Dance: This song should only exist in the sky
A Probe into the Beauty of Dance Forms
Shen Pei, 2021
In the 1980s, the Cultural Revolution, which was full of thousands of horses, came to an end. Everyone was eager to recover the lost time, and the cultural and art world was booming. The same is true for me. “Journey to the Spring River” and “Flying Partridges” have won awards one after another, and works such as “Golden Autumn” and “Green Rhythm” have appeared one after another. Gradually, he returned to the circle of top artists before the Cultural Revolution. He frequently participated in various competitions and seminars, gave lectures everywhere, and served as a judge. But all of this has left me confused again. Critics talk about the ideas and content of a certain work. Use detailed explanations to guide the audience to understand the dance. But this kind of guidance often makes me fall into the fog. Some works have been praised to the sky, but I feel that they are not good-looking at all, and it is difficult to get the beauty and enjoyment that dance appreciation deserves. Some of the articles are profound and obscure, but they are as far from me as me, and have no substantial help for creation. At the same time, I also encountered many people who came to me for advice: How to understand dance?
This got me thinking. Those high-ranking judge theorists say that it should be like this, it should be like that. In fact, they have never had creative practice themselves, and many of them can’t even dance at all. Applying the theory of general commentary on literary drama to guide people to “understand dance” is Instead of truly understanding and mastering the aesthetic characteristics and ontological laws of dance, will it be misleading?
When I was confused, I saw an article – “Why do you need to understand music? It is repeatedly emphasized that the core principle of music aesthetics is that it does not express a specific matter, but an emotional and emotional world. The pursuit of ideology and philosophy, etc. They are all appreciating music in the way of drama literature. The usual way of interpreting music in the past, in terms of what the note represents, is misleading. What musicians need to do is to guide everyone to open their ears to appreciate the beauty of music.
This can be said to my heart, because like music, it is lyrical, that is, it mainly expresses the emotional and emotional world. Compared with drama, it is farther from real life, and the more abstract dance should be the same.
Of course, this article also dialectically stated that one kind of feeling causes another kind of emotional situation and emotion, which is the basic ability of human beings, so music can also be understood, but this kind of understanding does not rely on rational presentation, such as 1 +1=2. But rely on association, rely on resonance. Everything in the world is related. Arouse associations through a certain correspondence, resonate, and then you can understand. The association of beauty can arouse the resonance of beauty.
This should also apply to dance. The question is, how do you associate with sound? For thousands of years, the music industry has made endless discussions: what composition method, harmony method, music form and counterpoint. The composition department of the Conservatory of Music takes several years to study. But what about dance? It seems that after dancing for a few years and putting together the moves that have been learned, it is choreography. Theorists also talk about ideology all day long, never involving the laws of dance form beauty. The result of such two skins is that the number of creations is quite large, but the awareness of dance ontology rules has been improved very little.
The ardent pursuit of art made me “get rid of the scar and forget the pain”. I forgot the criticism and experience of “Picking Tea Dance” that happened not long ago, and decided to break into the restricted area again and create a beautiful work. As an experimental field for me to study Chinese classical dance, study dance vocabulary, and study the laws and techniques of dance creation.
First of all, there is a breakthrough in concept. Is there no content in aesthetic works? Back to the previous article about music: the association of beauty can arouse the resonance of beauty. Truth, goodness and beauty are the noblest sentiments of human beings, which contain profound connotations and extremely high aesthetic values. Bai Juyi said that “the song should only be found in the sky” in “Neon Dress and Feather Dance” is people’s highest ideal of beauty. So I decided to rely on the famous Jiangnan Sizhu song “Little Neon Clothes” to express this realm that all human beings long for. The fluent, subtle, delicate and elegant Chinese classical dance is just right to express the artistic conception of fluttering and immortal, not knowing the heaven and earth.
But mere roundness and smoothness do not constitute dance. It is clearly defined in the Chinese Dictionary: “Dance is an art form with rhythmic movements as the main means of expression”. Please pay attention to the keyword “rhythmic movement”, dance expresses the meaning through a series of “continuous movements”, showing the life process. The “continuity of movement” refers to the relationship between the length of time and the strength of each “movement” in the continuous process, which is the rhythm. Rhythm is the bud of art. Rhythm weaves everything in nature into order, order makes people happy, and pleasure produces beauty. So everyday sounds and movements are elevated to art. Rhythm is the first element of music, but also the foundation and soul of dance. Dance can be without melody, but not without rhythm. However, the Chinese classical dance, which is more mellow and flowing from opera, has less changes in rhythm. Not to mention the Western tap dance, Arab belly dance, African inspiration, etc., it is placed in the same place as Asian Indian dance. At the same time, the rhythm is also monotonous and poor. This is a gulf in front of all Chinese dancers who are fighting to create a Chinese classical dance system.
