First, the human body: the earliest language carrier of human beings, the ultimate beauty.
In the primitive group life with imperfect language, human beings need to express their thoughts and feelings with limbs and gestures. In millions of years of labor and social life, people's habits and actions appear repeatedly, becoming a language form that people understand and have communicative functions, and becoming body language. After the formation of language, the use of body language has not disappeared, and it has many new meanings and has become an auxiliary action when people speak. When language is difficult to express, it can be expressed more vividly with the help of body movements. The ancient Greeks attached great importance to the beauty of human body lines. Therefore, they loved the dance art that could shape the beauty of body well and attached great importance to the role of dance in shaping body. People think that dance is the highest level of art, and its origin is as old and sacred as the stars in the sky. In sculpture, relief and other arts, the ancient Greeks endowed all gods with very beautiful dance shapes.
Second, action: a free form of life movement
Man's action is a form of life movement, the essence of life and a manifestation of man. People's operational responsibilities carry the information of mutual feedback between people's internal experience and external performance; It is a bridge to communicate the subtle feelings between the aesthetic object and the aesthetic subject. The deepest and most secret feelings of human beings can only be expressed most completely and accurately through human body movements. Albert Merabian, an American psychologist, pointed out that 7% of the information people get comes from words, 3% from sounds and 55% from body language. When human beings create the world, they also create their own beauty. When they found everything, they also found their own charm. Man is the highest fruit of the tree of life, and the human body is the most perfect advanced form of the fruit of life, which provides inexhaustible fertile soil for artists and becomes an inexhaustible source of dance art.
French sculptor Rodin said: "The human body is the mirror of the soul, and the greatest beauty lies here." Human body movements belong to people's mood, wisdom and mental state, and are the result of struggle for valuable purposes and various inner States. The internal quality and external form of action are closely combined, and * * * together constitute an expressive and connotative action symbol. Through these dynamic languages, human beings understand life, communicate with each other and achieve harmony among people. Through self and other people's bodies and their movements, as well as moving things, human beings constantly establish their own cognition of the world and establish their own basic experience of understanding human society and external nature. In real life, human body movements express our various wishes, intentions, expectations, demands and emotions, which is a kind of signal and symbol, but it is only a life movement rather than an art, and dance is the product of the coordination of human body movements. It is a fictional gesture, creating a kingdom of illusory power and an active image.
Third, dance: orderly and rhythmic human movements.
As far as material existence is concerned, the beauty of dance is attached to the beauty of human movement, that is, the beauty of dance is the beauty of image or humanity created by human movement. Therefore, the basic point of appreciating the beauty of dance should be based on beautiful human movements. As the material medium of dance art, the performer's body needs strict training to have strong performance ability. When dancers create extraordinary human body dynamics through soft waist, agile jumping, rapid rotation and stable control, people will feel an ideal human body dynamic beauty in a sense beyond reality. The human body, the material medium that constitutes the beauty of dance, is itself a kind of formal beauty. However, dance art always emphasizes "dynamic" in the representation or expression of human beauty, which is different from the depiction of human body in sculpture and painting. "Motion" means vitality, vividness, variability and richness, and contains extremely profound social contents such as thoughts and desires.
In reality, the dynamic beauty of human body in dance will have a feeling beyond reality, because the dynamic beauty of human body in dance has been formalized, ordered and regulated by the artist, which has become a meaningful form and expressed the complex emotions of human beings. The dynamics of dance is a kind of human dynamics beyond daily life. Dance is different from sports, martial arts, acrobatics, figure skating and gymnastics. Because in dance, the dynamics of human body has become the basic symbol form of human emotion and consciousness, and the beauty of human movement in dance can be embodied through stylization and virtualization. Stylization is the product of the development of dance art to a mature stage, which is completed in dance practice according to the law of formal beauty. Stylization makes dance stably convey certain emotional implications, and also contributes to the formation of dance style. Virtualization is based on artistic assumptions, which makes dance movements overcome the factors of duplication and become expressive and emotional movements. At the same time, dance movements are conceived in rhythm, and the change of rhythm reflects the fluctuation of people's inner feelings. Rhythm is the characteristic of life personality; Rhythm is the charm of national temperament; Rhythm is the expression of artistic style; Rhythm is a symbol of the trend of the times
Therefore, dance deals with the living human body, which moves and occupies space and time under the action of external force and its own will, bringing a certain range of activities and action space to the direction, amplitude, speed and energy. Dancers closely connect themselves with the environment through the arrangement and treatment of space and time, so as to fully tap their reasonable and orderly human movements, produce strong emotional shock and establish their own independent kingdom.
