I am in a hurry to get the dancer's graduation thesis. ...

(A) "Ta Ge" dance form and image experience

"Dance Morphology" points out: "In the long history, China classical dance presents different dance culture types, but in the linear evolution of these dance culture types, there are often * * * similarities that can be summarized on the aggregation surface of * * tenses. This kind of' * * * same sex' hidden under the appearance of different dance culture types may be the cultural spirit that we should prompt when studying the historical and cultural forms of China classical dance. " . The song and dance form of "Ta Ge" goes hand in hand with China's 5,000-year history of civilization. It has an ancient origin, a long history and a wide spread. On the Neolithic dance painted pottery basin unearthed in Shangsunjiazhai, Datong County, Qinghai Province, the image of three people following, five people interacting and stepping on the ground for the festival shows us the vitality of the ancient dance "Song, the joy of ancient music". After the Han, Wei, Jin, Southern and Northern Dynasties, Tang, Song, Yuan, Ming and Qing Dynasties, "Treading" reached its peak and gradually declined. Today's "Lotus Award" and "Tap Song" deeply contain the historical and cultural forms of China classical dance with their beautiful light singing and dancing.

1. The dance form of "Tage"

Sun Ying, the director of "Tapping Songs", devoted himself to studying for decades, and excavated and created this work in the dance history and culture of China. His dance has the morphological characteristics of female music and dance in Han Dynasty in China: first, he pursues a broad realm with sincere attitude, which contributes to the morphological characteristics of female music and dance. Second, "moving to a certain extent, paying attention to the answer is light." Female dancers in the Han Dynasty take "slim waist" and "light body" as their beauty, while "move to a certain extent, pay attention to answer" has a strong sense of rhythm, such as "move to a certain extent, answer by reference", and dancers sometimes "wander gracefully", sometimes "wreak havoc" and sometimes "get high". The third is "strange news, majestic posture", long sleeves crossed, and both hands and feet are equally important. "The snake is shaking and the clouds are floating."

In static dance, "Ta Ge" draws a lot of lessons from the modeling of ancient brick painting in China, and boldly uses the folk dance rhythm in Tibetan pastoral areas in dynamic, showing the wonderful and magnificent dance style in Han and Wei Dynasties and reappearing the folk style of Ta Ge. The unique dance posture of "moving one side" is used in the dance action, and the action of 180 degrees makes up for the coordination and symmetry of the action, which basically belongs to the "one side" action. For example, suddenly throw your right hand backwards, and then use the right shoulder strap to buckle the cover to the left and front, suddenly step; Then, move forward, bend your forearm back and forth with your right hand, send and receive from low to high, take the eighth beat, and lift your arm obliquely forward. This typical "one-side" movement makes the dance more novel and unique, with unique charm. Dance is always in motion, like running water; The posture of three bends on the side breaks the melodramatic posture of bending over and pouting at the mention of three bends in the Han style, which contains a natural sense of movement and is quite tempting in the static state. In traditional dispatching, "Tage" combines reality with reality, dynamic with static, and the contrast between strength and weakness is just right. A first-class meal is the charm of China classical dance, which shows the charm of China classical culture.

2. The historical and cultural spirit of "Tage"

First of all, the movement mode of "Ta Ge" is reverse starting and circular solitary track, which is deeply rooted in our nation's sports concept of time and space. Concepts such as "retreat for progress", "starting point for end point", "inaction" and "constructing a ball with an arc" in space. The dancer's body leaning forward and leaning back in "Treading" is also a combination of yin and yang, and the footsteps are virtual and real. He should first turn left and then right, first raise and then restrain, advance and retreat, and turn around tactfully. Its law is consistent with the "emphasis on Tao Te Ching" of Laozi, that is, the movement of the universe does not need to look for external power, and its power is its own internal "opposition" and "recovery".

