Opera and dance are two artistic forms of traditional culture and art in China. They have deep roots in the process of historical development, and there is a historical period in which drama and dance develop together. It was not until the Yuan Dynasty that it began to differentiate and develop and exist independently. Therefore, the relationship between drama and dance is close, interactive and influential; However, dance has absorbed some elements of China traditional opera, and promoted the development of dance, with rich content and diverse forms of expression. The theoretical research on the influence of China opera on dance development is also rich, mainly talking about the influence and the relationship between them. For example, Zhi Jiayi discussed in detail the origin and aesthetic characteristics of opera in "Research on the Influence of Opera and Dance on the Style Characteristics of China Classical Dance", discussed the artistic characteristics of both form and spirit, and paid equal attention to freehand brushwork and realism, discussed in detail the influence of opera on China dance, and explained the influence and function of opera and dance in the form of cases. In the article "On the Influence of Drama on China Classical Dance", Wang Qun discussed the artistic characteristics and performance style of drama on the basis of understanding China classical dance, and analyzed the influence of drama on China classical dance from the aspects of action, props and music. After discussing the relationship between classical dance and opera dance in Ji Changhong's article "On the Relationship between Classical Dance and Opera Dance in China" and the necessity of research, it is pointed out that China classical dance and opera are closely related in form and technique, and there are similarities in the use of sleeves and swords. There are similarities in artistic conception; There are some differences in reality, point, line and surface, and emotional expression. Tang Xinchao combed the relationship between drama and dance in The Influence and Function of Drama and Dance on Contemporary Dance in China, and discussed the influence of drama on dance in detail from the aspects of theme selection and action topic selection, supplemented by cases. From the perspective of the origin of dance and drama, this paper points out that opera dance is an inheritance of traditional dance and body movements in dance, which has contributed to the further development of dance. In "On the Influence of Opera on Dance", Li Tao pointed out that the influence of opera on dance is mainly reflected in two aspects. On the one hand, it has an influence on the creation of dance themes, and on the other hand, it has a positive role in promoting the movements, expressions and narrative methods in dance creation.
From the literature analysis, we can see that the research on the influence of China opera on dance development is relatively extensive. Based on this, this paper discusses the influence of China opera on dance development by combining theory with cases and comparative analysis, hoping to have a further understanding of the relationship between China opera and dance. Theoretically, it can enrich the research on the development of traditional Chinese opera and dance; In practice, the author can have a deeper knowledge and understanding of opera knowledge and a deeper grasp of the relationship between opera and dance through the study of the theme. Understand the origin of some dance movements and expressions, and expand your artistic imagination and creative thinking.
First, analyze the relationship between drama and dance.
Judging from the origin and manifestation of drama and dance at present, both of them originated from ancient music and dance, which determines that there are many * * * relationships between drama and dance; In other words, there are artistic commonalities between drama and dance. At the same time, due to the different development direction and artistic integration ability after their independent development, they also show some differences.
(A) the origin of drama and dance
Dance appeared in the Xia, Shang and Zhou Dynasties in ancient China, and evolved from people's singing and dancing in productive labor and sacrificial activities. It has distinct characteristics of sacrifice and self-entertainment, and is called music and dance. "Ji Lele enjoys articles" records that "having fun without dancing seems to be a bosom friend but not seeing; Dance without music is like a dumb person who can talk but can't. Music and dance start a festival, which is called harmony. " It also shows that dance has been associated with music since ancient times, and it is a court dance that sings and dances; Folk dances are accompanied by folk music or slogans to express joy, and song and dance performances are indispensable in harvest or festival celebrations or ceremonies. Music and dance continued until the end of the feudal dynasty. Traditional Chinese opera evolved from music and dance, which appeared in the Song and Yuan Dynasties and has a history of more than 800 years. The evolution of China traditional opera has changed the expression of music and dance. The theme of China traditional opera is expressed by comprehensive expression and rap. The role of dance action in China traditional opera is to interpret and interpret the theme more deeply through body language and rap. In the Yuan Dynasty, traditional Chinese opera developed into its heyday, forming different schools of traditional Chinese opera.
