1. rhythm
Penetrating into the tangible shell of dance, getting in, getting in and coming out may take a long, deep step. When you feel closer to the bottom, you must have disappeared. You don't have it, you don't have it, it seems to be everywhere. When you can't find the bottom of the long sequence and you can't find yourself at the same time, both of you become ubiquitous tremors, which can never be explained, explained, nonexistent and incomprehensible. It only comes from the spirituality of human life and is with you. There are weak, strong, soft, rigid, loose, tight, astringent and slippery. It's rhythm.
Rhythm is the soul of dance. Looking from the inside out, it is particularly intuitive.
Rhythm gives the primitive restlessness of life a rhythmic order and turns it into an emotional atmosphere, which can be presented like a fire.
The core of rhythm is the style of force. There are various styles of rhythmic strength, which can directly and obviously show the temperament, feelings and charm of dancers.
Mountain people have been wading through mountains and rivers for many years, and their flexible rhythm often constitutes the basic rhythm of their dance. However, with the same rush, the dance on the top of a high mountain will be rougher than that on a bold mountain; The dance in the valley area shows beauty and elegance with flexible water; In primitive and sparsely populated tribal dances, in addition to the bouncing of knees, hips and hips often roll actively, which implies potential reproductive worship with a little simple sexual incitement; In a country with a relatively developed culture, this kind of hip, hip and even waist and abdomen tend to be introverted, more consciously guided and turned to the direction of graceful rhythm.
People who are used to bearing heavy objects with their heads must have some kind of body cushioning method to keep their heads stable and balanced. For example, some dances in Sri Lanka and the South Pacific have a feeling that the crotch seems to be squeezed out by the pressure of the upper body. When walking, they alternate from left to right with a leisurely rhythm, which adds a light and comfortable mood to them and forms a graceful dance, like a leisurely wave and a palm swaying in the breeze.
The mystery of rhythm is consciously used by dancers in ballet dance, and even extended and developed, and the space-time image flows from individual dancers to the whole stage. Generally speaking, dancers try to find a basic rhythm for each work, and use it as a driving force to develop, strengthen and derive a dance and even the whole dance.
An isolated gesture, no matter how wonderful and meaningful each of them is, is still not a dance, no matter how many there are. Only when the style of force conforms to the ups and downs of life sentiment, logically develops vivid contrast, and focuses on these gestures, so that they grow and are organically linked together, can it become the image of dance. Some dances, you can't even grasp the definite shape from them, and it is difficult to separate the units of posture.
Rhythm is the soul of dance, of course, it does not mean that other elements such as modeling are irrelevant and dispensable. Rhythm rhythm is always the rhythm in a certain modeling form, and any rhythm must be in the modeling posture. The rhythm of dance, no matter when, is of course the movement of one's tangible body with form.
Dance movements in modeling and body in motion can all be attributed to plastic arts. But its shape has its own characteristics.
It is often said that dance is an active sculpture. As a metaphor, you don't have to be picky about it. I was chatting with a dancer one day, and he said that he would rather change this sentence to: "Dance is a living sculpture." There is a word difference between living and living, and there is indeed a gap in taste! Obviously, as mentioned above, nagging about rhythm and dance is an unusual activity and a vivid expression of life.
Sculptors are committed to capturing the texture and sense of quantity of marble, bronze and other materials, the block and shape of modeling, the texture rhythm and the instantaneous image, while dancers are committed to the interdependence of dance modeling and internal rhythm, so that the ever-changing space can be integrated into the dynamic contrast of time rhythm.
In the stage play Dancing for Eyes, the significance of dance modeling has undoubtedly been greatly enhanced. Just like the pen and ink of calligraphy, just like the meteor across the sky, the power movement of inner life perception is seen by our naked eyes, so it is understood by our eyes! Within the space-time framework of the stage, the audience expects to see a fully developed dynamic image. The richness of modeling will inevitably strengthen and enrich the genes of rhythm.