Is Chinese dance so lacking in rhythm? no. Rhythm, in essence, comes from human instinct: breathing, breathing, breathing, breathing, and relaxation are the changes of the inner breath under different circumstances, which bring about the difference in the size of the external appearance, speed, and strength, forming the rhythm of the dance. . And Chinese culture is the most emphasis on breath. Didn’t Bai Juyi say in “Pipa Xing” that it was like “big beads and small beads falling on a jade plate”? In fact, if you listen carefully to the famous Jiangnan Sizhu song “Little Nishang”, you can also find that it is compact, stretched, half-beat, or paused, and its rhythm changes are extremely rich. But why are they so rarely reflected in the body language of our classical dance? I think, because Chinese classical dance was passed to us, it had already been chewed by opera, and while leaving rich and wonderful dance postures, the rhythm of the most dance characteristics, which is most exciting but throbbing in theatrical performances, was omitted. weakened.
How to do? We can’t just create it out of thin air. It is a tried and true truth. Taking dance research as an example, many famous dances in ancient China, such as “Lanling King” and “Qin King Breaking the Array”, have long been lost in China, but they have been found in Japan and South Korea. In the North Korean (South Korean) dance, which is also in the East Asian cultural circle but has not been chewed by operas, it retains an extremely rich rhythm change with breath as the internal driving force. They are also deeply influenced by Tai Chi culture, emphasizing the breathing and breathing of breath, and the guiding role of breath and thoughts on movements. Emphasizes one spit, one breath, one relaxation, one yin and one yang, to achieve dynamic balance. The combination of dynamic and static rhythm, contrast and transformation, and the harmony of rigidity and softness, highlight the lightness and dynamic of the human body and the looping extension of the expression.
Sometimes the breakthrough of a predicament often comes from a change of concept. I absorb a lot of the rhythmic characteristics of North Korean (South Korean) dance that lifts, controls, and drives the external form “hanging” there at a certain moment. This “suspended” state seems to be paused, but its internal breathing and rhythm have not stopped, but a continuation and change in control, presenting an image of movement within stillness and movement within stillness , a flexible force. It is the emphasis in Chinese calligraphy that “the pen breaks the meaning continuously”, and this method is used to reflect the scene in Bai Juyi’s poem “The Dance of Neon Clothes and Feather Clothes”, “Gu Tingle hangs and stops”. Relying on the changing rhythm provided by the music of “Little Neon Clothes”, the three elements of Qi, Intention and Action are coordinated and choreographed to choreograph the dance phrases and dance segments, so that the body can move through the breathing of breath during the movement, and promote the dynamic and static patterns between various parts of the body. Alternately, it is cadenced, rich and varied. After repeated regularization, it constitutes the unique sense of rhythm of “Little Nishang”. The sense of rhythm creates a kind of “shape”, and this “shape” is the inner spiritual outlook. The expression of the life state in the rhythm has the charm of “Gu Ting Le hangs and stops”.
According to Tang Xuanzong’s sleepwalking in the Moon Palace, he saw a few fairies dancing with “Neon Clothes and Feather Clothes”, and when he woke up the next day, he compiled a historical record of “Dancing with Feather Clothes and Feather Clothes”. Taiwan’s bejeweled kitsch style. Let the dancers wear gauze dance clothes with a faint blue in the white, and even wear white gauze, either drape or carry, or throw or lift, to especially strengthen the “qi” as the basis and the “circle” as the Towards the characteristics of Chinese classical dance, creating an ethereal artistic conception. They are simple and ethereal, intermittent, like thin clouds flowing slowly in the blue sky, ethereal in the imaginative fairyland, as if the soul is flying in the clear space, presenting a kind of otherworldly beauty.
At the same time, I let a small Jiangnan Sizhu band perform live on the stage, restoring the traditional Chinese music and dance form. It further strengthens the ancient meaning of heaven and earth, and the unity of heaven and man. It is really “this song should only exist in heaven”.
