cultural and aesthetic memories of the past tense cannot be ruled out. Unless they don't have this memory, they will imitate the ancient porcelain they touched intentionally or unintentionally. We often regard the classical dance Yellow River as the symbol of the new "classical dance". The unity of "new" and "ancient" is a kind of * * *, and the separation of them is a diachronic state. The final choice in this time dimension is to see what the Yellow River says and how to say it. At the moment of national peril, "dance" and "hand dance" of modern dance have become a necessary expression, regardless of gender, and there is no need to draw a circle "front, back, left and right". In fact, modern dance also has conflicts of style and personality. Some scholars use "pre-modern dance" and "post-modern dance" to divide, while others use "post-modern dance" and "post-modern dance" to outline their internal differences and conflicts. These are all reflections of the time dimension.
Secondly, we will discuss the relationship between style and personality in the spatial dimension. A director described style and personality like this: "Style belongs to others, and personality belongs to oneself;" Style is repetitive, personality is changeable, style is iron and personality is fire. "What needs to be added is that if the two are integrated in space, then iron and fire will make steel. From the perspective of dance history, many dances with strong styles were born out of the intervention of personality, which made the original dance more perfect. 1832, Italian Tario created his own ballet Fairy and his daughter's ballet Fairy in France. White gauze skirts and pointed shoes bring Italian classicality and light up French romance. In this context, Tario carefully constructed a small context for her daughter, from "flying" to "jumping on tiptoe", and created a special body language vocabulary for romantic ballet. 1936, the Danish dancer August Bournonville who starred in Tario's Fairy boldly turned "others'" things into "own". He absorbed the French version of Fairy, put it on the stage in Copenhagen and adapted it into a Danish masterpiece, but the original French version was lost. A "fairy" in Italy, France and Denmark runs through the north and south space of Europe and stands forever in the history of ballet.
Examples of this fusion are also found in the history of China dance. The ancient costume and feather dance is the fusion of the Tang Dynasty and India, and the modern red female soldier is the fusion of China and the former Soviet Union. The Dunhuang Dance School established by the appearance of Silk Road and Rain Dew is at the intersection of many cultural and artistic spaces. There is "self" in "others" and "others" in "self". Through the investigation of time and space, we can draw some conclusions: First, style, as a free expression of aesthetic body language, should serve individuality, just as we constantly express Chinese freely with foreign words today. Second, personality, as the free expression of body language of culture, should be identified by style, just as no matter how many foreign words we use in Chinese expression, it can't change the "discourse hegemony" of Chinese.
Here we can use Matthew's Swan Lake as the conclusion to make a little explanation. This dance drama does not tell beautiful fairy tales, but focuses on people's inner world and characters. The complexity of inner world and the diversity of personality need corresponding body language to explore, so all kinds of styles are gathered under the authority of Matthew's personality. As a modern ballet, Matthew personalized the traditional style for our use. Mother's posture is upright, arms crossed on her chest, elbows outward, arrogant, indifferent and aggressive; The prince is also upright, but his stiff arms cling to his body, trying to narrow the living space without maternal love and freedom. At the same time, Matthew also included other styles of dance: he used the ground movements of modern dance and curled up, bent down and ran to show the prince's inferiority, depression and lack of love; The "Four Little Swan Dance" with the flavor of primitive folk dance gives vent to the unconscious emotions of restlessness, empathy and restlessness. Regarding conclusion 2, we can take A Green Leaf based on China Jiaozhou Yangko as an example. This is an award-winning but controversial folk dance repertoire. The controversy lies in whether the personality displayed by modern dance has overwhelmed the style specified in the material. Indeed, in order to express the aloof, self-centered and exploratory track of modern women's hearts, jumping and many cohesive actions have replaced the traditional shy self-entertainment programs, which are closer to the present tense than the same material "Yimeng Feelings" and the "modernized" Fan Niu. However, the women in the play are by no means "maybe flying", because the twisting, rolling, stretching, tenacity and "three bends" of Jiaozhou Yangko have obviously bound it to the land and Qilu cultural circle of China Han nationality. However, these style elements have changed in the range, speed and intensity of expression, showing a "defamiliarization" effect.
The essence of art is original and can only be realized by individuals. It is precisely because of its unique personality that every dance will bloom vividly on the stage. Here, style is no longer the racial identity of thousands of people, but has become a symbol of life.