The graceful rhythm can be pushed from the upright rotation to the oblique rotation like Xiang Yan, the squat rotation plus the idling of jumping up, the quick jumping and turning, the stretching leg somersault until it turns and rolls on the ground. ...
Corresponding to the movement that the rhythm extends to the whole stage image, the significance of modeling is also reflected in the whole stage composition. Of course, the flow on the stage is always in a picture.
In the 1980s, an important work, Creek, River and Sea, which is famous for its beautiful scenery on the stage of China, used the technique of "Little Birch" for reference, and described the process from trickle to long flow until it merged into a huge wave and spilled into the sea. The implication may be dull, but the intuitive picture is refreshing. In fact, the actor's core action is only the catwalk of China classical dance (commonly known as running circus), and the scenery is all in the overall process and composition.
Modeling and composition are the flesh and blood that rhythms the soul, which goes without saying. Modeling and composition, living in the overall movement of dance, also made an indispensable contribution to dance performance with its relatively independent ideographic function.
Different personalities should have different rhythm patterns; On the other hand, the same rhythm form, such as the smooth and tenacious turn of the crotch in the rumba, will give the audience a completely different visual impression if it is done by an old man with children, an honorable gentleman or a small man selling pulp.
It is impossible for a human body full of humanity not to understand different meanings because of different modeling postures. Stretching forward always gives people a feeling of self-confidence and heroism; The contraction of the body always gives people a feeling of pain and withering. Although these forms may be supported by different rhythms, they may also be influenced by the same rhythm.
For example, after a dance is formed, there must be corresponding norms. Ballet pays attention to stretching lines, the posture must be open, the feet must be stretched straight all the time, and the shape of the buckle is regarded as ugly here. However, under this kind of confrontation with normative habits, there is often an opportunity to create new characters' meanings. It is normal to be open, nervous and straightforward. It is the most appropriate form to create abnormal characters such as clowns, fools, freaks and goblins, or to create a strange realm to express distorted emotions, buckle, shrink and bend.
For example, in the folk dance in China, Najib's desire to ward off evil spirits is pinned on the shape and composition of the dance with words and symbols; Or put the auspicious scenery of flowers, birds, fish and insects to express the simple taste of folk life. On the stage, although simple illustrations are strictly prohibited, just the right schematic symbols will always play the role of finishing touch.
Dance is a combination of rhythm, modeling and composition. Rhythm, modeling and composition each contribute their own expressive force in the organic integration of interdependence, which constitutes the full emotional charm of dance.
2. Dynamic
One of the most basic characteristics of dance art is dynamic. The so-called dynamic is that dance takes the trunk and limbs of the human body as the main tools, vividly reflects the spiritual world of objective things and characters through various postures and shapes, and shapes the dance image. This rhythmic and beautified movement of the human body is not a general movement piled up and listed, but presented to people as a visual dance language. The image thinking and artistic conception of dance creators are fully reflected through these dynamic languages, and vivid dance images are created. Therefore, some people call it the art of action.
The dynamic nature of dance art is reflected in the full use and excavation of human beauty and the maximum performance of human body. Beautiful body movements are the basic elements of dance art, and the creation of beautiful dance is strictly based on the dynamic artistic characteristics, taking the beautiful form of human body flow as the language, shaping the dance image and expressing the broad social life. Its performance characteristics and artistic charm are irreplaceable by any art form. Numerous creative practices have proved that dance art can not only express abstract inner thoughts and feelings, but also melt the philosophy of life into constant rhythmic beautification. It can fully show the beauty of human feelings and humanity hidden in people's hearts through the form of human beauty, and make abstract modality materialized into images. Any dance or ballet is inseparable from the beautified rhythmic human movements, and these carefully choreographed movements are the concrete embodiment of aesthetic ideals, which not only give people beautiful enjoyment in the senses, but also give people beautiful enjoyment in the spirit.