“Little Neon Clothes” does not have a big jump, 32 spins, and no technical show of 180-degree legs raised over the head or rolled all over the floor, but it conquers the audience with its ethereal and beautiful artistic conception. Since its creation, it has performed more than 1,000 performances and traveled all over the world. It is still a reserved program of the Zhejiang Song and Dance Troupe, and the sensation is no less than “Tea Picking Dance”. For the return of Chinese dance to the ontology, the construction of the language system of Chinese dance has played a very good role in promoting. It originated in the 1980s, which also illustrates the relaxed political climate at that time. If we were bound by the ultra-leftist trend in the past, the exploration of beauty and form was a forbidden area, and even in the era of “beauty”, I would have fallen under the big stick of “anti-formalism”. Without the environment of free creation, no artist can make a difference, and it is my luck that I have encountered this era of freedom and relaxation.
I, Yuan Xian and Emperor Xian, once accompanied Zhaoyang at the internal banquet.
There are countless songs and dances, but the most favorite among them is the neon dress dance.
When dancing, it is cold and spring, and the jade hook bar is in front of the incense table.
Yan Ruyu, the dancer before the case, does not wear vulgar clothes.
Hongshang Xia swayed and shook her crown, and her necklaces adorned Shanshan.
Pingting seemed to be ignoring Luo Qi, and Gu Tingle hung up and stopped.
The chime, xiao, zheng, and flute are handed to each other, and the sound of beating, beating, and blowing is roaring.
The scattered sequence of six performances did not move, and the balcony Suyun did not fly.
In the middle sequence, the highlanders were first shot, and the bamboo poles in autumn were cracked and the ice in spring.
Fluttering and spinning back to Xue Qing, Yan Ran even sent You Long Jing.
Liu is powerless behind the small hand, and the cloud wants to live when he slants the chariot.
Qi Mo is a little overwhelmed, and his sleeves are low and affectionate.
Shangyuan points Huan to recruit calyx green, and the Queen Mother waved her robes to say goodbye to Feiqiong.
Twelve times of complicated sounds and emergencies, jumping beads and shaking jade He Kengzheng!
The Xiangluan danced but retracted its wings, and the song of the crane finally led out.
At that time, I was shocked at first sight, staring at the truth and listening to it was not enough.
In the eight or nine years since he was in the world, Er Leng has never heard this song.
In Yucheng, listening to the mandrill language, Baxia can only hear the cuckoo crying.
The second year after transferring to Qiantang, I was in the mood to ask Sizhu.
Linglong Konghou thanks Haozheng, Chen Chong covets Li and Shen Pingsheng.
Clear strings, crisp tubes, and slender hands, teach the neon dress in one song.
By the lake in front of Xubai Pavilion, the front and back should only be pressed three times.
Then the concubines were thrown away, and the news is now scattered.
In May of this year, I went to Suzhou, and the morning bell and the twilight corner urged the white head.
Covetous to read the papers and often invade the night, and do not listen to Sheng songs until autumn.
Qiulai has nothing to do and is bored, and suddenly Yi Nishang has nowhere to ask.
Wen Jun’s department has many happy disciples, and asked if there are dancers in neon clothes?
Answer: There are 100,000 households in seven counties, and no one knows that there are colorful dances.
Only send a long song to come with me, the title is the score of neon clothes and feather clothes.
The four floral prints are red and green, and the neon clothes are recorded in them.
The various poses and shapes are clearly seen, just like the Zhaoyang dancers.
In front of her eyes, it seems to be the same shape and quality as it was in the past and the present.
Suspected to be called from the soul dream, it seems to be written in a Danqing picture.
I love Nishang Jun Hezhi, which is composed of songs and poems.
Don’t you see my song cloud “Frightening the song of neon clothes and feather clothes”,
I don’t see my poem “When Qu Ai Nishang was not filmed”.
There is a master in everything that can be done, and Yang’s Chuangshengjun makes a spectrum.
Jun said that this dance is rare, it must be a poor girl in a city.
Wu Yaoxiaoyu flew into smoke, and the more beautiful Xishi turned into soil.
Jiaohua smiled and was lonely for a long time, and the doll’s house was empty.
As your words are sincere, please listen to me calmly.
If you ask for the national color, it will be translated, but I am afraid that this dance will be abandoned in the world.
The good and the bad are far from each other, and most of them are only praised by people.
Li Juan and Zhang Shi do not dislike it, and she also intends to teach and learn as appropriate.