Ballet in four acts, written in 1876. This story is based on ancient Russian mythology, written by Begichev and Garritsel. It is one of Pyotr Il'yich Tchaikovsky's most famous masterpieces. Due to the mediocre level of original choreography and the inexperience of orchestra conductor, the premiere of 1877 failed on February 20th. It was not until 1895 that the performance in Petersburg was an amazing success, and it has since become a classic of ballet in the world.

Swan Lake is still a model for dancers to emulate and a model for realistic dance drama. The story goes something like this: Princess Aogueta, who was turned into a swan by the magician Rodbert, met Prince Siegfried by the lake and told him that only loyal love could free her from the magician's rule, and the prince vowed to love her forever. At the party to choose a bride for the prince, the magician turned into a soldier and deceived the prince with his daughter ogier, who looks like the Tower of Ogle. The prince found himself cheated and rushed to the lake excitedly. With the help and encouragement of Aogueta and the swans, he defeated the magician. The swans have all changed back to human form, and Aogueta and the prince are finally together.

The music of Swan Lake is like a romantic lyric poem. The music of each scene has completed the description of the scene with a profound symphony, promoted the contradiction of the drama, and portrayed the character and mind. These ballet music, which is full of poetic and dramatic power and has the principle of highly symphonic development, is the result of the author's major reform of ballet music, thus becoming an epoch-making work in the history of ballet development. Many of them are masterpieces that will last forever. Only a few famous ones can be selected here to introduce them.

At the beginning of the prelude to the dance drama, the oboe plays a soft tune, which leads to the clues of the story. This is a variation of the swan theme, which outlines the moving and sad picture of a girl who has been turned into a swan by witchcraft (fragment 1). The most familiar part of the whole song is the music at the end of the first act. This scene is a grand ball to celebrate the prince's adult ceremony. Music is mainly composed of all kinds of gorgeous, clear and passionate dance music. At the end of the first act, a flock of swans appeared in the night sky, which is the first time that the theme of swans appeared in music. It is full of tender beauty and sadness, played by oboe and string in turn with the vibrato of harp and violin (fragment 2). Hungarian dance is a Hungarian folk dance of Childash. The first half of the music soothes the sadness, such as the preparation before dancing (paragraph 3), and the second half has a strong sense of rhythm, which shows the rudeness of the dancers. It is a fanatical dance music (paragraph 4). Spanish Dance Music is full of Spanish national flavor, accompanied by Spanish castanets, which emphasizes the national characteristics of music. The first half of the music is full of enthusiasm and passion (paragraph 5), and the second half is full of songs and melodies (paragraph 6). "Neapolitan Dance" is a very famous Italian style dance. The whole dance is mainly played on the trumpet, with lively music, smooth first half, faster and faster rhythm and warmer atmosphere in the second half. This is a Tarantella folk dance (paragraph 7). Dance of Four Little Swan is also one of the most popular dances in this dance drama. The music is relaxed and lively, and the rhythm is clean and neat. It depicts the scene of cygnet swimming by the lake, which is simple and touching and full of pastoral poetry (segment 8).

Peter ilych Pyotr Il'yich Tchaikovsky (Peter ilych Chay-

Kovsky, 1840- 1893), the greatest composer in Russian history, is a master of Russian folk music and western European classical music. At the age of ten, I began to learn piano and composition. 65438-0862 entered the Petersburg Conservatory of Music to study composition. After graduation, he went to the Moscow Conservatory of Music to teach. His musical tone is based on folk songs and dances, so his music presents a strong flavor of life and folk characteristics. He is used to using fluctuating relative themes and musical images to express the development and evolution of various psychological and emotional States in life. Strong national consciousness and democratic spirit run through all his creative activities. He maintains that the beauty of music is based on real life and profound thoughts. Therefore, his works have always been famous for their beautiful melody, easy to understand and profound implications, and his music is a true portrayal of society. Through his artistic treasures, people can easily find that he is not only a model of combining realism with romanticism, but also a master who is good at depicting psychological activities and exploring the mysteries of life with music.