The dynamic nature of dance means that all dance movements should be full of some full and exciting feelings, with some aesthetic intention generated by some aesthetic consciousness, which becomes a distinct symbol of the externalization of inner feelings. The emotional information expressed by this special externalized symbol has two forms and functions: one is concrete form action; The second is abstract form action.
The concrete form action mainly shows the form and concrete external action of things in social life. For example, picking tea in tea affairs; Laundry movements in laundry songs; The action of carrying a load in Carrying Fresh Lotus Roots; The harvesting action in The Harvesting Song; Horse riding in Mongolian dance. Although these movements, which are subordinate to external dance, come directly from real life, they are not simply simulated and copied, but refined and beautified. This artistically processed dance language not only shows some movement characteristics in life, but also expresses specific inner feelings. For example, in the dance "Jinshan War Drum", Liang Hongyu was injured by an arrow when he beat the drum; In Goodbye, Mom, the soldiers and their mothers salute and rush to the enemy before saying goodbye. Dai girls wash their hair and feet in the water; Although these are concrete appearances of life, through these external dynamics, the patriotic spirit of ancient female heroes, the heroic spirit of soldiers dedicated to the motherland, and the love of Dai girls for a better life are shown.
Abstract body movements are induced by rich and varied emotions excited by the heart, and the inner dance can be fully explored through the beautiful body of the human body. It does not show specific life scenes and images, but gives people a feeling and association, which makes people's emotions condense, accumulate and sublimate. It's like an inner monologue in a drama and an aria in an opera. Concentrate on expressing a specific strong emotion through a long period of carefully designed dance movements. For example, the big dance in the dance "Moonlit Night on the Spring River" did not show concrete appearances, but profoundly revealed the inner world and character of the ancient girls in China through the dance language. In the ballet Rain on Silk Road, the duet between ying niang and Shen in Mogao Grottoes shows the attachment between father and daughter in abstract form and action. Solos and duets in ballet also have this feature.
Understanding and mastering dance and dynamics is conducive to expanding the performance field of dance art, maximizing the artistic beauty of movements with the flowing process of human bodies, and embodying incomparable rich real life and profound feelings with limited movements.
3. Strong lyricism
Dance is the most concentrated and wonderful expression of human feelings. Human body movements can express the most exciting mental state and express rich inner feelings. The poet Wen Yiduo said, "Dance is the most direct, sharp, simple and full expression of life interest." We know from ancient cultural relics and historical materials that the dance state and form of primitive people mainly express their inner passion and infinite vitality of life. This feature of dance fully embodies its strong lyricism.
Some poets and artists, according to the strong lyric characteristics of dance, call it dynamic image poetry, which is very insightful, because dance art reflects objective life, rather than simply simulating and reproducing life. Generally speaking, it is different from the performing arts such as drama and can show more complicated contents in a detailed process and plot. It profoundly reflects people's rich inner world with its unique means of expression and highly concentrated and generalized poetic dance language. Dance image is the sublimation and embodiment of life perception and spiritual spark. Strong lyricism makes dance art full of charm and strong aesthetic feeling. Magnificence and solemnity of peacock dance; The beauty and purity of water; The elegance and nobility of Dunhuang colored sculptures: Goodbye, Mom is fiery and deep; Dance dramas such as Rain on Silk Road, Swan Lake and Romeo and Juliet are picturesque, just like lyric short poems and long poems, but more concrete and vivid than poems. They concretize people's inner feelings and abstract concepts through dynamics. Generally speaking, dance art is not suitable for expressing the process of events and graphic language, and it is narrated by lyric; And narration is also for lyricism. Therefore, as the theme, plot and details of dance and ballet, it is usually poetic and based on strong lyricism. Dance images created by dance artists are highly concentrated and sublimated by the feelings of typical characters in life, revealing the truth, goodness and beauty in people's hearts with dynamic poetic language. For example, the image of soldiers in Goodbye, Mom has aroused people's understanding and pursuit of lofty sentiments. The dance image in the dance drama Swan Lake makes people realize the pure goodness and beauty in poetry and painting. The strong lyricism of dance has opened up a far-reaching territory for the art of dance.
