Tchaikovsky, "Swan Lake"

A ballet in four acts, composed in 1876. The story is based on an ancient Russian fairy tale, written by Begichev and Geritsel, and is one of Tchaikovsky's most famous masterpieces. Due to the mediocre creation of the original choreographer and the inexperience of the band conductor, the first performance on February 20, 1877 failed. It was not until 1895 that the performance in Petersburg achieved astonishing success, and it has since become a classic of world ballet.

"Swan Lake" is still a model for dancers to follow, and it is also a model of realistic dance drama. The plot is roughly as follows: Princess Odette, who was turned into a swan by the magician Rodbert, met the prince Siegfried by the lake, confided her misfortune, and told him: Only loyal love can free her from the magician's rule. , the prince vowed to love her forever. At the ball to choose a bride for the prince, the magician turned into a warrior and deceived the prince with his daughter Odelia, who looked similar to Odette. Realizing that he had been deceived, the prince excitedly ran to the shore of the lake. With the help and encouragement of Odette and a group of swans, he defeated the magician. The swans all returned to their human form, and Odette and the prince were finally united.

The music of "Swan Lake" is like a romantic lyrical poem. The music of each scene brilliantly completes the description of the scene, the promotion of the drama's contradictions, and the character of each character. and inner carvings, deeply symphonic. These dance drama music, full of poetic and dramatic power, and highly symphonic development principles, are the result of the author's major reform of ballet music, thus becoming an epoch-making work in the history of dance drama development. Many of the pieces of music are masterpieces that will last forever, and here we can only select a few famous ones to introduce.

At the beginning of the overture of the dance drama, the oboe played a soft melody to lead to the clues of the story. This is a variation of the swan theme. It briefly outlines the moving and tragic story of the girl who was turned into a swan by magic. picture (fragment 1). The most familiar piece of music is the music at the end of the first act. This scene is a grand ball celebrating the prince's coming-of-age ceremony. The music mainly consists of a variety of gorgeous, bright and passionate dance music. At the end of the first act, a flock of swans appears in the night sky. This is the first time that the swan theme appears in the music. It is full of gentle beauty and sadness, accompanied by the vibrato of the harp and violin, played successively by the oboe and strings (Excerpt 2 ). "Hungarian Dance" is the Hungarian folk "Cardash Dance". The first half of the music is soothing and sad, like preparation before dancing (fragment 3). The second half of the music has a strong rhythm, showing the roughness of the dancers, and it is a passionate dance music (fragment 4). "Spanish Dance", the music is rich in Spanish national flavor, and the accompaniment of Spanish castanets is bright in color, which further emphasizes the national characteristics of the music. The first half of the music is passionate and lively (Fragment 5), while the second half is full of singing and melody (Fragment 6). "Neapolitan Dance" is a very famous Italian-style dance music. The whole dance music is played by trumpet. The music is lively and stable in the first half. In the second half, the rhythm becomes faster and faster, and the atmosphere becomes more and more enthusiastic. It is a dance music. A Tarantella (Fragment 7). "Dance of the Four Little Swans" is also one of the most popular dances in the dance drama. The music is lively and lively, and the rhythm is clean and neat. It depicts the scene of the little swans playing by the lake. It is simple, moving and full of pastoral poetry ( Fragment 8).

Peter Ilitch Tchai-

kovsky, 1840-1893), the greatest composer in Russian history, Russian national music and Western Europe A master of classical music. Started studying piano and composition at the age of ten. In 1862, he entered the Petersburg Conservatory to study composition, and after graduation, he went to teach at the Moscow Conservatory. The tone of his music is based on folk songs and folk dances, so the music presents a strong flavor of life and folk characteristics. He is accustomed to using ups and downs of relative themes and using musical images to express various psychological and emotional states in life. Development and evolution process. Strong national consciousness and democratic spirit run through all his creative activities. He advocates that the beauty of music is based on real life and profound thoughts. Therefore, his works have always been famous for their beautiful melodies and easy to understand. Not lacking in profundity, his music is a true portrayal of society.

Through his art treasures, it is not difficult to find that he is not only a model of the combination of realism and romanticism, but also a master who is good at depicting psychological activities through music and exploring the mysteries of life.

