Proper use of "established style" of dance
It is not difficult to see that all the above excellent dance dramas have strong positive energy-Flying Tigers, Eight Bitches Throwing into the River, Never Disappearing Radio Wave, Heavenly Road, Little Sisters of Prairie Heroes, Red Sorghum, Spring and Autumn in Black Powder, and Shawan Past. But it is worth asking: in the context of "pre-understanding", there are still many themes with strong positive energy. Why do you love this in ballet creation?
A very important reason is that the theme is "dancing". For example, "Spring and Autumn in Black Powder" tells the story of how a troupe is not afraid of violence and spreads national art with three martial arts students, that is, relying on long, colorful flags and keeping children, showing the wonderful figure of the troupe everywhere; "Wake Up the Lion" integrates the routine of the folk martial arts Southern Lion into the dance narrative, making martial arts a performance path of dance and raising the dance of Southern Lion to a metaphor of national character. In fact, there used to be many such dance dramas, such as Mei Lanfang, Returning on a Snowy Night, Hui Ban and Shaolin in the Wind ... all with the help of China traditional operas or martial arts routines.
Dancability comes from China's unique historical and cultural accumulation, which forms the "established style" of dance. There are many similar "established styles", such as the use of Tibetan dance and Mongolian dance in Heavenly Road and Miss Prairie Hero. For example, "Flying Tigers" and "The Past of Shawan" respectively use drum yangko in Shandong and English songs in Guangdong to create characters and carry forward the national spirit. Some dramas also expand the plasticity of the "established style" of dance and construct a new language style. For example, ballet, a language form with strong style, is well integrated with military movements in Eight Women Throwing into the River, and is considered as another China ballet masterpiece that shows the theme of war after Red women soldiers. There is also Dunhuang, which shows that Dunhuang cultural relics workers are guarding the Millennium heritage, and also well handles the relationship between the opening, stretching and straightness of ballet and the S-shaped posture of Dunhuang dance, forming the "China Ballet" with distinctive national style.
Cultural imagination not only changed the situation of "less quantity but less quality" in dance drama creation for a period of time, but also cultivated and consolidated our cultural self-confidence. This is fully reflected in the choreographer and the creative pursuit of the choreographer. The newly created dance dramas in recent years show us the backbone of contemporary China dance drama creation.
On the one hand, military choreography plays an important role, including Yang Xiaoyang, who wrote Flying Tigers and Helan on the Moon. Xing Shimiao, who wrote Black Powder Spring and Autumn Annals and Dream of Silk Road; Chen Huifen and Wang Yong, who wrote "Eight Women Throwing into the River" and "Red Clouds on the Horizon"; And Zhao Ming, who wrote Miss Prairie Hero and Farewell My Concubine. On the other hand, it was the debut of the young choreographer, who ran ahead from the beginning. Wang Ge, who has successively harvested Red Sorghum and Pilgrim's Road, and Zhou Liya and Han Zhen, who have successively harvested The Past in Shawan and The Immortal Radio Wave, have also gained a good reputation. In particular, although he failed to win the Wenhua Award, the directors of young dance dramas whose works have attracted wide attention are children such as Water God, Dancing Together, Zhu, Deep Memory, Flower World, and children such as Confucius, Guan Gong, Zhao Jun and Tuodao. Seeing such young directors assembled, we have reason to be full of confidence in the future of China Dance Drama, because our creators are galloping their cultural imagination and strengthening their cultural self-confidence.