When people mention lyricism, they often understand it as a soft and lingering emotional attribute. From the sense of form of dance, it is also believed that only slow rhythm and gentle movements can be considered lyrical. In fact, the meaning of lyricism is extensive. Dances such as Lotus Dance, peacock dance, Water and Death of a Swan are all lyrical. The bold dances such as Ansai Waist Drum, Soul of the Yellow River, March of the Sword and Goodbye, Mom also expressed their inner pride. Therefore, lyric is a broad term of dance art, and it is good at lyric. If the dance art leaves the expression of strong inner feelings, it will lead to the external simulation of life Numerous experiences have proved that without strong lyrical dance and ballet works, there is bound to be a lack of poetry and painting, which will inevitably weaken the expressive force of dance art.
Strong lyricism plays a decisive role in the success or failure of dance works.
4. Virtual and symbolic
Another difference between dance and other performing arts is its virtuality and symbolism.
From the perspective of China traditional opera, its dancing movements such as riding, rowing, sedan chair riding, embroidery and flogging are all virtual and symbolic. In fact, the horses, boats, sedan chairs and needles in the dance are all virtual, and only a whip and an oar are used as symbolic gestures, but this hypothetical dance action is recognized and accepted by the audience. In the performance of the environment, there is neither a mountain model nor a river setting, but hands waving to climb the mountain and lifting legs to climb the mountain, which makes people believe that they are climbing the mountain; The audience is convinced that a series of big jumps, rotations and tumbling movements are all showing the battle, which is the battlefield filled with smoke.
The dance "Song of Harvest" symbolizes the rolling of rice waves with the dancing of yellow gauze; In the Battle of Jinshan Drum, Liang Hongyu jumped on the drum surface and revolved around the drum when playing the drum, and even rolled on the drum continuously in the fierce battle. This is incredible in actual combat. However, people have not questioned this virtual and symbolic feature, and no one will think that it is detrimental to the identity and tolerance of a historical celebrity. On the contrary, people are excited by these dance moves, from which they notice the fierceness of the battle and the heroism of the heroine. The dance "Silent Song" symbolizes that Zhang Zhixin's throat has been cut and there is a red flower at the neckline. People can not only understand it, but also have many associations. Peacocks in life are never just twisted and relaxed, but in the dance "The Spirit of Sparrows", they symbolize and embody the purified mind and noble sentiment.
In the modern dance "Listen to Mom's Story" performed by Ms. Jiang Jing of China, there are neither mom nor other actors in the dance. But from the action, people feel that the mother is telling a touching story for her daughter; By sitting on the ground, lying on the ground and waiting for some body postures, the psychological activities of her daughter who was moved by the story were vividly expressed. In recent years, under the guidance of new ideas, China dance artists have created some dances with grand philosophical themes, such as Rope Wave, Hope, Destiny, Ode to the Yellow River and so on, by making full use of the laws and characteristics of dance itself. , have played their virtual and symbolic characteristics, and achieved great success. The various graphic changes of the rope symbolize the gestation, development and rupture of love between men and women. We see the virtual Yellow River in the lines, dances and shapes of the human body, and think of the disaster experience of China people and today's rise and take-off.
The virtuality and symbolism of dance art are based on life, and according to the unique advantages of dance, it vividly and generally reflects the essence of life. It opens up an extremely broad way of expression for the art of dance. People create associations through virtual and symbolic dance images, and get spiritual induction and purification from the artistic enjoyment of beauty. Therefore, virtuality and symbolism are also one of the important characteristics of dance art.
5. Modeling
Dance movements are not the simulation of natural forms in life, but the basic unit of dance language refined, processed and beautified according to the laws of dance art. Dance language is the combination of dance movements, which is fleeting before people's eyes. If you can't impress the audience, you can't play the charm and role of dance art. The modeling of dance is to make the dance movements give people a clear aesthetic feeling in the process of continuous flow, and show the inner meaning and charm of dance when you pause for a moment.
