When it comes to modern dance, in fact, many people's concepts are somewhat vague. Some people think that it is an unknown alternative dance made by some unconventional people. Some people think it is a fashionable thing similar to disco and break dancing. I remember the first sentence given to us by Mr. Guo Mingda, an active wearer in China in the 1980s: "Modern dance was born in the early 20th century and is a very complicated artistic phenomenon." Moreover, his first class was actually "classical modern dance". Modern dance is "trying to combine our deep feelings with the mood of our times". It is the art of expression-Mary Weigmann's modern dance is the visualization of inner images-Martha gleim's modern dance is the movement from the inside out-Doris Humphrey's modern dance is the art of overthrowing idolatry-Selma Jenny Cohen's modern dance has no universal rules. Every artist is creating his own code. If we sum up the previous narrative about modern dance and the explanations of modern dance masters, then we can temporarily define a concept for modern dance. "Modern dance is not what we usually call a kind of dance, it should be a creative way, and this creative way is to publicize personality and innovative spirit, and it is a kind of novelty, novelty and individuality. It has exploratory experiments. Introduction to Modern Dance in Europe and America/KLOC-At the end of 0/9, classical ballet began to decline, and the unchanging action traditions and stereotypes made dance fresh and tasteful. People are also eager to break the shackles of the human body since the Middle Ages. No matter in ideology or code of conduct, a revolution is needed to respond to the call of liberating the body and pursuing freedom. In the hustle and bustle brought by the industrial revolution, artists are keen to return to nature, pastoral and ancient culture, looking for a perceptual truth and the power of human nature. The appearance of isadora duncan set off a magnificent revival of human body culture in the 20th century. She gave up corsets and ballet shoes, put on a Tunik shirt and danced barefoot, inspired by nature and ancient Greece. The slogan of "anti-ballet" and the declaration of a high degree of integration of spirit and flesh were in line with the internal needs of people at that time and the spirit of the times. Duncan's yearning for nature is the victory of natural emotion over social habits, which reflects the spirit of the times at that time. If Duncan rebelled against ballet tradition unconsciously and instinctively and brought about a dance revolution, then when German Mary Weigmann, American Martha gleim and Doris Humphrey appeared, they were consciously and consciously creating and establishing a new order. Modern dance in the true sense is not only a physical revival movement, but also a brand-new artistic form and viewpoint. It is marked by the emergence of a new action system and action theory. Based on the observation of human spirit, it creates a personalized and contemporary way to recognize the world and express emotions with body movements. The development of modern dance in Europe and America is generally synchronous and interactive. In Europe, modern dance happened earlier. /kloc-at the end of 0/9 century, the bud of modern dance gradually grew from Europe to the United States. Even Duncan, who was born in America, was recognized for the first time in Europe. At that time, art and culture followed a European standard. Franois Delsarte, a French dramatist and singer, founded the theory of expression system, which divided human movements into different expressions and became a dramatic gesture. Dennis, the first pioneer of American modern dance, was deeply influenced by him and incorporated his system into her teaching course. Delsarte's disciple, Swiss musician Emile Jacques Dalroz, invented "dance rhythm" again. Great modern dancers Weigmann, Yus and Holm all studied under him. When Rudolph Laban's Body Dynamics and Mary Weigmann's expressionist dance appeared, Central Europe became the central highland of modern dance. Both Laban's scientific analysis of sports and Weigmann's concern about the theme of life and the universe inside the human body have impacted the oriental sentiment that the United States was obsessed with in the 1920s. At the same time, the second generation of mainstream modern dancers, such as Martha gleim of the United States, began to establish local dance images under the influence of German expressionism and humanistic spirit and the inspiration of ancient culture, seeking a way out for their complicated and slightly chaotic emotional motives. As an emerging country with diverse coexistence, the United States is full of optimism and freedom. In such a living environment, the constant rebellion, rebellion and independence of modern dance has become a new force, which has prompted the rapid division of dance schools. The famous aesthete and historian Selma Jenny Cohen also concluded that "modern dance is an art to overthrow idolatry." With the high industrialization of American society, post-industrial civilization began to deconstruct everything in the alienation and disillusionment of human nature after the war. In 