It means that if dance movements are to be organized into expressive words, they must rely on movements and related structures other than movements, as well as artistic systems to create a large language environment.
There are two representations of dance movements, which can go in two extreme directions. One is a pure dance form; One is in the form of content. There is a concept that dance itself is a form, and the form itself is its own content. Another view is that dance contains content besides form. For example, the holder of the view that "dance expresses emotion" thinks that the dance form without connotation has no meaning of existence, that is, it does not admit that the dance form without content exists alone. The former emphasizes art for art's sake, while the latter emphasizes that art should have certain social responsibilities.
The existence of "pure dance" has been confirmed by many artists through a lot of practice, and has made great artistic achievements. This also broadens the artistic vision of the dance industry. Emphasizing that the form should be adapted to the content is a "traditional" connotation of a director. With this concept, we can have rules to follow and laws to follow. Theoretically, we should understand and learn the methods and theories of choreography.
We absorb the idea of "pure action" and "purposeful" choreography into our minds so that we can cope with complex and extensive creative practice. Directors who are interested in exploring the field of dance forms can enter this field to explore the research of pure dance forms; A responsible choreographer will find out the content of social responsibility according to his own interests, including the specific treatment in choreography, what kind of environment he enters and what kind of voice he dances.
Simple movements themselves do not have the language required by dance works, which may be considered from the aspects of "force effect" and color. In order to truly make movements become the language used by dance works to convey meaning, we should pay attention to the multiple care of the core of small movements and the big language environment. If the formal creativity of a choreographer is strengthened, it is necessary to convey a clearer theme and related plot expression, so it is necessary to strengthen the understanding of the tiny movement organization of dance and the macro care for the language of the work. The language environment in which actions become words is also crucial. It is worth noting that to become the language of dance works, it is necessary to form a large language environment for action with the power of structure, and the large language environment of each work is unique.
Incorporate the work into a large artistic system to take care of it. Any dance work needs an external language environment, some of which are created by tradition and some are newly created. Language environment means that the work enters a system in advance, and this system has set the relationship between the work and the audience in advance. If you tell the audience that this is a classical ballet, then the choreographer will compile a ballet with classical vocabulary, and the actors and audience will enter the performance or appreciation system according to such an aesthetic and appreciation habit. Therefore, some predetermined styles will contribute to the director in advance. In this environment, the director organizes his own language, including the paragraphs of the soloist and the performance part of the soloist, which will be expressed by the whole dance or scene, and the paragraphs will be combined to express the plot of the whole play.
Enter the structural frame. The language environment of dance works is also reflected in the structure that guides the audience to express their inner style. A ballet based on the hero's heart, then the structure of the ballet is nonlinear style; If it is a narrative, and the traditional storytelling structure is used to develop the dance drama, then the linear structure style can be adopted; If the choreographer adopts flexible forms of expression, the dance drama can be constructed by leaps and bounds, which is a combination of linear and nonlinear structures. If the director is in such a system, the appreciation experience of linear structure and nonlinear structure in artistic development will also help the director's creation systematically. As long as the director takes care of his own style and aesthetic reservation, he has this right.
Reflected in the paragraph level, the timeliness of dance lies in further showing the content with the performance of dance. This needs to include the care of the whole through the smallest unit, from the disclosure of theme movements to the display of dance phrases, the presentation of dance paragraphs and the evolution of the whole scene. Embody the individual with the whole, and take care of and consider the whole in countless individuals and explanations. This sense of wholeness is essentially the help of the external language environment of the action.
A single action cannot convey semantics, and dance is interpreted as a whole through the combination of language system, structural framework and detailed actions, thus forming the language form of dance. Therefore, when it comes to individual actions, we have to consider the settings or requirements for individual actions under the overall framework. The completion of local movements actually reflects the overall task, and the mapping relationship between the whole and the part reflects the language characteristics of dance. Therefore, the external language environment of dance movements is very important for the semantic expression of dance.
As a whole, the choreographer and the language of dance are interactive. The director's understanding of dance action units and dance language and the realization of the proportional relationship between dance form and connotation expression are related to whether the director pays attention to dance form or work content. At this point, it has become a watershed, which directly leads a director to develop in the direction of formalization or content exploration. When paying attention to the strength of the work produced by the content of dance performance, the director will pursue the drama of dance; When the choreographer pays attention to the beauty of dance itself, he will pursue the pure form development of dance. These aspects also directly reflect the attitude and aesthetic preference of the creative subject, which is related to the overall strategic direction and creative direction of the director's work with what kind of attempt and style.
In the whole dance language cognition, the director's own understanding of the function of form and content in dance language is a constantly changing process. The more accurate the director is, the more effective the language is. This choice is reflected in the following aspects: the initiative of choreography is strong, and the language of dance as a whole will show unnatural and artificial language; On the other hand, if the choreography is too casual, the language of the dance will appear too much and the form will drown out the content. In turn, artistic objects will inhibit the skills of choreography and appear to lack the subjective factors of choreography. The former will produce the result that the content is greater than the form, while the latter will produce the problems of strong sense of form and insufficient content.
At this level, the director's ideal is to establish his own artistic character and skills, including a correct world outlook and artistic concept. After that, the director should be flexible in every creation, or master the sensibility of artistic language and the rational grasp of artistic skills (the previous experience is upgraded to techniques, and there are inherent methods with rational factors).
If the creative method is regarded as a "Tao", there is no trace on the road. Between the artistic language of dance and the choreographer's movements, it is necessary to reflect the great wisdom of the choreographer, not to expose the creative method, so that the viewer will not feel what the choreographer used in the creation, but will naturally associate it with "content and form."
Meanwhile, we can understand why Paul? Taylor will exhale the slogan "Down with the choreography" when composing music. In addition to his "unconventional", we see that he also feels that he must retreat from the traces of artificial choreography and let the energetic and natural choreography appear in front of people.
At this level, the director's own quality is very demanding, and only in this way can the best combination be achieved. This combination point is the looming of "dance language" and "director himself" in the works. The quality of the director will ultimately affect the quality of this work. After pursuing their own high quality, directors ignore techniques, but show the role of personality strength in their creation, which requires directors to improve their personal indicators and artistic accomplishment. In order to achieve the "gentleness" of dance works, literary talent and quality are impartial, and they also set off and complement each other.
The skill training of choreographer is to improve the professional vision, proficiency and sensitivity of choreographer. There are three levels when creating works. The first level is that the director is in an unorganized state. At this time, the choreography suffered from no movement as the expression language of dance, empty thoughts and few tricks.
The second level is that with the progress and harvest of learning, the choreographer began to have choreography skills. At this time, it is easy to pile up techniques and replace dance expression language with techniques, thus making techniques blocked like "baggage" in the works and affecting the quality of the works. The third level is that few directors can reach the best level, that is, they dare to integrate their own thoughts into the whole work, and the form and content of the work are natural, so that the techniques can be naturally integrated into the work, thus creating a more natural artistic appeal for the audience.
This part discusses the difference between dance action as an action and as an expression language from three aspects. From the direction of action, we should study the internal tone of action and identify the limited range of dance action. From the direction of language expression, it should be recognized that action should be limited to a certain background, and only under certain preconditions can action become the language of expression. Therefore, it is decided that dance movements, as a language, can only produce expressive ability if they are used in a whole system, which mainly determines the important role of structure in expression. Finally, the subjective and objective relationship between the choreographer and the mastery of dance language is discussed, aiming at emphasizing the control and application of the choreographer to the image language.