Is the form of dance action abstract or concrete?

The form of dance movements is abstract, but the human body being put on the stage is concrete.

The abstraction of dance language is only revealed in the theatrical deduction of dance art, and the form of dance action is abstract, but the human body is concrete when it is put on the stage. Either he has a concrete image, if he has no image, or he is some abstract symbol, otherwise he must be the material or medium referred to by other things. These indicated and substituted substances were not understood and explained when they first appeared, and the viewer did not know their meaning. However, through a certain period of time, different action sequences and combinations contain such content transmission, and its connotation has been conveyed and revealed.

Dance is figurative in visual image, but vague and ambiguous in meaning interpretation, which leads to the problem of using this system to explain, not by language or action, but by choreography theory, with the help of literary creation theory and artistic appreciation habits. First, the action contains meaning, and then it enters sentences and paragraphs. After the sentences and paragraphs, there are connection method and structure method. After entering the structure, it introduces the customary system of universal literature appreciation. This leads to the arrangement of "introduction, beginning, development, climax and ending" involved in the structure. We know that the concept of role does not appear in dances that entertain ourselves, such as folk dances, such as yangko and running river lanterns. The role is the true color, not the participants themselves.

In folk dance, what we see is a cultural phenomenon rather than the relationship between appreciation and performance of drama performance. Folk social fire has a role, and some dances have a role. The concept of "role" does not appear in most other folk dances. In other words, people don't care about roles. The role is the naming of the stage and the characters performed on the stage after the audience enters the "viewing relationship". Dance is a participant in social life. Rituals and self-entertainment show cultural phenomena and social attributes. As an artistic form of emotional expression, dance has a new mission after entering the theater. People began to care about and study a series of problems such as "the dancing human body is visual, but its action sequence is abstract".

When western dance enters the modern art stage of artistic development, the role concept of traditional ballet is impacted. A group of modern dancers specially studied how to dissolve people's image in dance, only highlighting people's material sense and materiality, and expressing the abstraction in dance. For a long time, we have been influenced by art, especially the concept of "watching performances". Our artistic tradition presents a channel-style acceptance of the role positioning and the image established behind the role.

Therefore, we should study the image-building of dance language. In addition to image building, we should also study the negative aspects of the image, that is, how to treat other aspects of dance, that is, how to understand the attributes of dance, and use the negative to reflect the image we want to build, such as using the relationship between cognitive abstraction and concrete to help us shape the artistic image of dance. We know that the abstraction of dance lies in? Pure dance movements have no meaning. It is necessary to realize that most movements in dance are meaningless pure dance movements, so how does the meaning of dance exist? This needs our further study.

On the pure action level of dance, action is abstract. In all kinds of dances, the movements produced by basic basic training will produce a kind of sports modeling characteristics similar to sculpture, whose significance is only the aesthetic feeling of modeling, and its internal meaning is abstract. Balanchine's neoclassical ballet raised the language of classical ballet to a rational level. After analyzing the musical forms of classical music, we notice that classical music has a high degree of rational factors. Balanchine's choreography made ballet achieve the same high pursuit of rationality as classical music, and also made his symphonic ballet insight into pure rationality. Therefore, his choreography is called "neoclassical ballet" besides "symphonic ballet".

The style of his works makes people feel the elegant and rhythmic artistic effect in dance, which is achieved by making full use of the abstract factors of dance. Most of balanchine's dances can make the appreciators realize the harmonious relationship between body language and music, which is abstract. In a China dance work, 30% is rational aesthetic feeling, 30% is the proportion of image connotation, 30% is ideological support and emotional appeal, and the remaining 10% is an interactive blank space. Rational aesthetic feeling is the pure action layer of dance, including muscle, strength, sense of space and action. China's dance includes breathing, thinking and action intention.