Many of his works are excellent world-famous songs, such as the operas "Eugene Onegin" and "The Queen of Spades", and the ballets "Swan Lake" and "The Nutcracker" , "Sleeping Beauty", and the symphonies "Fourth Symphony", "Fifth Symphony", "Pathétique (Sixth) Symphony", "Piano Concerto No. 1 in B flat minor", "Violin Concerto in D major" , as well as the symphonic poem "Romeo and Juliet", the concert overture "1812 Overture" and so on.

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

Symphony No. 5 in E minor

Symphony No. 6 in B minor "Pathétique"

Piano Concerto No. 1 in B flat minor

Violin Concerto in D major

1812 Overture

Italian Caprice

Strings Serenade

Dance drama "Swan Lake"

Dance drama "The Nutcracker"

Dance drama "Sleeping Beauty"

Opera "Evgeny· Onegin"

Opera "The Queen of Spades"

"Romeo and Juliet"

Melody Suite "The Four Seasons"

Melody

Melancholy Serenade

Andante Cantabile

What is dance drama?

1. Dance dramatists use dance to tell stories.

When talking about the structural model of dance drama, we must first define what is dance drama? There are many definitions of dance drama, either complex or simple, complex or simple, usually from the perspective of "dance drama". In other words, those who define dance drama also have a standardized way of expressing it, that is, "Dance drama is a form of drama that uses dance as the main means of expression...". For this modeled expression, I used an ellipse in the middle. Definers use the words to fill the ellipsis. First, it emphasizes the comprehensiveness of music, choreography, lighting, and even singing, costumes, and sound in the means of expression. Second, it emphasizes the importance of dramatic form. Dance should shape characters, portray personalities, express emotions, advance plots, etc. I used to define dance drama from the perspective of "dramatic dance" instead of "dance drama" and believed that "dance drama is developed in the form of drama...a dance genre." It is not important to fill in the ellipsis in the middle. What is important is to confirm that dance drama is mainly a dance genre rather than a drama form. What determines the form of dance drama is not the general rules of dramatic structure but the special rules of dance narrative. Because in fact, even versatile directors such as Cao Qijing and Chen Xinyi, who have directed operas, dramas, Beijing and Kunming, and local operas, cannot effectively choreograph dance dramas; dance drama choreographers can only be dancers who are well versed in dance narrative. Although I sometimes collaborate with literary screenwriters and film and television directors. However, we have noticed that the ballet "Raise the Red Lantern" performed by the National Ballet of China is a relatively excellent dance drama, and its chief director is the famous film and television director Zhang Yimou. In fact, Zhang Yimou's most important role in this play is two-fold: first, he structured a stage play story that is very suitable for narrative through dance. In his own words, "there is Peking Opera in the story"; A strong emotional atmosphere is created in the overall visual image, and the symbolic use of stage scenes (not symbolic stage scenes) effectively participates in the design of the overall dynamic image. Facing the full richness of Chinese contemporary dance drama creation, I believe that the definition of dance drama should be simple rather than complex, and should be simple rather than complex. Because the simplicity of the definition language leaves enough space for the complexity of the definition object, and because the definition of art form or genre is not the self-satisfaction of art theory but the effective enlightenment and positive advancement of art practice. For this reason, I think it might be useful to follow Wang Guowei’s way of defining opera, “A dramatist is said to use singing and dancing to tell stories” and define “dance drama” as: A dance dramatist is said to use dance to tell stories.