Fourth, emotion: the soul of dance
Human body is a kind of culture, and dance is a kind of human body culture. Without human body movements, it is impossible to form a dance. Without the image beauty of human body movements, it is impossible to have a beautiful and moving dance with far-reaching artistic conception and both form and spirit. Therefore, if dance only pursues the beauty of the human body and the beauty of human movements, but lacks the image beauty of human movements, it still cannot have fascinating power. When dance enters the field of aesthetic activities from the purely physiological phenomenon of human beings, it means the establishment of the aesthetic status of human movements, which is an evolutionary process from "body language" to "ritual language". This process, that is, the transition from human sports form to human aesthetic form, means that dance is not only a sports form, but also an aesthetic form. On the one hand, the aesthetics of this movement is based on the aesthetics of the human body, on the other hand, it is the aesthetics of transforming the human body. In order to make dance reach the beauty of human action image, it is necessary to have both form and spirit, which is the decisive factor of dance appeal. This requires dancers to embody the spiritual temperament of the subject and the emotional charm of dance through human movements.
Just as a pile of soil is not Michelangelo's sculpture, the dancing human body cannot be a symbol of aesthetics and culture. Only when this medium moves and becomes the basic symbol form of human emotion and consciousness can dance begin to breathe. In dance works, the dancer's emotional consciousness must be put into action, making it a direct material externalization expression or lyric expression. Action is the material material that the inner passion of dance is externalized into artistic image. It shows its function with the dancer's thinking purpose, and has great plasticity and freedom. When the audience accepts the dance, it is to let the continuous movements enter their own visual channels and leave traces on the inner screen; Those continuous instantaneous forms combine into a stable image through the cooperation of their respective psychological functions, and then enter into self-creation to achieve aesthetic satisfaction.
As a flesh-and-blood human body, it evokes all human desires. But the human beauty of dance is not only in the biological sense, but more importantly, it is the product of human social history and a humanized body. In the beautiful human form, there are rich social and historical contents. In the form and posture of dance, every point, line, color, shape, sound and rhyme all show meaning, emotion and value. In other words, the beauty of human body in dance itself bears the imprint of human culture and is the product of human cultural psychology.
Dance is the sublimation of human instinct and the display of life. It can not only convey all life experiences such as life and death, love and hate, joy and pain, victory and failure, but also reveal all human qualities such as sacredness and vulgarity, justice and evil, freedom and bondage, sublimity and meanness.
Dance needs the beauty of human body and the beauty of human movement. The beauty of dance embodies the beauty of human body and action, and interprets the beauty of emotional sublimation, which is the highest artistic beauty that human beings pursue unremittingly.
Li Zhongxin: Go into the normal state and seek the historical footprint of modern dance.
/kloc-at the end of 0/9, classical ballet began to decline, and the unchanging action tradition and stereotype made the dance lose its fresh breath and lofty taste. People are also eager to break the shackles of the human body since the Middle Ages. No matter in ideology or code of conduct, a revolution is needed to respond to the call of liberating the body and pursuing freedom. In the hustle and bustle brought by the industrial revolution, artists are keen to return to nature, pastoral and ancient culture, looking for a perceptual truth and the power of human nature.
The appearance of isadora duncan set off a magnificent revival of human culture in the 20th century. She gave up corsets and ballet shoes, put on a Tunik shirt and danced barefoot, inspired by nature and ancient Greece. The slogan of "anti-ballet" and the declaration of a high degree of integration of spirit and flesh were in line with the internal needs of people at that time and the spirit of the times. Duncan's yearning for nature is the victory of natural emotion over social habits, which reflects the spirit of the times at that time.
If Duncan rebelled against ballet tradition unconsciously and instinctively and brought about a dance revolution, then when German Mary Weigmann, American Martha gleim and Doris Humphrey appeared, they were consciously and consciously creating and establishing a new order. Modern dance in the true sense is not only a physical revival movement, but also a brand-new artistic form and viewpoint. It is marked by the emergence of a new action system and action theory. Based on the observation of human spirit, it creates a personalized and contemporary way to recognize the world and express emotions with body movements. The development of modern dance in Europe and America is generally synchronous and interactive. In Europe, modern dance happened earlier.
/kloc-at the end of 0/9 century, the bud of modern dance gradually grew from Europe to the United States. Even Duncan, who was born in America, was recognized for the first time in Europe.
At that time, art and culture followed a European standard. Franois Delsarte, a French dramatist and singer, founded the theory of expression system, which divided human movements into different expressions and became a dramatic gesture. Dennis, the first pioneer of American modern dance, was deeply influenced by him and incorporated his system into her teaching course. Delsarte's disciple, Swiss musician Emile Jacques Dalroz, invented "dance rhythm" again.