Secondly, the dance form of "Ta Ge" has a kind of body aesthetics of "getting carried away". As the book Dance Morphology says, "Dance is not only a form of' movement', but also an aesthetic form, and the aesthetics of this movement is based on the aesthetics of the human body on the one hand, and on the other hand, it is to transform the aesthetics of the human body." We have noticed that in its long historical evolution, China classical dance was not aimed at presenting human body lines, but was constructed through cultural restrictions on the human body? The aesthetic image of "flowing clouds and flowing water" In Mr. Sun Ying's words, it is called "China classical dance is characterized by softness with rigidity, internal movement with vigor, dragons tend to return to the phoenix, and clouds hide in rhyme and momentum". In fact, the formation of this feature is related to the aesthetics of the human body in our cultural tradition. The so-called "get carried away" means not paying attention to people's appearance and posture, but emphasizing people's internal character, because "China people's thoughts mostly start from themselves, from internal cultivation to external behavior, and develop outward; Retreat to the good, and then kill two birds with one stone. The so-called "sincerity, righteousness, self-cultivation, keeping the family in order, governing the country and leveling the world" is the procedure of moral cultivation. Westerners gradually realize their moral cultivation through external requirements. Most western moral concepts come from external regulations, not from their own formation. China people pay more attention to artificial beauty in the cultivation of beauty, especially to artificial clothes and internal moral cultivation in the concept of human body; Westerners tend to natural beauty, especially the appreciation of human beauty has a lofty realm. The body aesthetics of "getting carried away" leads to the cultural restriction of clothing on the human body to a certain extent, and finally determines the action form of dance. This restriction is mainly manifested in four aspects: holding hands, binding waist, carrying bun and binding feet. Taco's hand makes the dance "if it is lighter than Yun Zheyue", Taco's waist-girding makes the dance "when the clouds drag obliquely" and Taco's bun makes the dance "the rainbow skirt and summer gown shake the crown". Although the "Tage" dancers did not bind their feet, it is conceivable that foot binding is more serious. Due to the limitation of human body "shape", "step? "With the development of China's classical dance, it pays more attention to the connotation of' meaning' and makes its performance pursue the realm of' meaning gives birth to images'.

3. The image experience of "Tage"

The "image" created by the dance form of "Ta Ge" is abstract, and its "meaning" is meaningful. We should talk about the psychological influence of historical times on people and understand the China culture produced in special times.

China's history is a history of "the general trend of the world, which must be combined for a long time, and it must be combined for a long time". Especially in the late Han Dynasty and Wei and Jin Dynasties, the Central Plains region became a battlefield of mutual competition. Countries fought against each other, taking turns to replace black powder, and rulers were suspicious of each other, killing each other, destroying walls and buildings, and turning thorns into forests. In real life, full of suffering and danger, there is no future and hope; In order to avoid disasters, intellectuals advocate metaphysics, believe in religion, and have no rules in troubled times, which is the great boundary of China's rise and fall. Chaos changes the concept of life, making life difficult, sudden death, living freely and dying brilliantly? Even if you stay famous, you should have a glass of wine before you die. Therefore, people fax love and cherish life. They don't care about shackles, they live by singing. The art of the times is more similar to life. The more experience it contains, the greater its capacity. Then came the colorful, amazing, heartfelt and direct art of Wei and Jin Dynasties. "Tage" experienced this era and reached its climax in the prosperous Tang Dynasty. The history of China is shared with honor and disgrace, which has created China culture and China people's thorough understanding of life. Today's society is also in a turning point, people's ideas are changing, social mechanisms are changing, history is continuing, and culture is in the same strain.

"Tage" came into being in the turbulent dynasty of China and experienced prosperity. Today, it is the voice of the choreographers who are well versed in China culture in this era. It embodies an "image" in the form of dancing and freehand brushwork, which is fascinating. Everything comes from the heart, arbitrary, and caused by human nature. Long sleeves are an extension of my inner feelings, and the dynamics are triggered by my inner beauty; The harmonious natural rhythm of human body is based on the profound China culture, which makes people admire that human nature should be so beautiful and life should be so lovely. Only China people who have experienced many vicissitudes can make such a sigh. Only the 5,000-year-old China culture can praise the beauty of life so elegantly, seductively, implicitly, freely, naturally and rhythmically, beautifully decorated, cadently and freely. Image "is the pursuit and praise of life;" It is the true meaning of life realized after suffering; This is a profound China culture.

"Treading" shows that in the spring of March, the willows are green, the green skirts are drooping, the girls are graceful, and a group of girls are singing and dancing together, stepping on the Chun Lv, singing this cheerful song, and melting into the beautiful scenery of the south of the Yangtze River with sunshine, blue and yellow grass.

Dance is full of strong cultural atmosphere. Pure, full of spring. The girl's facial expression is cheerful, charming and naive, the seed of love, inner peace, enjoyment and ecstasy. In terms of dance style, their dance style is simple and unique, and the use of sleeves is also different. It seems that as the ancient book says: "If you come, if you go, if you lean over", "Luo Yi has long sleeves with the wind", and the center of gravity is slightly tilted, creating new ideas.

Sun Ying, the director of "Tapping Songs", devoted himself to studying for decades, and excavated and created this work in the dance history and culture of China. His dance has the morphological characteristics of female music and dance in China in the Han Dynasty: female music and dancers in the Han Dynasty took "slim waist" and "light body" as beauty, but the dance was "fast and light" with strong sense of rhythm. As Fu said, "If you move, you should move", and dancers are sometimes "graceful and free" and "the state of anecdote emerges and the majestic posture rises", with long sleeves crossed and both hands and feet attached equal importance. "The snake is shaking and the clouds are floating."

