Dance is an artistic expression of time and space and a dynamic plastic art. It expresses inner feelings through artistic human movements, that is, through coordinated, rhythmic and aesthetic movements, postures, shapes, action combinations and action processes. It is the objectification of human aesthetic consciousness and emotional expression in the dynamic form of human body, and it is the concrete achievement of dance art labor.
Action is the most basic language of dance art. In the specific situation of dance art, the emotional tendency reflected by the unity of posture, rhythm, speed, spatial direction, action intensity and emotional intensity, as well as the "force effect" of action in sports, can express different emotions, shape different characters and images, and express countless complex emotions and emotional conflicts with the cooperation of music, dance beauty and other means, so that dance art can be expressed in constant ups and downs.
Dance performance requires simplification, twice the result with half the effort, and vivid performance, that is, it emphasizes conveying inner charm and expressing subjective feelings through shaping external images. As far as the overall pursuit is concerned, it is implicit, pursues the spirit likeness, pays attention to showing the soul and emotion of the characters in public, and pays attention to the vivid and enjoyable overall effect. Virtual action performance pays attention to the high beautification of action and the full expression of feelings, creates the stage environment and atmosphere required by the plot, makes dance performance more free, broadens the field of expressing life, transcends the limited "real world", constructs an infinite "virtual world" and creates an aesthetic realm that is detached, ethereal and elegant. The outstanding characteristics of expression are exaggeration and deformation, and the pursuit of artistic truth beyond the normal form, aiming at mobilizing the imagination of the audience and completing the creation of aesthetic images, thus having unique artistic charm.
Dance art shows an inherent vitality, emotion, soul, character and spirit through dance language and overall dance image, which is the meaning of what we call works of art. An excellent aesthetic image should have a deeper and more meaningful connotation than the artistic image itself, which is included in the artistic image. Only by carefully observing, pondering, feeling and understanding the appreciator can we truly know and understand it. Artistic implication is the profound philosophy of life or ideological connotation conveyed by excellent dance images through vivid and touching artistic images. Generally speaking, artistic implication is not entirely the theme thought reflected by dance images, but something more metaphysical than the theme thought. It is a kind of philosophy and poetry that transcends words and images, is natural and subtle, has wonderful understanding and endless aftertaste, and is also the fundamental reason why excellent dance images have immortal artistic charm.
Artistic conception mainly refers to the image system in the artistic image of lyric dance, which is characterized by the blending of scenes and scenes, and thus induces and develops the aesthetic imagination space. Artistic conception is divided into virtual reality, which is the structural feature of artistic conception creation. Reality refers to the vivid scenery, shape and environment, that is, the image of virtual reality refers to the imaginary space caused by real reality. On the one hand, it is the extension and expansion of the original image in association. On the other hand, with the imagination caused by concreteness, there is a "purpose other than image" of body odor and emotional, spiritual and meaning perception. Its meaning is empty and suggestive, which can only be understood and cannot be directly expressed. Virtual reality is the sublimation of reality, which embodies the intention and purpose of creating reality, the artistic taste and aesthetic effect of the whole artistic conception, and occupies the position of soul and commander-in-chief. It is "invisible and tangible", but no matter how good the virtual environment is, it must also be implemented in the concrete performance of the real environment. "Reality is forced by God's realm" and "tangible development is not formed", and virtual realm should be created through reality. As far as the performance characteristics of artistic conception creation are concerned, artistic conception creation is also the art of combining emotion with scenery. The artistic conception is created in the process of hiding feelings in love, seeing the scenery in love and blending scenes. To borrow a sentence from Wang Fuzhi: "Love and scenery are two names, but they are inseparable. God is infinite to poets. Skilled people have feelings in the middle of the scene. " So is the art of dance. Endless charm is the aesthetic feature of artistic conception. "Charm" refers to the endless and meaningful implication and comprehensive aesthetic effect contained in the artistic conception. Artistic conception is a multi-level, holistic, dynamic and spatial image jointly created by the creative subject and the appreciation subject, and it is the product of the author's intention and the viewer's understanding. The creation of artistic subject is the basis and premise of artistic conception creation, and the re-creation of appreciation subject in acceptance is the reproduction, derivation and deepening of artistic conception creation. The overall symbol of artistic conception is hazy and vague. The differences between the personality of the creative subject and the creative era, and the personality of the appreciation subject and the era have formed the variability of the meaning of the same artistic conception in the era and historical background of creation and re-creation. The same artistic conception can give birth to many different interpretations, thus forming the ambiguity of artistic conception. The creation of artistic conception beauty is the deliberate aesthetic pursuit of aspiring dancers.