(B) the artistic connection and difference between drama and dance
China traditional opera, like dance, as a combination of interdisciplinary and various art forms, shows strong artistic fusion characteristics; At the same time, opera is more inclusive than dance because of the different forms of stage expression.
1
Opera and dance are closely related. Opera evolved from music and dance, and dance also evolved from music and dance. China traditional opera is a traditional form of artistic performance, showing a very distinctive comprehensive characteristics, including music, dance, art, acrobatics, literature and other cultural and artistic categories, achieving stage-based embodiment, with strong integration and inclusiveness. Therefore, the content is very rich and varied, and the thoughts, feelings and emotions of the characters are rich and vivid. At the same time, the life-oriented and dramatic features of China's traditional operas are also very distinct, and the story is complicated and tortuous, with many suspense. Lv Yao commented on Chinese opera in Ming Dynasty: Ancient songs and dances are "the heritage of modern drama songs and dances". It means that opera inherits the style and expression of ancient music and dance, and also proves the inheritance relationship between opera and music and dance. It also explains the relationship between dance and drama. The role of traditional Chinese opera dance is to reveal and promote the development of story and contradiction suspense according to the situation of traditional Chinese opera, and to shape characters' personalities and thoughts and feelings. Dance itself originated from ancient music and dance, with the style characteristics of court dance and folk dance style; Therefore, stylization is outstanding, artistic appreciation is outstanding, and aesthetics is particularly distinct.
Unique creation has become an important part of the development of China traditional opera. So dance and opera are in harmony. Traditional Chinese opera regards dance as an important content and foundation, refines the movements in ancient China music and dance, and realizes theme presentation through singing, reading, doing and playing. From the perspective of artistic origin and expression forms, there is aesthetic complementarity and artistic interoperability between drama and dance, and artistic expression forms such as twisting, warping, circle and song are common in drama and dance. The fusion and mutual influence of drama and dance provide a broader space for the innovative development of dance art.
Dance is the foundation and premise to realize the dynamic beauty of traditional Chinese opera. It keeps crossing, merging and unifying with China traditional opera, but it has other connections and interweaves with each other. Under the stage of combining static and dynamic, it provides the audience with more abundant content and more diversified performance techniques.
2. Difference
The difference between opera and dance is obvious. Traditional Chinese opera expresses characters' image, personality, story narration and contradiction in the form of singing and dancing. Dance is an emotional-oriented stage action performance, which completes the characterization, expresses emotions and promotes the story. Sensually speaking, the expression of characters' personalities and emotions in traditional Chinese opera will be more direct and rich, which will make the performance of traditional Chinese opera easier to be understood and accepted by the audience. Dance reflects the emotional and psychological ups and downs of characters through actions, which is more subtle than traditional China operas. If the audience doesn't know the creativity of the dance in advance, it is difficult to understand the theme and emotional connotation of the dance through the fragments and plots in the dance performance. As a combination of language and action, China traditional opera is more likely to reflect the emotional fluctuations of characters through language, while dance is relatively less direct and intuitive, and the integration of action and emotion is not easy for the audience to understand accurately. From an interdisciplinary point of view, both drama and dance belong to the stage art that combines multidisciplinary and multicultural arts, but the comprehensive performance of drama is more prominent, mainly on the stage, and the performance of interdisciplinary or artistic categories is more prominent, such as martial arts and acrobatics, which are relatively obvious in the process of somersaulting on the stage, or are independent of other movements and skillfully integrated into the whole theme. Dance combines the characteristics and movement skills of these cross-arts into dance movements, and takes reference or digestion as a part of itself and shows it on the stage.
Generally speaking, the difference between opera and dance is very obvious. From the artistic connotation, drama is greater than dance, and it is more prominent in the expressive ability of traditional culture and art, with richer content. In terms of expression, drama is more flexible than dance.
