The sources of dance movements: As mentioned in the previous chapters, one is the extraction of life movements, and the other is the "dance material" from ancient and modern times at home and abroad (that is, what we usually see, hear, Learn some basic things). To make it the "dance language" in a work, it must be refined and crafted according to the needs of the content and characters, rather than being copied mechanically. How to start choreographing? 1. Emotions are the information of movements: The choreographer must first figure out what emotions and personalities you want to express the character. First, design the character’s continuous mood, consciousness and even subtext according to the clues of the dance structure, and follow this context to carve out action. You can first enter the role and let the characters in the work come alive in you. Then, based on the in-depth understanding of the role, I identify and refine the dance images needed for this moment, here, and this situation from my accumulated life dance materials, and use the experience of emotions as the driving force of the movements. 2. Typicality of movements: Successful works have typical movements. Typical dance moves are not to be as comprehensive as possible, but to have a strong personality, but to have a prominent character and clear emotions. Humans have seven emotions: joy, anger, sorrow, fear, love and evil... When designing dance moves, we must first make it clear what emotions are. But people are divided into men, women, old and young, ancient and modern, this nation and that nation. They express different emotions, so their movements must have clear personalities. 3. The "artistic conception" of dance: If the mountains are not high, the water will be spiritual. The dance movements should not be "complex" or "simple". If the "artistic conception" can be highlighted, the dance will be spiritual. The "artistic conception" of dance works is the artistic conception that transforms the theme thought into "poetic and artistic conception". It is the unity of "emotion" and "intention" and "scenery" and "scenery". It is the ideal of human beings. The "artistic conception" of a dance work is the overall situation. Choreographers should focus on the overall situation, start with small things (actions), and consider the artistic conception around the movements. 4. The theme movements of dance: These are the representative movements that shape the dance image of the work. This approach is common in folk dance. The folk dances of various regions vary greatly, but they are always inseparable from a few most representative movements. They become the basis of the "dance language" (movement combinations) and recurring through-actions in the dance work. The action combinations should be choreographed vividly, smoothly and touchingly. It should be noted: A. There must be contrasting changes: contrasts include fast and slow, strong and weak, extended and short, etc. in time (rhythm); there are large and small, tall and short, square (shape) in space (shape). Lines are sharp, angular) and round (soft, mellow), expansion (extension) and contraction (contraction), movement and stillness, etc. Contrasting movements increase the ups and downs of emotional changes, making various emotions appear more vivid and prominent in relative terms. Therefore, it can make the dance language more vivid. B. Necessary repetition and reproduction: Dance and music are both temporal arts. Although dance still only has the image of space, it cannot remain static there forever like a "sculpture" for everyone to watch. In order to keep the dance image and "artistic conception" in the hearts of the audience, repetition and reproduction techniques are also indispensable. There are many ways to do it: (1) The theme and action run throughout. (2) Thematic actions appear in different plots, paragraphs, and rhythms. (3) The main dance combinations (passages) appear repeatedly. (4) The beginning and end are the same dance processing or reproduction of "artistic conception". 5. Composition: Composition is an important factor in choreography. Composition includes staging and imagery. The composition is designed to follow the behavior and emotional development of the characters on stage. There is no fixed "program". The key is to set off the stage into the space and realm required by the work through changes in the formation pattern. Regarding the composition of the stage, my country's traditional aesthetic habits are "balanced" and "proportioned." "Balance" is what is often said, "don't be biased." There are two types of balanced compositions, one is symmetrical balance and the other is asymmetrical balance. Different compositions will leave different impressions on the audience: circles make people feel full; squares look serious and neat (but are rarely used); and triangles are in between, more flexible and easy to form small shapes of various shapes. Unit; arc has a feeling of depth; column has a feeling of approaching and oppression; horizontal row - peaceful; diagonal row - a bright future.

In terms of stage scheduling: walking in a straight line appears to be close and the distance is short; walking in a curve appears to be far away and the distance is long; walking in the figure "8" makes the distance infinite. You can walk from morning to night, which can cause back to front and far away. and the feeling of being close; the "V" character moves forward, giving a sense of impact and pressure; the cross formation can exaggerate tension, fiery and other atmospheres; the formation from dense to diffuse can create a desire to occupy, which can create momentum, The strong and unstoppable atmosphere; the formations that suddenly move forward, sometimes behind, sometimes left, sometimes right, give people a sense of turbulence and rapid changes, which can represent sailing in the wind and waves, the illusion of ups and downs of the heart, fierce battles, etc.. .... It should be noted that the composition of dance cannot be designed in isolation, but must be combined with the combination of dance movements, and it is also inseparable from costumes and props. 6. Select actors to rehearse dance: When selecting actors, you must consider (1) whether they can shoulder the dance skills and techniques necessary to shape the role. (2) Whether it matches or is close to the identity, personality and appearance of the character; (3) It meets the characteristics required by the program genre for actors, such as: is the actor comedy or tragedy, lyrical or martial arts, etc. . After identifying the actors, the director must analyze the theme, content, characters, plot, scenes (paragraphs), and scenes of the work to the actors so that the actors have a clear and complete concept of the work. After further analyzing the role and clarifying the actor's tasks, he becomes familiar with the dance music, and then teaches the movements one by one and rehearses section by section (accompanied by piano or simple musical instruments) until the whole dance is completed. A. Rehearsal: You can rough-rehearse (i.e. set up the stage) first, and you can group the actions from beginning to end. B. Appropriately invite the audience to watch the rehearsal, which can heighten the actors' emotions. C. During rehearsals, you must pay attention: the actors must enter the role. 7. Combine the music: The music should be synchronized with the movements, and the music should be combined after the teaching. 8. Stage synthesis: This is what we call rehearsal. Putting the work on the stage is the "synthesis" stage. Before synthesis, the director must introduce the content of the work and put forward design requirements to all aspects of stage work - scenery, lighting, costumes, props, sound effects, etc., and finally determine the plan. (1) The dance setting should illustrate the era of the work and create a specific environment. The setting should be concise and clear. (2) The lighting of the stage should show the time of dance, weather changes, omens of good and bad luck, rendering of the characters’ inner feelings, etc. (3) Clothing helps express a character’s identity and national attributes, and the color of clothing can also highlight a character’s personality. It is required to be light and fit, beautiful and distinctive, exaggerated but not distorted. Composition includes: catwalk, exposure, makeup rehearsal, and dress rehearsal. A. Walking on stage: It is a combined experiment of scenes, scenery and dance on the stage. Let the actors become familiar with the stage surface and the position of the scenery, and the dance arrangements, formations, and picture positions must be fixed from beginning to end. At the same time, check whether the composition of the scene and the dance are coordinated. B. Lighting: It is an experiment in lighting design and dance. The lighting should be fixed according to the presentation of the dance content and the scheduling of the actors. C. Makeup rehearsal and dress rehearsal: They are both rehearsals that belong to the total synthesis (including band, actors, layout, lighting, costumes, makeup, props, sound effects, etc.). When the director is instructing the makeup rehearsal, he can stop at any time to coordinate the cooperation of all aspects of the stage, segment by segment, and scene by scene. After the "synthesis" is completed, the rehearsal must be done in one go, so as to check, find problems, and then make arrangements. Further adjustments. At this point, a dance work performed on stage was born.