It should be pointed out that the three levels of the beauty of dance art image have relatively independent significance, and each level has its own aesthetic value. In the hierarchical composition of dance artistic image, any artistic image must have two levels: artistic language and artistic image. Meaning, not every artistic image has. Yes, and not every audience can realize it. What you can appreciate is the difference in depth and breadth. Some dance images have unique artistic language, vivid and touching artistic images, or thought-provoking artistic implications. However, a truly excellent dance image must be a perfect whole with vivid dance language and meaningful and vivid dance image. In a sense, such a dance image can be immortal.
Dance art not only pays attention to the symmetry and balance of action and structural arrangement, but also pays attention to the rich changes and harmony of the scene. It is also necessary to use costumes, props, lighting and symbolic dance beauty design, especially the comparison and rendering of music, to form a multi-level aesthetic effect, which has shocking power and great appeal and comprehensively reflects the beauty of dance in many aspects.
Appreciators will accumulate aesthetic experience and enhance their appreciation of the beauty of dance by repeatedly tasting the beauty of dance in many aspects. The deeper you know and understand the ways and skills of conveying beauty in dance images, the more you can accept the information of beauty and constantly strengthen the aesthetic feeling, deepen the experience of self-beauty, internalize and improve your own aesthetic quality, and then sublimate into the conscious pursuit of a better life realm, and gradually develop a high-spirited spirit, cheerful and generous, civilized and healthy behavior, healthy body and free, harmonious and complete personality.
Dance Diversification in the Open Era
1.80 The diversified development of dance art became the mainstream. First of all, the theme of dance creation is diversified. After the single creative mode attached to ultra-left politics was abandoned, dance directors greatly expanded their artistic horizons, discussed dance topics and promoted the renewal of dance concepts. On this basis, the subjective creative consciousness of dance choreographers has been stretched and strengthened as never before. Corrected the practice of simply taking dance as a propaganda route and policy, and advocated works that pursue artistic expression and deeply depict the inner world of characters.
2. Deconstruction of traditional dance language and construction of new dance language Because China is a country with profound dance tradition, when the new era needs a new dance language system, how to transform the original language is particularly prominent. On the one hand, the rich style dance language has brought gorgeous colors and rich exotic customs to the works, which is still the essence of China national dance. On the other hand, the distinctive dance character personality can easily disappear in the powerful style charm. Therefore, an extremely important manifestation of the wind of China's dance transformation in the late 20th century is that the choreographers of national dance creation have taken the shaping of figures or other symbolic images in dance works as their top priority. The first change naturally occurred in the field of dance language.
It is the most important trend in contemporary China's dance creation to go beyond the imitation of simple dance movements or the display of style and let dance combine with the true call of the soul.
The transformation of traditional dance language began at 1980.
At the beginning of the first national dance competition, the men's solo dance "Waves" created by the famous dancer Jia Zuoguang and performed by Liu Wengang only won the third prize. However, this work has been performed for fifteen years, and it has not only become the reserved program of various dance companies, but also been regarded as the statutory repertoire of "China Dance Peach and Plum Cup Competition".
This work is famous for the duality of the actor's performance and the duality of the image of the work. At first, the actor's arm imitated the wings of Haiyan, like a wave crest sweeping across the low sea. Russia is leaning, and the image of Haiyan with the same arm is imitating the rolling, rolling and soft waves. The arm of Haiyan is as soft as a spring willow for a while and angular for a while; The body of the "waves" sometimes rises to the sky, and sometimes falls to the ground with sound. He transformed and changed the arm movements of Mongolian folk dance and created a unique Haiyan movement form. In particular, the "flash potential" in the action is confusing and mysterious. Jia Zuoguang also used the polyphony technique in his music creation for reference, and presented Haiyan and waves alternately on the stage. In his works, he creatively adopted techniques such as "continuous front axle soft turn" and "scratching his face after landing on his head and shoulders", which organically combined the difficult skills with the profound connotation of the dance image. In the waves, people can't see the dance movements with strong affiliation, that is, they can't see the movements belonging to a specific nation or a specific dance species. What people can feel is the unique freshness and impact of new dance vocabulary.