Many of his works are excellent world-famous songs, such as opera yevgeni onegin and the Queen of Spades, ballet Swan Lake, Nutcracker, Sleeping Beauty, and symphonies Symphony No.4, Symphony No.5, Symphony No.6 and Symphony No.6..

Works: Symphony No.4 in F minor "Destiny"

Symphony no.5 in e minor

Symphony No.6 in B minor "Pathetique"

Tchaikovsky's Piano Concerto No.1

Violin concerto in d major

Overture 18 12

Italian capriccio

Serenade of strings

Dance drama Swan Lake

Dance drama "Nutcracker"

Dance drama "Sleeping Beauty"

Opera yevgeni onegin.

Opera The Queen of Spades

Romeo and Juliet

Melody Suite "Four Seasons"

melody

Melancholy serenade

Andante cantabile

What is ballet?

First, the story of a dancer named Youwu.

To say the structural model of ballet, we must first define what ballet is. There are many definitions of ballet, either complex or simple, or complex or simple, usually from the perspective of "ballet". In other words, the definition of ballet also has a modular expression, that is, "ballet is a dramatic form with dance as the main means of expression". I use ellipsis in the middle of this stereotype expression, and the definer uses it to fill the ellipsis. First, it emphasizes the comprehensiveness of music, dance beauty, lighting and even singing, clothing and sound in the means of expression. The second is to emphasize that the dance in the form of drama should shape characters, portray characters, express emotions and promote plots. I used to define ballet from the perspective of drama and dance, instead of "ballet", thinking that "ballet developed in the form of drama … a dance genre". It doesn't matter what the ellipsis in the middle is, but it is important to confirm that ballet is mainly a dance genre rather than a drama form, and it is not the general drama structure law but the special dance narrative law that determines the ballet form. Because in fact, even an all-round director like Cao, who has directed operas, dramas and local operas in Beijing and Kunming, can't effectively direct dance dramas. The choreographer of dance drama can only be a dancer who knows the narrative way of dance, although he sometimes cooperates with literary screenwriters and film directors. However, we notice that the ballet "Raise the Red Lantern" performed by the Central Ballet Company is an excellent ballet, but its general director is the famous film director Zhang Yimou. In fact, Zhang Yimou played two most important roles in this play: first, he constructed a stage play story which is very suitable for dancing, and in his own words, "There is Peking Opera in the story"; Second, he is good at creating a strong emotional atmosphere in the overall visual image, and the symbolic use of stage scenes (non-symbolic stage scenes) effectively participates in the design of the overall dynamic image. Faced with the richness of China's contemporary dance drama creation, I think the definition of dance drama should be simple rather than complex, simple rather than complex. Because the simplicity of defining language just leaves enough space for defining the complexity of the object, and because the definition of art form or genre is not the self-satisfaction of art theory, but the effective enlightenment and positive promotion of art practice. To this end, I think we might as well imitate Wang Guowei's definition of drama, that is, singing and dancing to tell stories, and define "dance drama" as: a dancer, that is, dancing to tell stories.

Secondly, "duet" is the main narrative means of dance drama.