1960s, after the birth of Judson Dance Experimental Base, postmodern and postmodern dance movements developed in full swing. Since the 1920s, there have been five training systems of classical modern dance in the field of modern dance, namely, Martha gleim, Moss Cunningham, paul taylor, Hotz Limon and Han Ji Holm. This movement is a rebellion against classical modern dance and a reflection on the living conditions of human beings in post-industrial society. Dancers walk out of the theater in their daily clothes, creating a "strange" visual environment and auditory atmosphere in familiar life scenes such as lakes, roofs, streets and art galleries. Dancers, on the other hand, are more engaged in the practice of pure movements, from the early generation of movements from emotional motives to the germination of meaning in the movements themselves. Anna Halprin used a large number of amateur dancers to restore the social function and group fun of dance. David Gordon deliberately eliminated the distance between life and dance, and used the movements of life and the deformation of satirical ballet to show the broken and deconstructed jokes of postmodernism, and also reflected the relaxed mentality and personality of contemporary dancers. Post-modern dance is cold and chaotic, but it is more and more real life. In such a country without traditional burdens, modern dance is constantly updated, and the rapid metabolism also leads to the exhaustion and some confusion of innovation, and innovation has become its own tradition and law. As one of the important cradles of modern dance, Germany has been developing slowly in the shadow of war and is full of pessimism. Under the tradition of German rationality, German modern dancers first established the action norms and made a theoretical analysis of the noumenon. Although their dance aims are irrational and emphasize the self-experience of personal feelings, the "expressive" way still reveals profound rational thinking and profound humanistic details. Different from the United States, modern dance in Germany is diverse and arbitrary, but it retains the characteristics of introspection and the habit of thinking. This expressionist dance style spread to the United States, and also had a certain impact on modern dance in the United States. In 1960s, the appearance of "Dance Theater" in pina bausch made the introspective tension of German modern dance reach a peak. "Dance Theater" is not a style, but a state of mind. As she said, "What interests me is not human action, but the connotation of action." The unrestrained action vocabulary calmly expresses the true human nature, which makes German modern dance more powerful and keeps the posture of never falling behind. The 20th century is the century when the human body fully awakens. Modern dance, from the free movement against ballet, to the excavation of movements from emotional motives, to the practice of pure movements, and then to a large number of daily movements, has returned to the people, become a dance of life, and played a role in awakening the body. When industrial civilization restrains people's body and mind again, modern dance has become an internal need of people, which has greatly improved individual life and can be used by people. From the perspective of modern dance appreciation, it is appropriate to adopt a tolerant attitude, which may be an appreciation gesture for all modern and contemporary arts. The experimental deviance and the heavy mystery of the serious theme will be as unacceptable as an excessive performance art and a novel without punctuation. Tolerance can contain some false art, but tolerance can make people try to accept and understand a stranger, a new form. In modern dance, the audience can experience the shock and pleasure brought by the fresh and peculiar action forms, and find special consciousness in the relationship between action and audio-visual environment. They can cough loudly and leave early. Modern dance makes you angry, makes you happy, makes you moved and makes you sick, but it can't make you indifferent. Please make your reaction, your action. The modern dance mentioned here is concentrated in the two cradles of Europe and America, and the development of modern dance has always been a worldwide topic. Japan's Butoh, the new dances of Korea and China, and the unique modern dances of Israel, Australia and Africa cannot be covered here, but it is obvious that the survival, development and growth of modern dances of these nations and countries have finally found their own body language and expression in their own lives, times and cultures. At present, the concept of modern dance is gradually replacing modern dance, which is more inclusive and approachable than modern dance in time and dance types. Modern dance has become an inherent style, and a new generation of dancers need to rebel and stick to the rules. Modern dancers have discovered the true meaning of modern dance aesthetics contained in Yi, and "change" means "unchanging". Change is the way to survive and the secret of keeping fresh. Only by constantly abandoning some existing things can we achieve self-transcendence.

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