All choreographers who try to explore the pure form of dance are trying to explore the abstraction of dance, or are committed to the ratio of rationality and abstraction. One of the most famous is Laban, the father of modern dance theory. He was born in Austria. After the war, he conducted scientific research on dance in England and put forward the idea of rational dance. At the same time, he is also an important advocate of modern dance theory and created labanotation. His dance soundtrack is applied in many fields, which can be said to be a relatively scientific action soundtrack.

His "force effect" theory has a great influence on dance science, just like the spectrum of action force effect, which has an important influence on the research of modern dance and dance science theory in later generations. Susan. Langer's Symbolic Aesthetics sums up the basic illusion of dance as "illusory power", saying that "the basic abstraction of dance is an illusory gesture, which is not only a visual phenomenon, but also a muscular phenomenon, or something that can be seen and touched. Conscious gestures, like language in essence, are a kind of communication. "

All of the above are abstract connotations of dance action mechanism, which shows that dance action is abstract, and grasping the inner meaning of dance action depends on feeling and perceptual experience.

The inner appeal of theater dance is "communication". Martha? Graeme believes that "the basic function of dance has not changed since ancient times, and this function is communication". Doris? Humphrey agreed, "I insist that dance art belongs to the category of human communication." "Communication" makes the work have the appeal of communication and builds a bridge between the work and the viewer, and this bridge is the application of artistic language mechanism.

There are two kinds of communication ideas in theater dance works: the first is "emotional communication"; The second is "official transmission". These two aspects are like the poles of art itself. Emotional communication advocates expressing the author's thoughts and feelings by shaping the artistic image, while formal communication emphasizes art for art's sake, and does not pursue the viewer's completely correct understanding and explanation of the communication form, as long as he has feelings. In other words, this kind of communication is unequal, there is no correct answer, and the emphasis is on the diversity of works.

This kind of communication is not direct communication, but indirect communication through visual image and perception system. On the basic function of dance art? Communication, what is this communication based on? It is based on the artistic image shaped by the language of dance art to spread, and the audience is moved by the artistic image through appreciation activities, which produces * * * sound in emotion and feedback in the audience, thus achieving the function of communication. China's language and writing system began with hieroglyphics. After nearly ten thousand years of development, China's writing is still full of vitality.

This enlightens us that China audience has a profound tradition of image cognition system. Some people once doubted our writing system and were afraid that we could not catch up with the western phonetic symbols, but later the problems of Chinese character input in the computer and Chinese character typesetting and printing were solved. Pinyin letters are no longer an obstacle to the modernization of Chinese characters in China.

Therefore, our characters have not become pinyin characters, but still retain the connection with tradition. China's dance, painting and music are closely related to China's literature. Poetry, calligraphy and painting, including music, are the main carriers of China traditional culture, and dance is included in music. The word "dance" in China hieroglyphics is produced by vivid dance images.

The "River Map" and "Luoshu" in Shangshu, a cultural classic in China before Qin Dynasty, are fairy tales about the emergence of China characters. It is said that the tortoise carried a stone tablet and a gobbledygook from waterinfo, and these words written by birds and animals can only be recognized by Cang Xie, which led to the hieroglyphics of China, which is the "image" that "Heaven" showed to human beings? That is, a sign. Therefore, China's art has a lasting and wonderful understanding and embodiment of "image".

The artistic realm of China's art is embodied in "poetry", "prose", Tang poetry and Song poetry, which has a great influence on dance. Of course, to treat the shaping of artistic "image" and seek the infection of "image" to people, the whole literature and art should follow such an artistic tradition, and dance will certainly not stand outside it.

As a choreographer of China Dance, of course, we should pay attention to the cognitive viewpoint and creative method of image-building in artistic creation, especially the artistic viewpoint that works should be "communicated" with the audience and accepted by the audience. Under the care of this universal concept, creation must pay attention to real life, theme and its positive significance. The appeal of dance works is to ask the creators to pay attention to the spread of works, and the spread of works is to treat the "spread" object correctly? Audience.