If we talk about the art of ballet with ballet as the coordinate, we must say that ballet is a foreign art in a strict sense. The beginning of the history of ballet is marked by the appearance of 158 1 The Queen's comedy "Ballet", but from today's perspective, it is a "dance poem" with loose drama structure and loose relationship between characters, not a "dance drama". 200 years later 1786, Dobejval, a student of the ballet innovator Novell, put his teacher's ideas into practice and created the first drama ballet "Imprisoned Daughter" (also translated as "Unhelpful Caution"), which made the ballet director change from studying composition geometry (for designing dance scenes and implementing stage scheduling) to studying mime. In the following year 100, Giselle first perfected the toe dance technique of ballet, and then Swan Lake confirmed the duet program of ballet. In the course of more than 100 years after the publication of Swan Lake, "duet" is no longer a skill performance of male and female dancers, but the main narrative means in dance drama. In many excellent dance dramas, "duet" has even become the skeleton of the dance drama structure, so that it is considered as an indispensable formal feature of dance drama art. As a performance of ballet art, "duet" has two basic rules: first, "duet" refers to the joint dance of male and female chief dancers in ballet roles; 2. The Dance for Two consists of three parts: motto, variation and epilogue. Among them, the variations show the personal acting skills of male and female lead dancers respectively, while Adage and Coda compare the performance rhythm of adagio and Allegro. It is very important to know that duet is the main means of ballet narrative, because this important formal feature of ballet art will determine the choice of characters and the tailoring of themes in ballet structure. When the Central Ballet and Zhang Yimou merchants adapted Su Tong's novel "Wives and Concubines" into the ballet "Hanging the Red Lantern High", an unknown ballet research expert submitted a book to the cultural authorities, arguing that this theme should not be expressed by ballet, especially ballet. I understand that he thinks about this problem from the perspective of the formal characteristics and artistic laws of ballet-he can't stand that a host with a group of concubines will be a male host, and he certainly can't understand who the "female host" among those concubines is and what kind of "duet" there will be. In Hanging the Red Lantern, which has stood on the stage, it is determined that the "female chief" is the third aunt whose master finally married into the yard, while the "male chief" opposite the third aunt is not the master, but the lover who has not yet entered the third aunt's house-the troupe Wu Sheng. Since the male and female directors have been determined, the narrative of the dance drama mainly revolves around the "two-person dance": when the third aunt got married in the sedan chair, she recalled the "pure love two-person dance" of the troupe Wu Sheng; When she got married in the courtyard, she watched the "love duet" of the troupe hall meeting, avoiding the "cheating duet" of her family dating the troupe wusheng, until she was finally killed by Master. As a formal feature of ballet art, "duet" is not only the main means of ballet narrative, but also may become the structural skeleton of ballet plot.

Third, the relationship between the characters centered on the "female chief" in the dance drama.

A dance drama that tells stories by dancing should not be without "duet", but it can't just be "duet". In fact, this means that the figures in ballet are generally not limited to the male and female chief dancers, and the main figures in western classic ballet are usually around four; Therefore, Gu Xuefu, a Russian expert who trained and directed the choreographer in China in the 1950s, thinks that it is appropriate for a ballet to have no more than four main characters. Why do you pay special attention to the number of characters when talking about ballet creation? Reminiscent of Shu Qiao, a famous director and director in China, it can be understood that a structured dance drama is first of all the relationship between the characters in a structured dance drama by putting aside the background and events and only bringing out the characters. Although in most cases, the characters in ballet are not limited to the male and female dancers, the male and female dancers are called "chief", which shows their core position in the relationship between the characters in the whole ballet; In particular, the "female chief" has always been in a dominant position in the development of ballet art for hundreds of years and has become the center of the relationship between characters in structured dance dramas. It is a basic fact that most works in the history of Chinese and foreign dance dramas are centered on "female kui" to express the relationship between characters in dance dramas. The Unblocked Daughter focuses on her daughter Lisa and shows Lisa's lover, male chief Coles. Lisa's mother exists to build obstacles to Lisa's marriage-because she wants to marry her daughter to Aaron, the foolish son of the vineyard owner Thomas. Similarly, Giselle built Albert, the Earl of Giselle who fell in love at first sight, with Giselle as the center. Ranger Xi Lerio exists as Giselle's boyfriend only to strengthen the eternal love between Giselle and the male leader Albert. So that after Giselle became a ghost, he had to construct a ghost king as an obstacle for Giselle to fall in love with Albert and help him. This is especially true of the world-famous Swan Lake. As a female chief, ogita, the White Swan, built Prince Siegfried, a male chief who wanted to save her through love, and Rodbart, the demon king who wanted to destroy her love and imprison her in Swan Lake forever. In order to give full play to the main narrative mode of the ballet "Errenzhuan", the ballet even constructed a black swan which is isomorphic with the white swan-Audrey, and as the daughter of the devil, Audrey was used to shake the prince's love and let Odetta sink into the Swan Lake forever. Although the three representative works in different periods in the history of ballet are different in character relationship, the structure of character relationship centered on the "female host" in the ballet is the same as the duet between the female host and the male host (basically forming a lover relationship with the female host) as the main narrative means of the ballet.