Second, the influence of traditional Chinese opera on the development of dance
As a comprehensive and inclusive art category, traditional Chinese opera combines literary and artistic elements such as music, dance, art, martial arts, poetry and drama, forming a unique artistic expression style. The application of dance in traditional Chinese opera pays more attention to the logical expression and ingenious application of dance in drama. Through the narrative embodiment and interpretation of the characters' lives and images by dance, the performance skills, forms, topic selection ideas and action innovations in traditional Chinese opera have all had an important impact on dance. In dance, we can see the application and expression of many traditional opera elements, which greatly enriches the artistic form of dance. For example, China's classical dance and folk dance absorbed the means of expression and characterization in China's traditional opera, and merged them into the artistic form of dance, which became an important factor to reflect the artistic personality of dance. ..
(A) the integration of forms of expression
The artistic beauty of dance is reflected by the integration of formal beauty and content beauty, and the image of stage art is highlighted through form, so that people can perceive and understand the deep connotation and implication of dance. Therefore, the expression of dance art serves the beauty of image, and creates a unique image of dance art through expression, thus creating opportunities for the audience to understand the connotation of dance in many ways and expanding the audience's imagination. The influence of traditional Chinese opera on dance expression forms is mainly reflected in two aspects.
1. Role modeling
The external modeling of characters involves the use of costumes and props. For example, in the dance drama "Spring and Autumn in Black Powder", the role of master elder brother, as a long-term martial arts practitioner, relies on his uniform to highlight his role characteristics and is crossed by flags, making the characters look more dignified and solemn; Thick-soled boots and long guns in their hands have shaped the majestic image of the warrior and highlighted masculinity. The fabrics, colors and styles used in the modeling of the master elder brother all follow the martial arts costumes in Beijing Opera, and the sense of the times is very distinct, which arouses the association of the audience. In the drum yangko, various roles are set in the dance, such as gunner, drum, horse exploration, umbrella, flower corner, outer corner and so on. These expressions draw lessons from the setting of various angles in traditional Chinese opera. Ding Umbrella has the color of Peking Opera, with black and white mouth or makeup. She holds an umbrella in her left hand and carries a bronze bell in her right hand. She plays the role of a clown in the dance, with outstanding drama color and incomparable joy.
2. Form of stage expression
The forms of expression of China's traditional operas. The shaking dance in the dance drama "Black Powder Spring and Autumn" is performed by the mouth shape in Beijing Opera, which embodies the actions of winding, shaking, hugging, pushing, blowing, twisting, picking, hugging, sliding and throwing. The head kept shaking, and with the whole body trembling and trembling, the mouth of the mouth flew around on the stage. China traditional opera also has an important influence on the performance of China classical dance. The use of props, such as fans and swords, in classical dance follows the principle of using these props in China's traditional operas, which not only has the formal beauty of fighting, but also has the female figure with both tangible and spiritual features and outstanding artistic characteristics.
Generally speaking, the application of traditional Chinese opera in dance enriches the way of character modeling and stage performance. Dance creation combines the stage expression technique of China traditional opera or draws lessons from the stage expression strategy, which enriches the artistic expression form of dance and highlights the formal beauty of dance.
(B) rich in content
The influence of traditional Chinese opera on dance is also reflected in the content. Using the performance content of traditional Chinese opera to enrich the content of dance has a very prominent advantage for drama. From the content point of view, drama contains very rich content. In the process of embodying the content with dance, it not only integrates the dance movements, but also provides more content choices for dance. In the development of dance, an important innovative direction is drama. Through drama, the content of dance can be more diversified, the narrative function and appreciation of dance can be increased, and the expressive function of dance can be strengthened. For example, in the large-scale dance drama "Black Powder Spring and Autumn", the choreographer applied the acrobatics of Pu Opera to the dance, which became the outstanding artistic feature of this dance drama. Six male dancers, wearing sleeves and robes, walked onto the stage and performed on the edge of the narrow bench, and walked out of difficult dance moves such as backward step, broken step, side step, grinding step and dragon wagging tail. In particular, the dance movements such as flying swallow and independence displayed with sleeves enhance the difficulty of dance performance. These are stylized movements in Shanxi Pu Opera, which greatly enriched the stage performances of Heifen in the Spring and Autumn Period. Dance drama fully explores and inherits the characteristics of local opera, integrates local opera culture into dance drama and enriches the cultural connotation of dance drama.