2. "Double dance" is the main means of narrative in dance dramas

If we talk about the art of dance drama based on ballet, we must say that dance drama in the strict sense is a foreign art. The beginning of the history of ballet is marked by the publication of "The Queen's Comedy Ballet" in 1581. However, from today's perspective, it was a "dance poem" with a loose dramatic structure and loose character relationships rather than a "dance drama". Two hundred years later, in 1786, Doberval, a student of the ballet innovator Nowell, implemented his teacher's advice and created the first dramatic ballet "The Unstoppable Daughter" (also translated as "Useless Caution"), which made ballet Ballet choreographers turned from the study of compositional geometry (in order to design dance scenes and implement staging) to the study of the "danceability" of pantomime. In the next 100 years, "Giselle" first perfected the pointe dance technique of ballet, and then "Swan Lake" confirmed the ballet pas de deux routine. In the process of more than a hundred years after the release of "Swan Lake", "pas de deux" is no longer a show off of the skills of male and female principal dancers, but has become the main means of narrative in dance dramas; in many excellent dance dramas, "pas de deux" "It has even become the skeleton of the dance drama structure and is considered an indispensable formal feature of dance drama art. As a performance program of ballet art, "pas de deux" has two basic regulations: 1. "pas de deux" refers to the joint dance of the male and female principal dancers in the ballet roles; 2. "pas de deux" consists of three categories: Adage, Variation and Coda. It consists of several parts, among which Variation is where the male and female principal dancers respectively demonstrate their individual acting skills, while Adage and Coda are the performance rhythm contrast between the slow rise and fast fall of the co-dancers. It is important to understand that "couple dance" is the main method of dance drama narrative, because this important formal feature of dance drama art will determine the choice of characters and the tailoring of themes in the dance drama structure. When the National Ballet of China and Zhang Yimou were negotiating to adapt Su Tong's novel "Honey and Concubines" into the ballet "Raise the Red Lantern", a dance drama research expert who did not know the details wrote to the cultural authorities, believing that this kind of The subject matter is not suitable for a dance drama, especially a ballet. I understand that he considers this issue from the perspective of the formal characteristics and artistic rules of dance dramas - he cannot bear to have a master with a group of wives and concubines as the male lead, and of course he cannot understand who is the "female" among the group of wives and concubines. Chief", what kind of "pas de deux" will there be. In "Raise the Red Lantern" that is already on the stage, the confirmed "female lead" is the third concubine that the master finally married into the compound, and the "lead male" who is opposite to the third concubine is not the master, but the third concubine. The lover before my concubine entered the house - a martial artist from the theater troupe. Since the male and female principals have been determined, the narrative of the dance drama mainly revolves around the "pas de deux" of the two people: when the third aunt got into the sedan chair to get married, she recalled the "innocent pas de deux" of the theater troupe Wu Sheng, and watched the troupe party after getting married. The "love pas de deux" at the time, the "cheating pas de deux" where the family avoided dating with the troupe martial arts students, and the "love pas de deux" where the master ordered someone to kill him in the end... In fact, the reason why "Honey and Concubines" was adapted into a dance drama was established , the main reason is not that "the story has Peking opera" as Zhang Yimou said, but that the Peking opera character and a certain wife and concubine in the story form a "pas de deux". As a formal feature of dance drama art, "couple dance" is not only the main means of dance drama narrative but also may become the structural skeleton of dance drama plot.

3. Character relationships in a dance drama structured around the “female prima donna”

A dance drama that “uses dance to tell a story” should not be without a “couple dance”, but it cannot be just There is a "pas de deux". What this actually means is that the characters in dance dramas are generally not limited to male and female principal dancers. The main characters in Western classic ballets are usually about 4 people. Therefore, in the 1950s, dance drama choreographers were trained in my country and students in choreography classes were guided. Russian expert Gusev, who created the dance drama "The Fish Mermaid", believes that it is appropriate for a dance drama to have no more than four main characters. Why do you pay special attention to the number of characters when it comes to creating dance dramas? Reminiscent of the famous Chinese dance drama choreographer Shu Qiao's statement that when structuring a dance drama, he first puts aside the background and events and only highlights the characters. It can be understood that structuring a dance drama is first about structuring the relationship between the characters in the dance drama.

Although in most cases the characters of a dance drama are not limited to male and female principal dancers, the fact that the male and female principal dancers are called "principals" shows their central position in the relationship between the characters in the entire dance drama; especially She is the "Prime Female". Since she has always been in a dominant position in the development of ballet art for hundreds of years, she has become the center of the structure of the relationship between the characters in the dance drama. Structuring the character relationship of a dance drama with the "principal female" as the center is a basic fact shown in most works in the history of Chinese and foreign dance dramas. "The Unstoppable Daughter" centers on her daughter Lisa and constructs Lisa's lover, the male lead Coles; and the existence of Lisa's mother is to structure the obstacles to Lisa's marriage-because the mother wants to Marry his daughter to Aaron, the foolish son of Thomas, the owner of the vineyard. Similarly, "Giselle" centers on the village girl Giselle and constructs Count Albert, whom Giselle falls in love with at first sight; the existence of the forest guard Hilerion as Giselle's boyfriend is just to strengthen Giselle. An undying love affair with the chief male, Albert. So much so that after Giselle became a ghost, she had to create a ghost king as an obstacle for Giselle to fall in love with Albert and save him. This is especially true in the world-famous "Swan Lake". The white swan Odette, as the female lead, on the one hand constructs the male lead Prince Siegfried who wants to restore her to a human being through love, and on the other hand constructs the love that wants to destroy her. The demon Lord Rodbart, who thus imprisoned him forever in Swan Lake; in order to give full play to the "pas de deux", the main means of narrative in the dance drama, the dance drama even constructed a black swan that is "the same shape" as the white swan Odette. Odelia, and Odelia, as the devil's daughter, is used to shake the prince's love and make Odette sink into Swan Lake forever. The above three representative works in different periods of ballet history, although there are differences in the character relationships, they structure the character relationship of the dance drama with the "female primate" as the center, with the prima donna and the male prima donna (basically forming lovers with the prima donna). Relationship) pas de deux as the main means of dance drama narrative is the same.