Modeling is characterized by static in motion, static in motion and orderly in motion, all of which are beautiful. Can fully show the beauty of human body lines and movements, and concentrate on inner expression. In the modeling of dance, it can show strong emotional color and personality characteristics. Soft and clear dance gives people a feeling of elegance and tranquility; The action is rough and strong, giving people the feeling of being strong and brave. This is like cadence and tone priority when speaking. Its purpose is to let the other party hear every word and sentence better and correctly convey the true meaning of the speaker.
Every excellent dance work, every movement, every dance combination, and between movements and combinations are very clean and clear, with ups and downs and movements. Without modeling, dance movements will inevitably form a series of vague and hard-to-see dynamics, which will destroy the aesthetic feeling, not to mention lyricism and rhythm. Both classical dance and folk dance in China attach great importance to modeling. Whether it is dancing long silk, handkerchief, fan or expressing abstract thoughts and emotions, it embodies the characteristics of modeling in the continuous flow of action and exerts the artistic expression of modeling in a moment's pause. Foreign ballet also attaches importance to and embodies the modeling of dance. Whether it is a combination of slow and fast movements or a large jump and rotation, all the shapes are clear, and they all show rich emotional colors when flowing and still.
The modeling performance of dance better expresses its inner rhythm and rhythm, and enhances the aesthetic feeling of dance movements.
To sum up, the basic characteristics such as dynamics, rhythm, strong lyricism, virtuality, symbolism and plasticity constitute the unique means and methods of expression that distinguish dance art from other arts, thus giving play to its unique artistic functions.
Means of expression of dance art
Dance takes the trunk and limbs of human body as tools, and through the coordinated activities of head, eyes, neck, hands, wrists, elbows, arms, shoulders, body, hips, knees and feet, it forms rhythmic dance movements, postures and shapes, directly expresses people's inner activities and reflects social life. The performing dance art uses dance movements, dance movements combination, modeling, gestures, expressions, composition, pantomime and other means of expression to create a typical dance image, express the thoughts and feelings of the characters, and reflect the complete beauty of content and form.
1. Dance action
Dance movements include upper body dance and lower body dance, which is the most basic unit to create any dance.
Dance movements come from life practice. The earliest primitive dance movements are mostly the external forms that simulate life. Through the imitation of birds and beasts and the reproduction of farming and hunting, people express their inner passions. Folk dance and classical dance have a long history, and many of them come from life, such as shooting butterflies, fishing, pushing carts, shooting geese and flying in pairs. , but the difference is only through artistic processing, exaggeration, deformation and beautification. This is also common in excellent dance works, such as tasting in Grape Picking; Fish swim in chasing fish; Embroidery dance in the dance drama Silk Road Rain; Swan in Swan Lake spreads its wings and so on. Although this kind of action has been beautified and deformed, it can still show its life form, so it is also called figurative dance action.
In dance movements, many movements only express people's inner feelings, without specific actual content and life basis, but just a simple emotional expression, such as the rapid rotation of joy and the dancing of HongLing; Various big jump techniques and combinations; Some actions of duet and group dance in the second act of Swan Lake. This lyrical action is full of symbols, so it is also called abstract dance action.
Dance art mainly takes these two movements as the basic means. Just like words, they combine to become the language of dance.
Generally speaking, dance movements consist of upper body dance and lower body dance. However, some movements are only upper body dancing or lower body dancing, such as the Dai girl sitting by the river in the dance "Water". In the dance "Jinshan War Drum", Liang Hongyu swore to heaven after being injured; Kneeling dance in India, Cambodia and other Southeast Asian countries. In the dance "Laundry Song", Tibetan girls put their waist in and step on clothes with their feet, but only the lower body moves; The same is true of tap dancing in countries such as Britain and America.