Fourthly, the typology of character relationship and the patterning of dance drama structure.

What we have described above depicts a basic fact: as a story performed by dance, ballet is mainly a story about the occurrence and development of love between two lovers. No matter whether the ending of love is happy or tragic, there are always obstacles and twists and turns in the process, which constitute the dramatic conflict, plot and structure of the dance drama. That is to say, the artistic features of "duet" as the main narrative means of dance drama determine that the creation of dance drama is centered on "the hostess" to construct the relationship between the characters of dance drama, which in turn determines the basic conflict, plot and structure of the narrative of dance drama. This is what we call the tendency of typifying the relationship between characters and modeling the structure of dance drama. In my opinion, the patterning of dance drama structure is the product of the typology of character relationship, which is the result of the choice of main narrative means of dance drama. Just as what is used as a "weapon of criticism" in the history of thought is often "weapon criticism", "duet", as the main means of ballet narrative, may also become a hidden rule for choosing male and female dancers to show their ballet structure. The creation of China Dance Drama is mainly since the founding of New China. On the one hand, it means that ballet accelerates its own "dance drama", on the other hand, it means that traditional operas (mainly martial arts) maintain their own "nationalization" characteristics. Like the modern fate of many traditional things in China, our dance drama art does not take the road of "takenism", but takes the road of "Chinese and Western styles". Please note that before the dual coordinates of western classical ballet and China traditional opera, what bothers us is not the differences in the form of action language such as opening, stretching, straightness, standing, containing, bending, twisting and sinking, but the revision of professional roles in traditional opera and the revision of the variation of classical ballet "Errenzhuan" (that is, the variation part). Due to different standpoints, the initial creation of China's contemporary dance drama presents two obviously different forms. Some people call it "drama without rap" and "ballet without variation". The representative works are Knife Meeting and Mermaid, which came out at the same time on the occasion of the founding of the People's Republic of China 10 anniversary (1959). As far as the relationship between characters is concerned, the mermaid is almost a replica of Swan Lake, and the mermaid is China's "white swan". Around the character relationship constructed by mermaid, the prince of the court was transformed into a hunter in the countryside, and mermaid transformed the character identity of Swan Lake into "human nature" advocated at that time. The characters in "Knife Meeting" obviously bear the trace of China traditional opera. Liulichuan is Wu Laosheng, Pan Qixiang is Wu Sheng, Zhou Xiuying is Wu Dan, and Wu Daotai is ugly; Although the duet between Zhou Xiuying and Pan Qixiang is set in every possible way, duet has not become the main narrative means in the play, and Zhou Xiuying, the heroine, has not been used to structure the relationship between the characters. In the new era, especially since the new century, China Dance Drama has begun to form a typed relationship with "China characteristics". Typed characters can be referred to by four symbols: A-the heroine in ballet is B's lover, C's daughter, and D's object of forcible possession; B-the male host in the dance drama is A's lover, and often forms a mentoring relationship with C; C-usually A's father and B's teacher, is the root cause of the love relationship between A and B, indicating that the love between men and women is forced by parents; D- originally had nothing to do with A, B and C, but took A as his own by virtue of power, which constituted the opposing party in the dance drama conflict. Typical examples are Two Springs Reflecting the Moon by Liaoning Ballet and Love Heaven and Hate the Sea, Yuanmingyuan by Beijing Song and Dance Troupe. In these two dance dramas, A is Yueyu, B is A Bing and Stone, C is Yueyu's father, and D is Gu Siye and the eunuch in charge. Although the story lines of the two ballets are different, the typological relationship between the characters can't help but make the structure of this ballet enter a certain mode.

Fifth, the variation of the structure model of dance drama and its simplification tendency.