In the opening dance of the large-scale dance drama "Zhaojun's Embankment", Uhaanyehe took his son Fu and Xiongnu Guards to the main hall of the Han Dynasty Palace, only to find that there was no one there, and the left-out party was indignant. Emperor Han and Yuan went out with the Guards led by Jiang Wei. Because of years of fighting, the two sides had deep grievances. So he and Fu led the guards to fight and jump. The dances of the two teams have outstanding application to the elements of China traditional opera, especially the use of guards, turns, shields and bows and arrows brought by Jiang Wei, which makes the whole team magnificent, while Jiang Wei's continuous somersault holds a long sword. The heroic image of the warrior who defended the country in the Han Dynasty was vividly reflected on the stage. Enrich the connotation and content of the dance drama, render the tense atmosphere on the stage, and explain the historical background for the dance "Zhaojun Out of the fortress". The use of props in dance is also inherited and influenced by opera. The use of shields, bows and arrows, and long swords shows the determination and fighting spirit of the warriors to defend the frontier, expresses their aspirations through things, sublimates the theme of the dance, and better paves the way for Wang Zhaojun's mission.
The influence of opera on the creation of dance content enriches the inner beauty of dance, so that the content of opera can be inherited and carried forward in dance, which not only better embodies the formal beauty of dance, but also gives dance a layered sense of content and sublimates the theme of dance. For dance creation, it is a reflection of innovative thinking and the ability to grasp and understand the universality of drama and dance art. With the integration of artistic development, opera and dance, two art categories with the same roots, will have more opportunities for integration and development, and dance will also learn more from the expression methods and methods of opera content, and use opera to highlight the unity and integration of formal beauty and inner beauty of dance.
(3) Action innovation
The combination of drama and dance movements can interpret the theme, embody the artistic conception, and also have an important influence on the application and innovation of dance movements. Some action skills, stunts and stunts, such as turning over and fighting, in some traditional operas are absorbed by dance and become individual movements of dance. Among the four artistic means of singing, reciting, doing and playing in traditional Chinese opera, doing and playing have the most prominent influence on dance movements. The movements of Chinese opera are highly stylized. For example, life, Dan, quietness, tail and ugliness all have their own unique skills and posture routines, that is, business. Holding a fan, handkerchief, umbrella and sleeve is also a typical action in China's traditional drama. These movements have a high degree of virtuality and freehand brushwork function, so they have the characteristics of dynamic and static combination, both form and spirit, and become a typical form of traditional Chinese opera art expression. These traditional Chinese opera movements have an important influence on the movement innovation of dance. For example, sleeves in classical dance are derived from sleeves in China traditional operas, showing a stage style of long sleeves and good dancing. Wave long sleeves to form different forms of stage expression, which makes sleeves play a positive role in depicting and expressing dance charm. For example, in the classical dance "Peach Blossom", whether it is waving long sleeves up or turning around, whether it is smiling behind the face or dancing left and right, it can increase the vitality of the stage and enhance the sense of space of the dance. Lift, kiss, shake and wrap the sleeve, pay attention to the cooperation of wrist, shoulder and elbow to achieve force, and eject, swing, lift and connect the sleeve through the cooperation of arm, wrist and forearm.