4. Typification of character relationships and patterning of dance drama structure

Our above description depicts a basic fact: as a story performed with dance, dance drama is mainly about a pair of lovers. The story of the occurrence and development of love. No matter whether the ending of love is happy or tragic, there are always obstacles and twists and turns in the process. These obstacles and twists constitute the dramatic conflict, dramatic plot and dramatic structure of the dance drama. In other words, the artistic characteristics of dance dramas, which use "couple dance" as the main means of narrative in dance dramas, determine that the creation of dance dramas centers on the "female lead" to structure the character relationship of the dance drama, and further determines the basic conflicts, basic plots and basic elements of the dance drama's narrative. structure. This is what we call the tendency of typing character relationships and patterning of dance drama structures in dance drama creation. In my opinion, the patterning of the dance drama structure is the product of the typing of character relationships, and the typing of character relationships is the result of the choice of the main narrative methods of the dance drama. Just as things used as "weapons of criticism" in the history of thought often turn into "critique of weapons", the "couple dance" as the main means of narrative in dance dramas may also become the potential for selecting male and female principal dancers to highlight their own dance drama structure. rule. The creation of Chinese dance dramas mainly happened since the founding of New China. On the one hand, it draws on ballet to speed up its own "drama-like" pace, and on the other hand, it draws on opera (mainly martial arts) to maintain its own "national" characteristics. Like the modern fate of many traditional things in China, our dance drama art is not following the path of "Western style with Chinese application" but "Chinese style with Western style". Please note that in the dual coordinates of Western classical ballet and traditional Chinese opera, the main thing that troubles us is not the difference between open, stretched, straight, upright and contained, curved, twisted and sinking in the form of action language, but the formalization of traditional opera. The correction of the characters and the revision of the "pas de deux" variation of the classical ballet (i.e. the Variation part). Due to different starting points, the initial creation of Chinese contemporary dance dramas took on two obviously different forms, which some people call "opera without rap" and "ballet without variations". The representative work was performed on the occasion of the 10th anniversary of the founding of the People's Republic of China (1959). "The Knife Club" and "The Fish Mermaid" came out. In terms of character relationships, "The Fish Mermaid" can almost be said to be a replica of "Swan Lake". The Fish Mermaid is a Chinese version of the "white swan". The character relationships built around the Fish Mermaid transform the prince from the palace into a country prince. The hunter, "The Fish Mermaid" transformed the character identity of "Swan Lake" into the "people's nature" advocated at the time.

The characters in "The Society of Little Swordsmen" clearly have traces of the opera industry; Liu Lichuan is Wu Laosheng, Pan Qixiang is Wusheng, Zhou Xiuying is Wu Dan, and Wu Daotai is Chou; although every possible means is used to set up a pas de deux between Zhou Xiuying and Pan Qixiang, the pas de deux In the play, it neither becomes the main narrative device, nor does the female lead Zhou Xiuying structure the relationship between the characters. Chinese dance dramas in the new era, especially since the new century, have begun to form standardized character relationships with "Chinese characteristics". Typical characters can be referred to by four symbols: A, B, C, and D: A-female in dance dramas. The chief is B's lover, C's daughter, and also the object of D's attempt to forcibly occupy; B - the male chief in the dance drama, is A's lover, and often forms a master-disciple relationship with C; C - is usually A's father, B's master is the root of the love relationship between A and B, which shows that the love between a man and a woman is forced by the orders of his parents; D-originally has nothing to do with A, B, and C, but relies on power to take A as his own. And constitute the opposing side in the dance drama conflict. Typical examples include "The Moon Reflects on Two Springs" performed by the Liaoning Ballet Company and "Love, Heaven, Hate the Sea, Old Summer Palace" performed by the Beijing Song and Dance Troupe. In these two dance dramas, A is Yue'er and Yu, B is A Bing and Shi, C is Yue'er's father and Yu's father, and D is Gu Siye and the chief eunuch. Although the stories of the two dance dramas are different, the stylized character relationships inevitably lead to a certain pattern in the dance drama structure.