Great modern dancers Weigmann, Yus and Holm all studied under him. When Rudolph Laban's Body Dynamics and Mary Weigmann's expressionist dance appeared, Central Europe became the central highland of modern dance. Both Laban's scientific analysis of sports and Weigmann's concern about the theme of life and the universe inside the human body have impacted the oriental sentiment that the United States was obsessed with in the 1920s. At the same time, the second generation of mainstream modern dancers, represented by American Martha gleim, began to establish local dance images under the influence of German expressionism and humanistic spirit and inspired by ancient culture, seeking a way out for their complicated and slightly chaotic emotional motives. As an emerging country with diverse coexistence, the United States is full of optimism and freedom.
In such a living environment, the constant rebellion, rebellion and independence of modern dance has become a new force, which has prompted the rapid division of dance schools. The famous aesthete and historian Selma Jenny Cohen also concluded that "modern dance is an art to overthrow idolatry." With the high industrialization of American society, post-industrial civilization began to deconstruct everything in the alienation of human nature and disillusionment after the war.
In 1960s, after the birth of Judson Dance Experimental Base, postmodern and postmodern dance movements developed in full swing. Since the 1920s, there have been five classical modern dance training systems in the field of modern dance, namely Martha gleim Moss Cunningham, paul taylor, Hossolimon and Han Ji Holm.
This movement is a rebellion against classical modern dance and a reflection on the living conditions of human beings in post-industrial society. Dancers walk out of the theater in their daily clothes, creating a "strange" visual environment and auditory atmosphere in familiar life scenes such as lakes, roofs, streets and art galleries. Dancers, on the other hand, are more engaged in the practice of pure movements, from the early generation of movements from emotional motives to the germination of meaning in the movements themselves.
Anna Halprin used a large number of amateur dancers to restore the social function and group fun of dance. David Gordon deliberately eliminated the distance between life and dance. The use of life-oriented movements and the ridicule of ballet deformation show the broken and deconstructed jokes of postmodernism, and also reflect the relaxed mentality and personality of contemporary dancers. Post-modern dance is cold and chaotic, but it is more and more real life. In such a country without traditional burdens, modern dance is constantly updated, and the rapid metabolism also leads to the exhaustion and some confusion of innovation, and innovation has become its own tradition and law. As one of the important cradles of modern dance, Germany has been developing slowly in the shadow of war and is full of pessimism.
Under the tradition of German rationality, German modern dancers first established the action norms and made a theoretical analysis of the noumenon. Although their dance aims are irrational and emphasize the self-experience of personal feelings, the "expressive" way still reveals profound rational thinking and profound humanistic details. Different from the United States, modern dance in Germany is diverse and arbitrary, but it retains the characteristics of introspection and the habit of thinking. This expressionist dance style spread to the United States, and also had a certain impact on modern dance in the United States. In 1960s, the appearance of "Dance Theater" in pina bausch made the introspective tension of German modern dance reach a peak. "Dance Theater" is not a style, but a state of mind. As she said, "What interests me is not human action, but the connotation of action." The unrestrained action vocabulary calmly expresses the true human nature, which makes German modern dance more powerful and keeps the posture of never falling behind.
The 20th century is the century when the human body fully awakens. Modern dance, from the free movement against ballet, to the excavation of movements from emotional motives, to the practice of pure movements, and then to a large number of daily movements, has returned to the people, become a dance of life, and played a role in awakening the body. When industrial civilization restrains people's body and mind again, modern dance has become an internal need of people, which has greatly improved individual life and can be used by people. From the perspective of modern dance appreciation, it is appropriate to adopt a tolerant attitude, which may be an appreciation gesture for all modern and contemporary arts.
The experimental deviance and the heavy mystery of the serious theme will be as unacceptable as an excessive performance art and a novel without punctuation. Tolerance can contain some false art, but tolerance can make people try to accept and understand a stranger, a new form.
In modern dance, the audience can experience the shock and pleasure brought by the fresh and peculiar action forms, and find special consciousness in the relationship between action and audio-visual environment. They can cough loudly and leave early. Modern dance makes you angry, makes you happy, makes you moved and makes you sick, but it can't make you indifferent.
Please make your reaction, your action. The modern dance mentioned here is concentrated in the two cradles of Europe and America, and the development of modern dance has always been a worldwide topic. Japan's Butoh, the new dances of Korea and China, and the unique modern dances of Israel, Australia and Africa cannot be covered here, but it is obvious that the survival, development and growth of modern dances of these nations and countries have finally found their own body language and expression in their own lives, times and cultures. At present, the concept of modern dance is gradually replacing modern dance, which is more inclusive and approachable than modern dance in time and dance types.
Modern dance has become an inherent style, and a new generation of dancers need to rebel and stick to the rules. Modern dancers have discovered the true meaning of modern dance aesthetics contained in Yi, and "change" means "unchanging". Change is the way to survive and the secret of keeping fresh. Only by constantly abandoning some existing things can we achieve self-transcendence.