Clue, fixation and solution are the processes that dance, as an art, must go through to form works. After this process, a work can be formed and displayed to the audience. The creator's clues are expressed through dance language. As a language, action has a fixed understanding and directional explanation, conveying some icons to the audience, and in turn, subtly dissolving the fixed patterns. On the one hand, the director approaches the audience with a fixed clue, on the other hand, he reconstructs a clue to approach the audience.
The first is to understand the dance language and the available body movements between the audience, as well as the movement resources owned by our nation. Dance choreographers should also make good use of these resources to give performers and audiences more clues about action resources. In addition, these clues have a fixed meaning.
Some people's actions have their own meanings before the action, for example, the position of the palm on the forehead is accompanied by the dodge of the head, and this action has the meaning of defense and so on. The performance of this action is body language. There are also some actions that are meaningless in themselves, but some people have fixed the meaning of some actions, such as shaking hands, saying goodbye and so on. About arranging and directing creative actions;
(1) Create meaningful actions, and the language will be generated after the action sequence. The self-contained meaning of action and the fixed meaning of action are one thing, and the semantics of action sequence is another. (2) Deliberately dissolving the meaning of all movements, including the self-sufficient meaning and fixed meaning of movements, is dissolved by the choreographer. The purpose of dissolution is to make the action enter an inanimate state and enter the artistic language environment of dance, that is, the dance context. (3) The director created a new frequency, in which he established a new connection with the audience.
For example, once the director creates the theme of a character, he must develop it, so that the audience can always know the development clues of the theme of the character, and the audience can follow the clues of the language of the character.
If the director did not establish the theme of characters at first, but established a linear arrangement, the director entered the action sequence of the change and development of arrangement icons, and the audience accepted the style of formation arrangement and icon development and continued. The audience's cognition of such a sense of form is an extraction of the sense of form from previous aesthetic experience. Once the director prompts the audience with such an action sequence, the audience will naturally experience and appreciate it in this form.
If the director provides a dramatic scene for the audience, it will certainly bring the audience to another frequency to accept. Another example: Contrastive movements can increase linguistic meaning, and dances often use this kind of contrastive movements to make movements produce linguistic meaning. For example, kneeling on the ground and kneeling on the ground are two different receiving trajectories. After dissolving the fixed meaning of the action, the action enters the dance language environment, so this action can only be a dance hollow action. ?
If the audience is introduced into the environment of theme change sequence under the direction of the director, the audience can feel the meaning from the change from "an upright person" to "kneeling", and at the same time make the action semantic through this "contrast". In the aspect of choreographing and directing music by action, it makes the action enter the abstract action sequence to a greater extent, and fundamentally purifies the action itself into the language meaning without any life action. Action is absolutely abstract. The human body is stripped of its original appearance and regarded as an artistic material. Just like living sculpture materials or visual music, the human body exists as an artistic material completely.
This is the channel and category for the audience to appreciate symphonic dance. The pure dance movement sequence embodies: "Action is action itself." [1] moss? Cunningham's "chance choreography" is to use China's Book of Changes to lay a sieve to catch bones, and to combine pre-programmed movements, schedules and lottery, and the music is also matched later. What is done behind this dance is a dialectical and philosophical thinking and a new artistic concept. It is a full purification of the meaning of action, a new way to find action combinations from another side, and a new communication channel with appreciation activities.
This is to study the artistic appeal and shaping power of form and situation, and how to use the creation of form, spirit, environment and emotion to establish contact with the audience from the perspective of image language when editing and arranging action sequences. First, make full use of two important elements in China's art, namely, "having both form and spirit" and "blending scenes", to play a role in editing and directing visual language.
Mainly refers to the mutual care of the directors after entering the interactive effect between the works and the audience. Form is equivalent to artistic language, and the content expressed by language is the charm of this form. Pay attention to the unity of content and form from the beginning. Content cannot be greater than form, and form cannot be greater than content.
"This is what we often emphasize in the course of creative theory, and I want to emphasize it again here. Form and spirit are the form and content of the work, and they also talk about the vivid image of the work. In addition to the appearance, the form must also have a spirit inside, that is, it is like a spirit. The spirit likeness is the spirit likeness after getting rid of the bondage of form, and the key point is not to stick to it.
As far as China ink painting is concerned, Mr. Qi Baishi began to learn folk painting, and accumulated a very deep foundation in modeling. Finally, he emphasized "between likeness and dissimilarity" in the old painting art, which actually meant that "likeness" was the first layer. After breaking through the cage of "likeness", he entered the situation of "likeness", which was the second layer. Dance choreographers should use the principles of China art, especially painting art, to shape the artistic image of dance.