In static dance, "Ta Ge" draws a lot of lessons from the modeling of ancient brick painting in China, and boldly uses the folk dance rhythm in Tibetan pastoral areas in dynamic, showing the wonderful and magnificent dance style in Han and Wei Dynasties and reappearing the folk style of Ta Ge. Dance is always in motion, like running water; The posture of three bends on the side breaks the melodramatic posture of bending over and pouting at the mention of three bends in the Han style, which contains a natural sense of movement and is quite tempting in the static state.

In traditional dispatching, "Tage" combines reality with reality, dynamic with static, and the contrast between strength and weakness is just right. A first-class meal is more about the charm of China's classical dance, showing the charm of China's classical culture.

(2) "Tage"-the moon by the window

"Tapping songs" combines folk and classical forms, and explains the folk self-entertainment dance forms recorded since the Han Dynasty. "Riverside Moon-out levee is flat, and the girl's levee is flat. When singing, I can't see the new words, rosy clouds and singing in the trees ... The new words are passed down from generation to generation, and the sleeves are shaken. The moon is falling and the rain is scattered, and the wanderer picks up the flowers. " Even Liu Yuxi, a native of the Tang Dynasty, couldn't help but write a poem "Trekking" in the face of a beautiful woman from the South who was "smiling with fragrance and competing for beauty".

Tap dance is an ancient dance form, which originated from the folk. It rose in the Han Dynasty more than 2,000 years ago and became more popular in the Tang Dynasty. The motif of the so-called "everyone is happy in a good year, walking on the dragon" is the folk consciousness of "reaching happiness" Although the classical dance "Zou Ge" accurately inherits the folk customs, it is still "classical". How can such a group of women who "talk about cherries and talk about jade" get on the dragon? The purpose of "Ta Ge" is to outline the scene of an ancient couple's spring outing and sympathize with the troubled modern existence with a long-lost beautiful image.

Tapping songs, from folk to court, from court to folk, has always been a dance form of stepping on the ground for the festival, singing and dancing, which is also a main feature of self-entertainment dance. The dance "Tap Song" not only takes various dance steps as the mainstream, but also develops some highly mobile dance steps. In the overall "pause", there are moments of "flow", and through the contrast between flow and pause, a visual contrast is formed. For example, there is a set of complex action segments that appear in the rhythm after the second singing and in the rhythm after the fourth singing. The dancer twisted her waist to the left, throwing her sleeves all over her feet, and the straight sleeve front showed the trend of "arrow leaving the string". Just as he was about to leave, he suddenly turned to the right, his sleeve fell to the right through the upper arc, his body suddenly turned to the left, and his sleeve was pulled horizontally to the left. In this way, back and forth from left to right, like flowing clouds, all the movements are in one go in the lyrics of "I hope to be with your husband", so that the audience can taste a little gentleness and elegance in the freshness and beauty under their feet, just like "I" is the sleeve that you are willing to follow.

The basic posture required in "Ta Ge" is to close the shoulders, including chin, arm cover, back swing, knee loosening, waist twisting and hip-lifting. In the flowing movement, the dancer forms a two-dimensional or three-dimensional "three-way bending" posture by swinging left and right, twisting the waist and loosening the hips, showing the graceful girl. The posture of loosening knees and tilting hips will inevitably lower the center of gravity, and the specific steps of walking forward will make the whole trunk show a "pro-ground" posture. This is the conclusion after analysis, but the dance "Step Song" has never seen the slightest sense of "falling" visually, and the reason for this situation is that the sleeves are not too long or too short, just right. The sleeves in "Ta Ge" play a connecting role in the whole movement, and the choreographer combines the "upturned sleeves" in the Han Dynasty, the "swinging sleeves" in the Tang Dynasty, the "beating sleeves" in the Song Dynasty and the "taking sleeves" in the Qing Dynasty. This eclectic and selfish creative idea has undoubtedly made the classical dance "Ta Ge" Gu Zhuo and.

The aesthetic concept of the trinity of poetry, music and dance is everywhere in the works. The rich style of Han and Wei dynasties shows a poetic side from the stage composition. For example, the scene of 12 women holding sleeves and shoulders obliquely is exactly "singing and dancing tactfully, just like a beautiful warbler". What is more poetic is the feeling of infiltration and spread everywhere in the works. The word says: "If you are a cloud in the sky, if you are a bird in the cloud, you will depend on each other and reflect the wind of the sun bath. If you are in the water in the lake, you are like a flower in your heart, and you are in love with me. Why do people get together and leave? How can there be joys and sorrows in the world? I hope to be with you, not a flash in the pan "(Tago). In this soft language of Wu Nong, isn't it the most beautiful scenery? Love is closely related; Poetry is catchy.