The dance drama structure determined by the above-mentioned relationship between characters is, in my opinion, the basic model of China's dance drama structure. In recent years, there are two main variants of this basic model in dance drama creation. Variant 1: cancel the character d; Although C is still A's parents, he has no mentoring relationship with B, and he has become an opponent of the relationship between A and B (he has replaced D in destroying the relationship between A and B); Thus, A became the active party in their love, and finally protected B with his life (usually due to the manslaughter of C); The ending is usually a conscience discovery after C killed A by mistake (originally meant to kill B) ... I want to use Chen Weiya's Dream of Dunhuang and Zhang Jigang's Wild Zebra to illustrate the first variation of the dance drama structure. Chen Weiya and Zhang Jigang are both the most powerful directors in China today, and these two dance dramas with different themes also have considerable influence in China today. But judging from the relationship between the characters in the two dance dramas, their structures seem to be very similar. First of all, the heroine A in the two dance dramas is mainly a daughter and a lover, who first appeared on the stage as a daughter, namely, the zebra daughter in "A Crescent Moon in Dunhuang in a Dream" and "Wild Zebra". Secondly, in the two dance dramas, the heroine A's parents C are in power, which on the one hand determines A's aristocratic lineage, and on the other hand determines that A's love obstacles mainly come from C, who is the general in Dunhuang Dream and the female bear in Wild Zebra. Thirdly, the male host B in the two dance dramas comes from ordinary people (or laity), and both B and A are not gentlemen (even the goal of A's family), but B's talent or heroism touched A, making A follow B at the expense of disobeying his father's orders. B is Mogao in Dunhuang Dream and the male zebra in the wild zebra. Fourthly, because of A's dual identity, A naturally lives in the center of contradiction and becomes the victim of irreconcilable contradiction. Therefore, the ending of dance drama is usually to achieve "class harmony" with the death of A, which of course means that the aristocratic class gave the people a horse. Variant 2: As far as the basic mode of China's dance drama structure is concerned, the fundamental difference between Variant 2 and Variant 1 is that the character C is cancelled and the character D is retained. Due to the absence of role C, the inevitability of the relationship between role A and role B is weakened, and role D actually becomes one of the pursuers of role A. The difference between him and role B is that he was not chosen by role A, so he chose to destroy and revenge the relationship between role A and role B. The ballet Ashima is a typical work of this kind of variation, in which Ashima, Ahei and A Zhi are roles A, B and D respectively. Many dance dramas adapted from folk stories have adopted this structural model. This structural model is different from the "class harmony" of "variant 1". In the deep revelation of human nature, people's class attribute is played down intentionally or unintentionally. We notice that the above two different variants show a tendency of simplification compared with the basic model of dance drama structure. This is the first "simplification" of the relationship between typed characters, which will also lead to the "simplification" of the structure of patterned dance drama. The "simplification" tendency of China's dance drama structure model is the result of emphasizing "dance noumenon" and then advocating "symphonic choreography" in the late 1980s and early 1990s. As far as the artistic environment of dance drama is concerned, it is the result of the conflict of dance drama that no longer uses the routine of "class struggle". With this tendency of simplification, the plot of ballet tends to be simple and the conflict of ballet tends to be dull. But the dance industry itself has not realized the fallacy that this step may cause. They call it "the poeticization of dance drama" and some dance dramas that are poeticized and dramatized are called "dance poems", and finally they are simply called "dance poems".

6. "Dance poetry" is a misunderstanding in the creation of dance drama.

