A brief analysis of the dance repertoire "Love Lotus"

The dance "Love Lotus" is an excellent work performed by Shao Junting, an outstanding dancer from the Youth Dance Company of Beijing Dance Academy. This work not only embodies the content of the poem, it also interprets Chinese classical dance in a new way, comparing the lotus to a noble and elegant female image rich in traditional Chinese beauty, showing the unsullied and noble quality of Zhuo Qing. Lian Buyao's steadfastness and simplicity.

1. Analysis of the play "Love Lotus"

This work "Love Lotus" was co-created by Zhao Xiaogang and Shao Junting, a young dancer from Beijing Dance Academy. He also won the A-level gold medal in classical dance at the 8th National "Taoli" Dance Competition, and won the first prize in the classical dance category at the 4th CCTV Competition.

The dance creation of "The Love of the Lotus" was inspired by "The Love of the Lotus" written by Northern Song Dynasty writer Zhou Dunyi. According to the description of the shape and temperament of the lotus in the poem, a unique freehand style is used to express the poetic and anthropomorphic image of the lotus. Emphasis is placed on the gentlemanly virtue of the lotus, which is "unstained when emerging from the mud, and does not become a monster when washing the clear water", showing the noble and elegant beauty of the Oriental beauties. The rich poetic flavor and symbolic narrative techniques bring the dance of "Ai Lian Shuo" to a higher aesthetic realm [1]. The lotus is depicted as a female image with traditional Chinese beauty, and the dancers attract the audience to another artistic conception with their light gracefulness and dynamic beauty of "looking down, coming and going"; it expresses the oriental women The beauty of humility and elegance, and the delicate and independent gentlemanly character of lotus.

The dance "Love Lotus" combines the aesthetic principles of Chinese classical dance with traditional Chinese culture, inherits and develops traditional Chinese culture in the form of dance, so that everyone can not only feel the spirit of dance Value, you can also feel the visual beauty.

2. The dance performance form of "The Story of Love Lotus"

Classical dance is one of the important dance types among many dance types in China, whether it is the theme and form, movement skills, or The physical charm displayed by the body all demonstrates the aesthetic characteristics of "form, movement and emotion". Then, through the specific physical expressions of the dancers and objective props, the thoughts and emotions to be expressed are conveyed to the public through the senses such as vision and hearing, so that the public can appreciate excellent works with aesthetic value and stylistic charm [2].

The choreography of the dance "Love of the Lotus" does not simply externalize the poems into movements, but personifies the image of the lotus and symbolizes it through the description of the appearance and temperament of the lotus in the poem. In the expression of classical dance, the poem "come out of the mud but not stained, wash the lotus without being evil" gives a new interpretation to the praise of the lotus. The dancers show us the modest and elegant beauty of Eastern women, as well as their accessible character, which is honest, solemn and independent, like a lotus flower that does not conform to the world. The dance "The Story of Love Lotus" contains a strong poetic and pictorial flavor, and uses freehand and symbolic techniques to bring the dance work to a higher level of aesthetic exploration. Kneel down on your knees, then make a small five-flower movement around your chest, raise your back legs slightly, and tilt your upper body backward to form a "lotus" shape to highlight the theme. At this time, a lotus fairy appeared, slowly got up from the ground, half covering her face with a jade hand, which seemed to let people see the shyness of a girl, then turned around, and then stood on the toes of one foot, which explained the lotus's appearance. The growth process also makes people imagine a growing girl. What’s more exciting about the dance is its personification. What the dancers present to the audience through dance is a girl dancing gracefully in the lake. It is her first time outside and she is inevitably shy to the outside world, but she wants to express her unique noble charm. Presented to the surrounding things, it shows the special contradiction between the body and the soul. Many performance movements show the twisting of the head and limbs, and some small toe curling movements also show this inner contradiction. After struggling, the stretching and smoothness of the movements allow us to feel the unique charm of classical Chinese women.

Her elegant posture presents a rare holy beauty. In the continuous and steady sound of pipa, she is either shy among the green leaves, or looking forward to blooming, or elegant and noble, quietly blooming her dust-free natural beauty, completely Stretching out her unique elegance; when the soft and melodious music becomes passionate, the dancer's movements become vivid and natural, and the rhythm is brisk and free. Sometimes I am drunk between heaven and earth, sometimes flying with the wind, sometimes free, sometimes shy. At this moment, she was completely integrated with the stage. In her selfless performance, she seemed like a lotus dancing in the lake. When the dance was coming to an end, the figure that echoed the opening appeared again. With two clear wooden fish sounds, she shook the dew on her body and stood gracefully in the middle of the water. She was a gentleman among thousands of flowers. Even after thousands of years of prosperity, it still cannot be submerged. After the storm, the blue waves in the lake returned to calm - an otherworldly indifference [3].