The historical value and aesthetic value presented to us by Ta Ge far exceed the artistic achievements of the work itself. It will occupy an important position in the field of classical dance in China, and it may herald the birth of another school of classical dance.

(3) About dance-"tap dance"

"Tapping songs" combines folk and classical forms, and explains the folk self-entertainment dance forms recorded since the Han Dynasty. "Riverside Moon-out levee is flat, and the girl's levee is flat. When singing, I can't see the new words, rosy clouds and singing in the trees ... The new words are passed down from generation to generation, and the sleeves are shaken. The moon is falling and the rain is scattered, and the wanderer picks up the flowers. " Even Liu Yuxi, a native of the Tang Dynasty, couldn't help but write a poem "Trekking" in the face of a beautiful woman from the South who was "smiling with fragrance and competing for beauty".

Tap dance is an ancient dance form, which originated from the folk. It rose in the Han Dynasty more than 2,000 years ago and became more popular in the Tang Dynasty. The motif of the so-called "everyone is happy in a good year, walking on the dragon" is the folk consciousness of "reaching happiness" Although the classical dance "Zou Ge" accurately inherits the folk customs, it is still "classical". How can such a group of women who "talk about cherries and talk about jade" get on the dragon? The purpose of "Ta Ge" is to outline the scene of an ancient couple's spring outing and sympathize with the troubled modern existence with a long-lost beautiful image.

Tapping songs, from folk to court, from court to folk, has always been a dance form of stepping on the ground for the festival, singing and dancing, which is also a main feature of self-entertainment dance. The dance "Tap Song" not only takes various dance steps as the mainstream, but also develops some highly mobile dance steps. In the overall "pause", there are moments of "flow", and through the contrast between flow and pause, a visual contrast is formed. For example, there is a set of complex action segments that appear in the rhythm after the second singing and in the rhythm after the fourth singing. The dancer twisted her waist to the left, throwing her sleeves all over her feet, and the straight sleeve front showed the trend of "arrow leaving the string". Just as he was about to leave, he suddenly turned to the right, his sleeve fell to the right through the upper arc, his body suddenly turned to the left, and his sleeve was pulled horizontally to the left. In this way, back and forth from left to right, like flowing clouds, all the movements are in one go in the lyrics of "I hope to be with your husband", so that the audience can taste a little gentleness and elegance in the freshness and beauty under their feet, just like "I" is the sleeve that you are willing to follow.

The basic posture required in "Ta Ge" is to close the shoulders, including chin, arm cover, back swing, knee loosening, waist twisting and hip-lifting. In the flowing movement, the dancer forms a two-dimensional or three-dimensional "three-way bending" posture by swinging left and right, twisting the waist and loosening the hips, showing the graceful girl. The posture of loosening knees and tilting hips will inevitably lower the center of gravity, and the specific steps of walking forward will make the whole trunk show a "pro-ground" posture. This is the conclusion after analysis, but the dance "Step Song" has never seen the slightest sense of "falling" visually, and the reason for this situation is that the sleeves are not too long or too short, just right. The sleeves in "Ta Ge" play a connecting role in the whole movement, and the choreographer combines the "upturned sleeves" in the Han Dynasty, the "swinging sleeves" in the Tang Dynasty, the "beating sleeves" in the Song Dynasty and the "taking sleeves" in the Qing Dynasty. This eclectic and selfish creative idea has undoubtedly made the classical dance "Ta Ge" Gu Zhuo and.

The aesthetic concept of the trinity of poetry, music and dance is everywhere in the works. The rich style of Han and Wei dynasties shows a poetic side from the stage composition. For example, the scene of 12 women holding sleeves and shoulders obliquely is exactly "singing and dancing tactfully, just like a beautiful warbler". What is more poetic is the feeling of infiltration and spread everywhere in the works. The word says: "If you are a cloud in the sky, if you are a bird in the cloud, you will depend on each other and reflect the wind of the sun bath. If you are in the water in the lake, you are like a flower in your heart, and you are in love with me. Why do people get together and leave? How can there be joys and sorrows in the world? I hope to be with you, not a flash in the pan "(Tago). In this soft language of Wu Nong, isn't it the most beautiful scenery? Love is closely related; Poetry is catchy.

The historical value and aesthetic value presented to us by Ta Ge far exceed the artistic achievements of the work itself. It will occupy an important position in the field of classical dance in China, and it may herald the birth of another school of classical dance.