The innovation of dance language has become the general trend. From the "S" posture in Silk Road Storm to the combination of Tibetan dance and Han opera dance style in Princess Wencheng, a new action atmosphere has been created. "Wedding on the Execution Ground", "Yellow River" and other works combine a variety of folk dance materials, and no longer show purely stylized movements, but take the shaping of dance image as the highest task of art.
Directed by Jiang Huaxuan, The Field of Hope divides, breaks and separates the traditional movements of various Han folk dances, and then freely combines them according to the needs of artistic expression to complete the image of the field of hope. This work, which appeared in the late 1970s, caused great controversy at that time. Simply put, the focus is whether the style of traditional dance language can be broken and whether the original language system can be "deconstructed".
Practice is the only criterion for testing truth. The artistic practice of the above works proves to people that dance language can and should be decomposed and used according to the needs of the choreographer.
However, "deconstruction" is not the only purpose of artistic creation. After all, dance language is the backbone of supporting works. Breaking the old artistic expression forms, the ultimate goal is to create new ones. Some works have done fruitful work in this respect.
Cut the String is based on the story of Zhang Zhixin, the heroine, revealed at the end of the Cultural Revolution. Although this work is intended to create a hero who resists the Gang of Four, it does not simply and superficially copy the reality of life. Instead, it starts with the deep yearning for the martyr's daughter, develops the structure of the work around people's fantasy psychology, and describes the heroic and unyielding personality of the martyrs who were beaten and chopped. In order to conform to the psychological reality of the characters, dance draws on many action methods from artistic marginal forms such as drama, martial arts and gymnastics, and boldly absorbs the expression means of western modern dance, using some ground movements, such as rolling, shaking, stretching, curling, etc ... Once the work is performed, the response is extremely enthusiastic, but there are different opinions about the work's daring to break through the traditional creative mode and borrow the ground movements of western modern dance.
"Goodbye Mom" applies the western stream of consciousness technique to small dance works for the first time, giving people a refreshing feeling. Among them, the dance language created according to the personality of specific characters, such as the son's "whisper" to his mother, has both the beauty of life and the beauty of dance.
The solo "Can Chun" is also a breakthrough work in this language construction.
"Can Chun" kicked off with a heavy gong. A man strode from the depths of darkness. When the song of recalling youth came from a distance, he threw himself on the ground, and the eternal pain and uncontrollable regret of youth suddenly rolled in his heart. He held out his hand as if to seize the time to fly away, but youth never looked back. ...
Can Chun's dance language is no longer the original stylized system. While maintaining a certain spiritual connection, it boldly reassembles those movements.
"Can Chun" is so touching and brilliant that it deeply touches every heart that has experienced vicissitudes. Its performance not only made Koreans cry, but also made many ordinary audiences fall in love with dance. Because it tells not only the emotional story of Xi 'an people, but also the inner shock of many people. From then on, people understand that a short dance work can have great appeal, and the national style of dance movements can be boldly changed.
Fang Jinji, who participated in the creation of The Mermaid in 1950s, and his wife Huang Shaoshu, who were also full of creative inspiration, found the most wonderful artistic conception in streams, rivers and seas with the most touching rhythm of China classical dance and in the alternate images of water and people.
The Great Wall, a large-scale group dance created by Fan Dongkai and Zhang Jianmin, also uses the rhythm rules of classical dance, but it breaks and reorganizes a series of rhythm rules such as circle, twist, slant, flash, turn, rush and lean, and integrates the architecture of the Great Wall and the casting of China history into several layers of images in multiple spaces, which is dignified and simple. In sharp contrast, another large-scale group dance "Yellow River". The cooperation between Zhang Yujun and Zhang Jianmin excited the actors who participated in the performance, because the impact of dance movements was finally transformed into the strength of national feelings and the inner cries of national figures in the works.