As a genre of large-scale dance creation, "dance poetry" has been compared with ballet. Whether as a theoretical proposition or as a practical way, "dance poetry" appeared in the late 1990s, and it is an indisputable fact that "dance poetry" exists as a large-scale dance genre. As a style of grasping the world by dance art, "Dance Poetry" also has its own unique perspective and irreplaceable advantages. However, as far as the creation of dance drama is concerned, it is actually a misunderstanding that dance drama tends to "dance poetry drama" or even "dance poetry" because of its poetic tendency. The fundamental mistake of this misunderstanding is that the so-called "poetic dance drama" is actually a dramatic dilution of dance drama, and its root lies in the continuous simplification of the relationship between characters in the basic structure of dance drama. It should be pointed out that when the concept of "dance poetry" was inexplicably put forward, even for the genre of large-scale dance creation, it did not only point to "dance poetry drama" which was dramatically degraded from "dance drama"; Mixed with the concept of "dance poetry", it also includes "dance group poetry" with the theme of "theme dance night" (especially related to folk customs) Although "dance poetry" also calls itself "dance poetry", it has never been related to dance drama. The typical case of the dramatic degeneration of dance into "dance poetry" is Long Baiqing. Changbai Qing attempts to interpret the history of Korean nationality in China with poetic dance. The characters running through the whole work are a pair of men and women who are lovers, husband and wife, and parents. Compared with the relationship between characters in the basic pattern of dance drama structure, this is a large-scale dance work simplified to only characters A and B, and the work loses the tension of drama because there is no conflict between people. The creator's behavior is to design a symbolic dance image for the hero and heroine's life course. Because the creation of images and the combination of unrelated words are the important features of poetry structure, the long white feelings connected by dance images can indeed be called "dance poetry". The reason why it is called "dance poetry" is not because it lacks dramatic conflict, but because it is full of poetic images. There are many similar works in which a man and a woman dance in series through the works (such as "Fish and Water"). Although it also calls itself "dancing poetry", it does not pay attention to creating symbolic images. They are poems that are not "contending" but "passing on". This kind of poem is actually just a beautification of the concept of "group dance". In fact, this is also the case. Many dances that do not run through the characters but are connected in series around a certain custom or style are also gathered under the banner of "dance poetry". Of course, the reduction of characters means the reduction of conflicts between people, and it also means the reduction of overall drama conflicts in dance drama; But this does not mean that the work cannot be "dramatic" at all. The rustic Ba people, a self-styled "dance poetic drama", runs through the whole drama with Tiger Life and Feng Jieer, connecting the marriage and love customs of Tujia people, and the director describes people's living conditions through a series of dances showing marriage and love customs. This state may not be a life-and-death class conflict, but it can reveal people's emotional conflict, personality conflict and the conflict between people's development and environmental restrictions. Not all works simplify the characters without downplaying the dramatic conflicts. The ballet Ma Le Visits the Horizon may be an exception. There is only one role in the first half of the whole ballet-mother, and there are only two roles in the second half-Le (son) and Teng Mei. Dance drama gives the characters a never-ending action-looking for the sun, mother looking for it in the sinister natural environment barrier, and the unfinished action is continued by music; Le tried to overcome the temptation of warm social environment, so that her duet with her changed the previous harmonious style and formed a conflicting atmosphere. That is to say, although the simplification of characters in ballet does not necessarily lead to the dilution of conflicts in ballet, we will lose the drama of ballet if we do not structure the goals and obstacles of characters' actions, if we do not structure the conflicts between the only characters (male and female protagonists), but maintain the harmonious style of "duet". Those genres that call themselves "dance poems" because of the loss of "drama" are misunderstandings in the creation of dance dramas.

Seven, the transformation of the relationship between characters and the renewal of the structure model of dance drama.

The tendency of modeling the structure of dance drama caused by the typology of character relationship makes our dance drama creation face a dilemma. If we insist on constructing the relationship between the characters in the dance drama with the female chief as the center and the duet between the female chief and the male chief as the main narrative means, we will inevitably fall into the previous structural model; If we want to get rid of the previous structural model and realize the renewal of dance drama, we must change the types of character relations, which may be at the expense of giving up the main narrative means of dance drama. As a matter of fact, some works, which are milestones of contemporary dance drama in China, do not all follow the patterned dance drama structure, nor are they all different from that kind of dance drama structure model. 10 years ago (1994), one of the "China Dance Classics of the 20th Century" evaluated by an organization was "Knife Club? /TD & gt；