The basic skill of "Fan" in classical dance is the inheritance and development of traditional Chinese opera. Life, Dan, quietness, beauty and ugliness all have different "turning over" movements and skills. For example, in Danjiao, especially in the blues of Wu Dan and Peking Opera, you can often see kicking and turning over. Turning over is also a common action in Wushu performance, and it is also a necessary performance action for old students. In Beijing opera, there are different forms of expression, such as "turning over". We use the different rhythm, speed and connection techniques of "flipping" to shape different roles, thus forming different characters, generating different stage impressions and expressing different emotions. China classical dance inherits and innovates the "turning over" action in traditional Chinese opera, and deals with it from the perspective of dance art, making it an important stage expression and playing an important role in shaping characters and expressing emotions. Combined with the "turning over" action of China's traditional operas, it formed its own "turning over" training system. In the process of "turning over" training in classical dance, it is the key to grasp the importance of waist and hip as the axis, and then complete the continuous or single "turning over" action with the arm as the driving force, which embodies the artistic characteristics of twisting, tilting, circle and music in classical dance. Make full use of the flexibility of the waist to realize the connection and cooperation between posture and arm, which embodies the arc artistic characteristics of classical dance flowing in space in ups and downs. For example, at the beginning of the classic dance drama "Master Brothers", junior high school students' teachers and sisters' various "turning over" actions, such as turning over, sucking legs and turning over in circles. It not only enriches the stage expressive force of the dance, but also highlights the artistic characteristics of combining rigidity and softness in classical dance, and also embodies Yang Ge's lively and lovely personality and happy mood. China traditional operas also have an important influence on the movements of folk dances. In the folk dance drama "Knife Meeting", the use of traditional opera movements such as carpet, power, falling, turning, rolling and flapping creates a tense atmosphere on the stage, supplemented by the use of some weapons, which makes the dance atmosphere more prominent and highlights the heroism of China people.
It can be seen that China traditional opera movements have an important influence on the innovation and integration of dance movements. Some dance movements draw lessons from the advantages of China traditional opera movements and form their own movement system, such as classical dance. The movements in some national folk dances, drawing lessons from the movements of traditional operas, are integrated into the characteristics of the dance itself, making the dance more attractive. For example, the beating of sticks in the "whip dance" in Shanxi makes full use of the skills of traditional Chinese opera and combines it with the folk movements of dance, highlighting the characteristics of local dance. It can be seen that drama has a far-reaching and extensive influence on the innovative development of dance movements, and this influence is still developing.
(d) diversification of themes
China's operas are rich in content and have a wide range of themes. There is a saying in the field of traditional Chinese opera: three thousand in the Tang Dynasty and eight hundred in the Song Dynasty, three kingdoms that can't be sung. This sentence fully shows that the theme of opera is very wide, from national events and historical events to ordinary people, with short parents, rich content and unlimited story themes. Through the artistic treatment of traditional Chinese opera, we can carry forward the truth, goodness and beauty, criticize and combat some ugly phenomena, and realize the social value of traditional Chinese opera. There are many topics in modern drama that serve the present, and some phenomena in modern society are criticized or alluded to by ancient event metaphors. Abundant traditional Chinese opera resources also provide more abundant references for dance topic selection and creation. In the creation of dance drama and classical dance, the topic selection is more inclined to learn from and draw lessons from traditional Chinese opera. For example, China's first ballet Lotus Lantern was adapted from the opera of the same name. The influence of opera topic selection on dance creation has never stopped. Another example is the large-scale dance drama "The Story of Zhaojun's Leaving the Fortress", which was adapted from the Beijing opera drama "The Story of Zhaojun's Leaving the Fortress", which changed the portrayal of Wang Zhaojun's tragic fate in the past history, closely linked his personal destiny with the national destiny, and contributed his life to the stability, unity and social stability of the frontier. Wang Zhaojun has become an important symbol of national unity and cultural exchange. Today, this dance drama is more responsive to the national "One Belt, One Road" global development strategy. It not only innovates and develops in cultural and artistic exchanges, but also has profound connotations and implications. The large-scale dance drama "Black Powder in Spring and Autumn" reduces the story of the development of China opera and musicians' learning struggle to a Liyuan opera troupe, portrays the rivers and lakes grievances in the development of China opera through the stories and emotions between the master and the apprentice, and presents the hardships and difficulties in the creation and development of the opera to the audience; Black Powder Spring and Autumn Annals reflects various lifestyles, social changes and human accidents, strengthens the perseverance and fearless spirit of the opera people for the art of opera, and creates a number of inspirational characters for the audience. At the same time, "Black Powder Spring and Autumn Annals" uses operas to select topics, which is also a promotion of China traditional opera culture. Traditional Chinese opera also provides a large number of themes for folk dances. Compared with some dances in folk social fires and square dances, there are some forms of traditional Chinese opera. For example, the folk dance "Whip Dance" in Jishan, Shanxi Province is based on the content of the drama "The West Chamber", and the traditional folk dance "Beating the Stick" is the content of the drama "The Three Kingdoms Drama", which is embodied on the dance stage with the drama "Beating".