In the last 20 years of the 20th century, with the strengthening of the independent position of dance art in society and the great reform of various systems, dance institutions are also in the process of reorganization and reform. The leading role of China Dance Association has declined several times, and the independence of local dance associations has been greatly strengthened. Beijing Dance Academy has built the largest dance teaching building group in the whole Asia-Pacific region, and various dance schools under the name of famous dancers have sprung up like mushrooms after rain, which reflects the huge demand for dancers in society after the economic take-off, and also indicates the further prosperity of dance career in the future.
Dance is more attractive because of technology-details of digital dance
There is a cloud in "Le Ji": poetry expresses ambition; Song, chanting its voice; Dance and move your face. Since ancient times, there has been a saying that countries dance to see the rise and fall, which shows that dance is closely related to people's lives. The ancients created dance in labor and made continuous progress and development in dance. In a sense, the history of dance development is also the history of human development!
The dance art that keeps pace with the times has undergone numerous changes today. After the founding of People's Republic of China (PRC), China's dance developed with each passing day. Thanks to the efforts of dancers, many new excellent works have emerged, but they still can't meet the requirements of the development of the times. At this time, a new dance art form appeared, and digital dance is one of them.
First, what is the digitization of dance?
When the definition of "digital dance" was put forward, many people didn't understand it. Can dance be digitized? Can it still be called dance after digitalization? Why should dance be digitized?
In fact, "digital dance" is a broad definition, which should include the spread of dance through digital channels and the digital creation of dance.
Let's first classify the ways of dance communication, namely traditional communication and digital communication. Traditionally, it includes university education, offering training courses, holding dance competitions, issuing audio-visual materials and publishing written materials. Digital communication includes website setting, dance downloading, online forum, making and spreading dance by digital technology, etc.
Traditional communication is generally based on education, especially classroom education. This is the focus of dance teaching. There is no denying that dance must be based on classroom education, because the direct role of classroom education is the simplest and most effective for improving the level of dance students.
At present, qualified universities or art groups have set up their own websites to publish information about themselves at the first time and conduct cross-regional dance art exchanges. Dance is a visual art, and audio-visual materials are definitely the focus of dance communication. At present, network communication mainly spreads stills and appreciation of audio-visual materials. Generally, it takes tens of minutes to complete the network transmission of a dance track by compressing the file size. With the development of society and the continuous progress of technology, better file format and better technology are needed to improve the network transmission time. As a result, some people began to make use of the existing technical conditions to make new dance audio-visual materials. The most primitive dance should be in animation format, and it is basically done by hand drawing through simple animation technology. With the improvement of music production and editing technology and the improvement of dancers' level, a special dance music editing team has emerged, among which MIDI production is the most representative dance music production, which is also the most commonly used method at present. With more and more dancers and enthusiasts surfing the Internet and the improvement of computer technology, they are no longer satisfied with enjoying animated dances with only pictures but no sound. Gradually, other forms of dance audio-visual materials are produced and spread in various websites and forums. This is a very good phenomenon. Its appearance makes more people realize the wonderful charm of dance, which is conducive to improving the appreciation level of the national dance art and making more people care about and support the development of dance.
The popularity of "Northeast People Are Living Lei Feng" marks the arrival of the flash era. Since then, a large number of primitive digital dances have appeared, which are either dance fragments or music fragments, but all of them have stages, actors, beautiful women, etc., and attach great importance to visual impact. At this time, digital dance production began to appear.
We define it as "digital dance", which is made by pure digital technology, leaving traditional means and basic conditions (actors, lights, stage, etc.). ) and you can enjoy it.
The first step of digital dance is the production and dissemination of dance works, the second step is dance DIY, and the third step should be dance choreography software.
So what is the definition of digital dance? Comrades who have experience in music editing can better understand this definition.