Dance steps are generated by the dynamics of human lower limbs such as walking, running, jumping, twisting, swinging, turning and rolling in life. They are refined and beautified according to the emotional needs and personality characteristics of the characters in the dance and the provisions of the specific environment. The dance steps are changeable and expressive. Soft and steady dance steps, showing a stable and quiet mood; The fast jumping dance steps express the cheerful and excited mood; Passionate and rough jumping, showing specific thoughts and personality; Constantly tumbling and jumping, showing the instability of psychological activities and the pentium of feelings. Going up the mountain, going down the mountain, wading, crossing the river, going upstairs and going downstairs show a specific geographical environment; Round dance in Han dance, crane step in Korean national dance, horse stance in Mongolian dance, small jump and cat step in ballet, and tap dance in Tibetan ... vividly show various styles and personalities.
With the development of the plot and the change of the characters' feelings, the dance moves in all directions from its original position. The role of various dance steps is not only to move the position and change the direction, but also to enhance the emotional color and aesthetic feeling with upper body dance. Various forms of dance steps expand the expressive force of space, and make the upper body dance not only develop to a high-level space, but also cling to a lower horizon. Generally speaking, the dance of Han nationality in China has the skill of shifting, and there are few movements of taking off and lifting upwards, and few dance steps and skills of touching the ground for a long time and lying down and rolling. Most of the big jumps and lifts in our country draw lessons from and absorb the dance steps and expression techniques of ballet, while most of the movements on the ground come from western modern dance. The artistic exchange between countries enriches the dance movements and steps and enhances the expressive force. For example, the big jump skills and lifts in the dance drama Rain on Silk Road and the jumping action in the dance "Flower Drum" are consistent with the content and artistic conception of the work, so good results have been achieved.
create an image
Modeling is one of the means of expression of dance. It appears at the moment when the dance moves flow or at the pause when the dance combination ends. People also call it the static and static appearance in motion. The existence and change of dance modeling make dance present the laws of static and static contrast and orderly beauty. The static modeling in the dance flow makes every dance action present its clear and beautiful form in the movement process; The appearance of the pause not only focuses on the inner feelings, but also plays a connecting role between dance groups.
Modeling is an external form that dancers refine and process from the dynamic laws of life and according to the laws of dance, reflecting the feelings, temperament and demeanor of characters. Therefore, it is not a simple beautiful dynamic, but a fusion of spirit and form with intrinsic significance. Countless dance movements with static movements and dance movements intentionally appearing in static movements constitute a unique charm and style, which shows the personality characteristics of the characters and shapes the dance image of flesh and blood. For example, in the dance "The Battle Drum of Jinshan", Liang Hongyu appeared in the form of turning over and turning around, expressing the heroine's will to fight in the movement and showing the heroic spirit of a heroic woman in silence. In the dance part of "Drumming to Help Fight", in the dance combination of lookout, drumming and retreating from the enemy, the distinctive morphological dynamics and rich modeling changes clearly show the plot and the emotions of the characters, and reflect Liang Hongyu's belief in winning. In the ballet "Rain on Silk Road", ying niang bounced back the pipa's dance movements. Because every flowing dance gesture clearly presents a beautiful shape in an instant, there is a very graceful look between each dance combination. The S-shaped features of Dunhuang dance and ying niang's naive and simple personality are clearly presented to people. If we don't use modeling in this wonderful dance, not only ying niang's mood and personality can't be expressed, but also the distinctive dance charm of Dunhuang can't be fully and accurately expressed. Excellent choreographers attach great importance to every movement and gesture of dance movements, and carefully scrutinize the strength, angle, amplitude and length, so that the audience can see its formal beauty and charm accurately and clearly. Similarly, when dealing with the appearance of static modeling, we should also start from the inner feelings of the characters, deliberately innovate and use various pause dances to express the image. The correct use of modeling can add dazzling brilliance to dance works.