In this dance repertoire "The Story of Love Lotus", the "circle" essence of Chinese classical dance is emphasized, that is to say, it is reflected through the movements of the round field and cloud hands, which follow the The regular characteristics of the arc of circular motion are also consistent with the image of the lotus. Artistic connotation is a beautiful dance method, expressed in a vivid and moving artistic way, and is the profound connotation of philosophy or ideological life. Often, its artistic meaning is not exactly the theme reflected in the dance image. It is a more metaphysical thing than thought. It is a philosophy and emotion that transcends words and images. It may be meaningful but Indescribable. This is also the source of the immortal aesthetic charm of excellent dance art [4].

3. The use of music in the dance of "The Story of Love Lotus"

The music track used in "The Story of Love Lotus" is "Shenyu·Xishi Huansha" from "National Color" ", "Luoyan·Zhaojun comes out of the fortress". The music of this work praises the noble and pure quality of the lotus, as well as its gentle and non-fluid characteristics. The lyrics on the surface describe the nature of the lotus, but in essence they describe the character of human nature. The music design of the dance "Ai Lian Shuo" consists of two parts, mainly two dance segments. There is an introduction to the tune before the beginning, and then it goes from slow to fast to the end. The basic structure is: introduction or prelude → Adagio → Accelerate development → Allegro climax → End [5].

The work is divided into four parts A-B-C-D based on the music excerpts. The first section of the dance uses the first verse of "Sinking Fish", which combines guzheng and harp to create the sound of flowing gurgling water, which reminds people of the lotus budding in the water. At this time, the dancer's movements slowly follow the rhythm and get better. As the body slowly swings, the lotus gradually wakes up and begins to bloom. The concept of music and art is advanced, the music structure is rigorous and the composition is very compact. As the music gradually changes and the plot unfolds in an orderly manner, the artistic conception of the expression also changes gradually. From this point on, the second section uses "falling wild geese" as the background music. Then the pipa and the erhu complemented each other and began to emerge from the water like a lotus, as if a lotus fairy appeared in front of people's eyes. As the range of movements of the dancers changes, the holiness and beauty of the lotus are vividly displayed in the graceful sound of the pipa. The third section of music begins to become more and more intense, with rising tones and collisions of instruments pushing the dance to a climax. At this time, the dancer's range of movements becomes wider, indicating that the lotus has withstood the baptism of wind and rain and resisted tenaciously. In the fourth paragraph, accompanied by the sound of the wooden fish bells, she showed her noble character of "I am alone when everyone is dirty, I am alone when everyone is drunk". She scattered the dew on her body and stood alone in the middle of the lake, spotless, like a gentleman among flowers. As the music came to an end, she gradually returned to the lake, regaining her original calm and elegance.

Music and dance are both indispensable. Suitable music can make the dance more three-dimensional, stimulate the dancer's emotional ability, and enrich the emotion and connotation of the dance. Dance music can not only express the duration, speed and rhythm of dance, but also give dance emotional thinking. It is this organic connection between dance and music that creates the perfect dancer persona. Music plays a key role in any dance. It can vividly express the theme and connotation of dance. What content or emotion the dance wants to express, music should be chosen to match it.

Director Zhao Xiaogang first chose the excellent dance music - the tracks in "National Color", and then was inspired and promoted by the music. On the basis of music, an excellent dance was choreographed.

IV. Conclusion

The editor-in-chief of "The Love of the Lotus" understands the spiritual character of the lotus of "coming out of the mud but not stained, and washing the clear ripples without being evil", combined with the Chinese classical The aesthetic characteristics of the dance comprehensively personify the image characteristics of the lotus itself without modification. The dancer is shaped into a noble and self-loving lotus image. The dance uses the unique body rhythm and rhythmic characteristics of classical dance to make the whole set of movements complete and smooth. The action line is basically circular, and even the performance of skills is smooth and gentle, without leaving a rigid impression. In the dance, every detail of the arms, head, waist, hips and legs is treated with "circles". This art form that combines strength and softness shows the lightness, elegance, softness, comfort and charm of the dancers, making people immersed in the dancers' creative performances.

The dance "Love Lotus" gives people a feeling of beauty, not only because the dancer impresses the audience with her posture, skills and movements, but also because the image of the lotus is pure and noble. Its quality infects every viewer. It is precisely because of this beautiful image that the dancers use elements of classical dance to show the audience. The work uses lotus flowers to express the human spirit and personality, as well as the quality of "coming out of the mud but not staining" and human dignity, which is admirable, revered and yearned for. Therefore, this work is worthy of appreciation and praise.

In practice, colleges and universities must fully understand the importance of Chinese classical dance, and while persisting in innovation and exploration and seeking new ways, take effective measures to continuously improve Chinese classical dance. In order to meet the growing demand for Chinese classical culture, colleges and universities should continue to promote the reform and sustainable development of Chinese classical dance in modern society. By combining basic courses with body rhythm courses, students can release different parts of the body to help complete the complex movements of Chinese classical dance. At the same time, the gradual development of students' skills can increase the range of movements, make dance movements lighter and smoother, increase the gracefulness of dance movements, and greatly improve students' ability to express Chinese classical dance.