In fact, music editing is only a small part of digital dance. The commonly used software for editing music is COOLEDIT. Music editing (and MIDI) is digital processing music. Ordinary music can only be accurate to the second, and digital music can be accurate to one thousandth of a second. It can also carry out special processing on sound to remove background noise and so on. In short, it is impossible only if you can't think of it. This is the definition of music processing function. We generally call music that is completely processed by computers digital music, which is also called digital processing music.
The principle of digital dance is the same. Its ultimate goal is to let a choreographer or dancer leave the stage, turn the imaginary dance performance into a virtual dance reality, and even display all the desired stage effects on the computer as a virtual demonstration. So accurately speaking, digital dance is a virtual dance demonstration, which uses computer technology to simulate dance effects (including music, stage, lighting, etc. ).
The second step of digital dance is dance DIY, which many people may not understand at present. In fact, people don't understand it mainly because the internet and computers in our country have not been popularized to a certain extent. Even most of us have no experience in editing music, let alone using computers to edit and process music to perform ourselves. Digital dance is the upper layer of music editing. It can be said that only those who are familiar with music editing can understand the concept of digital dance well. Dance DIY is the free combination of movements, that is, matching the required movements with music to make the dance you need. This technique is characterized by accumulating a large number of basic movements, completing simple choreography and reducing the workload of choreography and creation.
The highest goal of digital dance is dance choreographer software. Only by realizing the above two steps can this goal have the technical foundation and conditions needed for software production.
Second, the specific performance and works of digital dance
1. Website construction is an important part and the first condition of dance digitalization.
Beijing Dance Academy is a leader in the national dance art category. At present, the new website of Beijing Dance Academy has been completed and put into use. Among the institutions, Guangdong Dance School and Xiamen Vocational College of Performing Arts have also established websites. Professional organizations such as the Central Ballet also have their own websites, and the most professional one among non-governmental organizations was founded in 2000 as "Dance Shadow 2000".
3. Other digital dances
At present, some colleges and universities are trying video teaching, that is, transmitting images through cameras to complete distance teaching. This is a new dance teaching method, but it is generally used in theoretical teaching at present, because the video teaching of basic training courses and rehearsal courses still lacks the interaction between teaching and learning. It is precisely because of the appearance of this form that many dance forums have issued the question "Can you open an online dance class?" Post.
In many FLANSH websites, there are also a large number of FLANSH works with high digital dance content, such as Qiu Yan's Fly and Jade's Rain Silk, all of which are well-known FLANSH works with dance movements on the Internet. There are many digital dances that exist or are developing in other forms, and we can't list them one by one.
Third, the significance of digital dance
There are 60 million people surfing the Internet in our country, and most of them are teenagers. Teenagers are the key objects of our dance education, which can be said to be related to the rise and fall of dance in the future. They are more likely to receive relevant knowledge education through the internet, which may be exactly what they lack in class, or even what they can't learn in class. Therefore, the significance of establishing a website and spreading dance through the Internet is undeniable.
On the other hand, there are a large number of China dance lovers in the world now. As we all know, it is difficult to buy audio-visual materials and teaching materials of China dance abroad, and even there are no dance teachers. At this time, the limitations of traditional dance communication are revealed. Network communication can just overcome this shortcoming. Through network resources, all dance lovers can spread freely without geographical restrictions and national boundaries. This kind of communication includes dance picture appreciation, dance video appreciation and dance music exchange. Through the Internet, a complete dance repertoire can be spread to any place in just a few minutes. There is no need to explain the savings of funds, but it is of greater significance for the first exchange of new works.
We assume that a dance work needs a lot of energy, money and material resources from arrangement to final work. Similarly, using FLANSH to make a digital dance, the director can complete the whole work only by working in front of the computer, and can clearly see the final effect of the work, and can also correct the shortcomings in the work at any time. On the one hand, it improves the speed of creation and the level of works, on the other hand, it greatly reduces the cost.
At the same time, with the popularity of the Internet, there are more and more dancers surfing the Internet, which also drives related industries, such as e-commerce and paid dance downloads.
With the continuous progress of digital technology, dance is no longer just a simple concept of performance and skills, and the new era has given dance more new content. Dance art needs new development and the efforts of a new generation of dancers. The new generation of dancers should inherit the traditional dance content and develop new dances. I hope digital dance has a broader development space!