Song of the Swan is a one-act play, which belongs to the masterpiece of the first stage of contemporary British ballet. It was first performed by the London Festival Ballet in June 1987 1 1 in Bilbao, Spain. It was composed by P. Chambon, choreographed and beautifully designed by C. Bruce, and composed by K. Angzia, M. Schugge and K. The original intention of creating this men's trio dance came from the London Festival Ballet, hoping to be Therefore, contemporary ballet choreographer Christopher Bruce became the first choice, and Angzia's excellent physical condition, technical ability, coordination and expressive force not only inspired Bruce to compile this brand-new classic, but also made Bruce write his own works. Song of the Swan, with a lineup of only three people and a time of only 24 minutes, presents a fairly complete and self-contained one-act drama with the eclectic characteristics and comprehensive techniques of contemporary ballet. Angzia portrayed a prisoner who was humiliated by two prisoners and made things difficult for them in every way. The original motive was to criticize the dictatorship of Latin American countries at that time for destroying dissidents, but as time goes by, the audience can still feel the director's clear attitude towards jealousy, attack, power and violence in the relationship between men and women. As far as the choreographer is concerned, his most important creation lies in that the whole interrogation and ravage process did not use pantomime, gestures and facial expressions commonly used in classical ballet, but adopted a large number of mainstream choreography methods since "post-modern dance", such as "contact improvisation" and the bold integration of contemporary ballet movements with daily life, which finally showed incisively and vividly, and occasionally used humorous details, tap dancing with soft shoes and ballroom dancing as work materials. The actor's casual jeans and red T-shirt are in sharp contrast to the prisoner's rigid uniform. The active and passive actions of both sides make the audience clearly understand each other's situation and completely different positive and negative roles. At the same time, the wonderful use of various props adds a variety of "relationships" between the positive and negative roles: the simultaneous use of civilized sticks and hats highlights the dual personality of routine and abuse of power after being released from prison; The red nose became a prominent symbol of their teasing prisoners as clowns; Chairs have multiple uses-both "tiger benches" and prison windows; It is not only a weapon for prisoners to commit arbitrary violence, but also a springboard for prisoners to run to freedom-fully showing the director's intelligence. Microscopically, the theme of Song of the Swan has double meanings here: on the one hand, according to the connotation of swan's dying mourning in western culture, the director shows his confidence that the end of dictatorship will come; On the other hand, he also showed the innocent people's infinite yearning for a free life through the three reappearance and development of the hero's action theme of "spreading his wings and flying". From a macro point of view, this work not only reflects the serious confrontation of the world pattern during the Cold War, but also expresses the sincere expectation of the people for world peace, and also shows a clear stand on the dispute between good and evil, so it can get rid of the danger of things changing and maintain its vitality that has never weakened so far.