Therefore, in terms of creative themes, drama enriches the creation of dance and the characters are more diverse. Judging from the present situation of artistic diversification and diversified development, drama elements are more widely used in dance. Opera has a deeper influence on the diversification of dance themes, which brings inspiration to dance creation, enriches creative materials and makes dance have a strong opera style.
(5) The artistic expression is improved.
The essence of dance art creation is a process of aesthetic re-creation. The influence of China opera on dance creation is to enrich the aesthetic characteristics of dance, and to process and deal with the artistic image of dance more deeply, showing great complementarity; So as to improve the artistic expression of dance and help people understand the ideological connotation to be expressed by the subject of artistic creation and the theme of the work. Chinese opera can be expressed in the form of dance art, which also enriches the audience's perspective of examining dance works and appreciates the formal beauty of dance from more angles. And further understand the creative content of dance. Therefore, the influence and function of drama in dance content has become the focus of drawing lessons from drama in dance. Through the diversified stage content processing strategy of drama, the content and connotation of dance works are expanded, thus subliming the theme of dance. This requires that dance creation should have more traditional opera thinking in topic selection and action, highlight the image characteristics of dance roles and shape distinctive stage roles. In a word, the influence of opera on dance will eventually be reflected in the artistic expression of dance, which will enhance dance and make dance have deeper artistic connotation.
Third, the inspiration and thinking of the innovative development of traditional Chinese opera and dance
Traditional Chinese opera has many influences and functions in the innovation and development of dance, showing powerful narrative function, expressive function and lyrical function in dance. Therefore, if we make good use of China traditional operas, we can have more innovative thinking in dance creation.
(A) seize the * * * brainstorming.
Opera and dance have many artistic similarities and similarities. Therefore, from the beginning of * * *, with the help of opera, we can realize brainstorming, expand innovative thinking, integrate opera culture and dance culture, and deconstruct opera culture with dance creative thinking, which will make dance produce unique artistic effects and aesthetic feelings and have deeper cultural connotations. For example, the dance drama "Spring and Autumn in Black and Pink" explains the Liyuan culture and the spirit of the opera people, and its tortuous and rich stories provide the audience with more insights into the opera and the opera people.
(B) Creation and innovation, drama and dance integration
As an art form in China, traditional Chinese opera has become increasingly unpopular in today's multicultural society. However, the expressive force and inclusiveness of traditional Chinese opera are irreplaceable by other arts. We can take drama as a treasure house of dance creation innovation, use modern thinking, tap the advantages of drama in characterization, story development and stage performance, and create dance with the help of drama elements, thus highlighting the creative innovation ability of dance. For example, large-scale dance dramas such as "Black Powder Spring and Autumn" and "Zhaojun's Embankment" draw on and use drama elements, and drama and dance are fully integrated. At the same time, it is also an attempt to carry forward and inherit traditional culture, innovate and develop dance, and provide more opportunities for artistic integration.
conclusion
Based on the above analysis of the influence of China opera on dance development, we can draw the following conclusions:
1 Drama has an all-round and multi-angle influence on the development of dance, which has a positive impact on dance expression, rich dance content, theme selection and action innovation. It fully shows that in the development of dance, the promotion of the artistic expression of traditional Chinese opera is diversified.
Both traditional Chinese opera and dance originated from ancient music and dance, which come down in one continuous line, providing more resources for the innovation of dance creation and expanding the innovation space for dance creation. Grasping the essence of * *, brainstorming and combining drama and dance is an important direction of dance creation.