What is the origin of dance culture?

People are generally concerned about finding the theoretical basis and aesthetic character of dancing image from the source of dancing culture, while finding the theoretical basis and aesthetic character of dancing image from the source of China dancing culture is the basis of dancing image. The study of image language of dance choreographer not only pays attention to the uniqueness of dance creation, but also conforms to the general principles of artistic creation to create vivid artistic images, trying to find historical inheritance and national cultural foundation for dance image creation and image language.

At the same time, I will learn the advanced achievements of world dance theory and use them for me to create an applied dance creation theory that conforms to China's dance creation theory and practice. This theory means that the creative core and task of dance art is to create vivid artistic images, express human feelings, abandon "formalism" and advocate that form serves content. At the same time, it also studies the pure form of dance, but the purpose is to focus on the core of "expressing emotions". Therefore, when the research has a proposition, it should be carried out closely around the theme of the proposition.

Dance needs a kind of representation, which is an artistic form based on human body and contains or "images". The director should endow this objective existence with certain certainty, or the image contains or is expressed by the image. In short, if you don't want the audience to stay on the superficial "human image", then the director should study how to dissolve the original image and establish a new image, artistic effect or abstract artistic conception that the director needs through certain artistic means. These are the core topics of dance video language research.

Through the study of image language, this book clarifies the relationship between form and content that has been blurred in the field of dance creation for many years. Although "language" has its own aesthetic taste and sense of form, if it only stays here and cannot be further expressed at the content level, it will lose its "real meaning" as a whole. The choreographer should not stop at the action of "acting", but should care about the expression of true feelings, which is often accomplished through the shaping of artistic images in dance.

The research on the image language of dance choreographer shows that although we pay attention to the language, we are not concerned with the beauty of the language itself, but how the language accurately conveys the beauty of the content, which is the first layer. The second layer is a thorough and detailed study of the language itself. Only in this way can we make full use of the dance language itself. The third layer is how to use dance language to shape the image. The shaping of artistic image is listed as the ultimate goal of dance creation activities, and the shaping of artistic image for any reason can not deviate from the ultimate goal of this artistic activity.

Of course, the cognition of image is allowed to have different angles of attention. In China's artistic tradition, we can find artistic schools and traditions that pay attention to freehand brushwork. This tradition does not only advocate artistic forms in a fragmented way, but always requires artistic works to have both form and spirit. "Qi" is above some "external appearance", and it never advocates breaking away from "content" and only emphasizes "form".

Therefore, China's art often lacks the development of the single branch of "formalism". It is mainly pointed out here that "formalism" can only play a functional role in enriching artistic means at the second level, but it cannot be the main idea that dominates Director Of Thinking as a whole. Director Of Thinking is dominated by the pursuit of theme and the exploration of ideological significance, and it is the director's lifelong artistic pursuit to create a vivid and sensible artistic image. According to this general idea and viewpoint, the creative theory is studied, and from the cultural commitment of the dance body and the existing research results of dance science, these achievements are inherited to create their own new ideas, thus establishing the language sequence and image basis of dance choreographer.

The narrative feature of dance is that the whole dance completes the author's simple meaning and ideas, so the author is required to make his ideas as economical, centralized and accurate as possible, and only in this way can he effectively convey his ideas to the audience. This is essentially an introspective process of the director, that is, a process of cultivating his own acumen and making his feelings come true through his strong behavioral ability. This behavior ability is the choreography of dance, and the essence of choreography is to turn dance movements into "language" to convey.

Some choreography can only stay at the action level, but can't further develop the action into language. Some don't have this ability, and some don't have this understanding. Generally, we see a good dance work, and the boundaries between form and content are inseparable. There are both beautiful dance forms and good dance connotations. Because of the definition of "meaningful form" in aesthetics, a very appropriate annotation is found for pure form works, which also makes it difficult for ordinary people to distinguish which dance works belong to the form category and which belong to the content category. The training of dance choreographer is to be able to distinguish the form and content of dance, but it is sometimes difficult.

In practice, we can find that due to these unclear understandings, when dealing with the content of dance, most people usually use pantomime to express the content, and it is difficult to express the content with dance movements. This means that they can't recognize the language essence of dance forms and dance movements, which can test a person's cognition of dance content. Although he dances well, it does not mean that he has a high knowledge of dance language, which shows that dancing is the same thing for people.

The Research on the Image Language of China Dance Choreographers tries to solve the "hidden" problem of how China dance choreographers forge "image language" in choreography teaching, so that various choreography skills and techniques can involve the concept of image language from the beginning. At the same time, the ideas, behaviors and ultimate problems of dance creation such as "action and language", "language and imagination", "language and emotion" and "language and aesthetics" are studied in teaching practice. Highlight the directional characteristics of China's choreography, establish a distinctive choreography technology of "image language" for China's dance creation, and thus produce an "image ontology" dance language system, provide theoretical and technical support for China's dance creation, and establish the application theory of "Research on China's choreography image language".

In terms of social benefits, we try to make the training of dance choreographers on a more mature track through theoretical research, gain wider social recognition for future dance creation, establish some aesthetic communication and exchanges, and lay effective theoretical resources and methods. At the same time, the theoretical research of dance creation can contribute to the artistic aesthetic education of the cultural and spiritual needs of China society.