sign
Gesture is an indispensable and important means of expression in dance. In life, a gesture can often directly explain a simple meaning, such as a natural gesture, which means "please sit down" or "please come this way" or "come here"; The gesture of holding high can express "goodbye" and "progress". Gestures play the role of language in daily life. As a dance art that reflects social life with graceful movements of human body, it is inseparable from the correct use of gestures. Dance gestures include the coordination and movement of fingers, palms, wrists and arms. It not only has internal meaning, but also has strong national characteristics. There are many changes in the movement rules of orchids' hands, fingers and palms in China Han dance, which are not only very different from western ballet gestures, but also very different from Japanese, Indian and other neighboring countries. Indian gestures can express almost all thoughts and feelings. Like language, they can express dozens of meanings such as "I like you", "I hate you", "How nice the moon is" and "You are so cute". These beautified dance gestures from life have played a great role in conveying inner activities and displaying styles and characteristics.
4. Dance expression
Dance expression is reflected by all the movements of dance, including the whole-hearted dynamics. It expresses inner feelings through facial expressions, arm expressions, body twisting and foot movements. It plays an important role in revealing the inner psychological activities of characters and expressing various emotional changes.
China Han dance is very expressive. First of all, there is a set of training methods with eyes. For example, fish swimming to practice rolling their eyes, burning incense to train the brilliance of eyes, as well as happy eyes, angry eyes, resentful eyes, fond eyes, angry eyes, sad eyes and other expressions. When performing dance and ballet, special emphasis is placed on the use of eyes, which are required to express the specific psychological state at this moment. Secondly, the use of opponents and arms requires that movement is affectionate and silence is intentional. The swing of the body and the movement of the feet also need continuous emotions. The performance of dance is not only reflected by a dynamic part, but also by one-handed movements. Without the cooperation of other parts of the body, it is difficult to correctly express rich inner feelings. Similarly, if part of it is not suitable, it will also lead to the distortion and relaxation of the external form and destroy the dynamic beauty of dance. Therefore, what we call dance expression is the coordination of the whole heart and soul, which accurately reflects the specific charm of beauty through external emotional dynamics and technical movements. This power of expression is full of artistic charm. When every dance movement is full of expressions, the expressive force of the whole dance can be realized. What the audience sees is not a single action and skill, but can feel its hidden meaning. Driven by this power full of inner expression, people associate and enter the artistic realm of beauty.
Every excellent choreographer pays special attention to the unified expression of his internal and external emotions when designing every dance movement and combination of dance movements. Even if it is a gesture, a look, we must never ignore their expression factors and let go of their artistic charm. As an excellent dancer, as Mei Lanfang, a great drama artist in China, said, "To make the audience under the stage be attracted by us and cheer for us, we must start with every tiny movement, every lyric and every look, making people feel beautiful and beautiful. In particular, we should pay more attention to dance movements, and we must be beautiful in people and expressions from all aspects and angles. " (Excerpted from Mei Lanfang's speech at the Dance Department of the Central Academy of Drama. )
5. Dance works
Dance composition, including dance pictures and dance formations, is a means to express dance content and express specific emotions. The picture and formation of dance do not change for the sake of change, but according to the content and emotional needs of the work. For example, in the second act of the dance Swan Lake, the dance picture and dance formation of the swan group move and change with the emotional development of the white swan and the prince. Two rows of formations and double oblique rows of pictures and formations show and contrast the innocence of love and the kind character of white swan. The formation changes of four cygnets, as well as the straight forward and lateral jumping of two cygnets and three big swans, show their happy mood and strengthen the cheerful atmosphere. In the "dream" section of the fourth scene of the dance drama Rain on Silk Road, the formation of the musicians changed, forming a beautiful fairyland and elegant atmosphere, which showed their inner thoughts and yearning for a better life.
The double pictures and the change of stage position in the dance "Goodbye, Mom" are completely designed according to the ups and downs of the characters' thoughts and feelings, which fully and delicately expresses the soldiers' sincere feelings of loving their mothers and their motherland. The dance "Jinshan War Drum" is a three-person cross formation, with three people.