5. Variations of the dance drama structure model and its simplification tendency

The dance drama structure determined by the above-mentioned character relationships is regarded by me as the basic model of Chinese dance drama structure. This basic model has seen two main variations in dance drama creation in recent years. Variation 1: Character D is cancelled; although C is still the parent of A, he has no master-disciple relationship with B and therefore becomes an opponent of the romance between A and B (replacing D in terms of destroying the romance between A and B) ; Therefore, A becomes the active party in the relationship between the two and ultimately sacrifices his life to protect B (usually he dies from C's manslaughter); the ending is usually when C accidentally kills A (who originally wanted to kill B) and has a conscience. ... Regarding the first variation of the dance drama structure model, I would like to use "Dream of Dunhuang" created by Chen Weiya and "Wild Zebra" created by Zhang Jigang to illustrate. Chen Weiya and Zhang Jigang are both the most powerful choreographers in China's current dance scene. The above two dance dramas with very different themes also have considerable influence on today's Chinese dance scene. However, judging from the relationship between the characters in the two dance dramas, their structures seem to be very similar. First of all, the main identity of the female lead A in the two dance dramas is the daughter and lover, and she first appeared on the stage as a daughter. This is Yue Ya in "Dream of Dunhuang" and the zebra daughter in "Wild Zebra". Secondly, in the two dance dramas, the parent C of female prima donna A is a powerful ruler. This determines A’s aristocratic lineage on the one hand, and determines that A’s love obstacles mainly come from C. C are respectively the general in "Dream of Dunhuang" and the mother bear in "Wild Zebra". Third, the male lead B in the two dance dramas comes from a commoner (or a foreigner). B and A are not compatible (B is even the target of A’s clan), but B’s talent or heroism moved A. Make A follow B even if he disobeys his father's order and mother's order. B is Mogao in "Dream of Dunhuang" and the male zebra in "Wild Zebra". Fourth, due to A's dual identity, A naturally resides at the center of the contradiction and becomes the victim of irreconcilable contradictions. Therefore, the ending of the dance drama usually involves the death of A to achieve "class reconciliation", which of course means that the aristocracy lets the common people get away with it. Variation 2: As far as the basic model of Chinese dance drama structure mentioned above is concerned, the fundamental difference between "Variation 2" and "Variation 1" is that character C is eliminated and character D is retained. Due to the absence of character C, the inevitability of the love affair between characters A and B has been weakened. Character D has actually become one of the suitors of character A. The difference between him and character B is that he was not chosen by character A, but was chosen by character A. Therefore, he chose to destroy and take revenge on the love affair between characters A and B. The dance drama "Ashima" is a typical work of this "variation". Ashima, Ah Hei and A Zhi in the play are character A, character B and character D respectively. Many dance dramas based on folk tales adopt this structural model. This structural model is different from the "class reconciliation" of "Variation 1". In its deep revelation of human nature, it intentionally or unintentionally downplays people's class attributes. We have noticed that the above two different variations, compared to the basic pattern of dance drama structure, both embody a "simplification" tendency.

This is first of all a "simplification" of the stereotyped character relationships, and will also lead to a "simplification" of the stereotyped dance drama structure. The "simplification" tendency of the structural model of Chinese dance drama, as far as the dance drama art itself is concerned, is the result of the emphasis on "dance ontology" and the promotion of "symphonic choreography" in the late 1980s and early 1990s; as far as the dance drama art environment is concerned, This is the result of no longer using the "class struggle" routine to structure dance drama conflicts. Along with this "simplification" tendency, the plot of the dance drama has become "simplified" and the conflicts of the dance drama have become "bland"; but the dance world itself has not yet realized the fallacy that this step may lead to. They call it "dance drama". "Poeticization" and called some dance dramas that were "poetized" without "dramatic" as "dance poetry drama", and finally just called it "dance poetry".

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

"Dance poetry" has been compared with dance drama as a genre of large-scale dance creation. Whether as a theoretical proposition or as a practical method, the emergence of "dance poetry" happened in the late 1990s. The existence of "Dance Poetry" as a large-scale dance genre is an indisputable fact; as a way for dance art to grasp the world, "Dance Poetry" also has its own unique perspective and irreplaceable advantages. However, as far as dance drama creation is concerned, it is actually a misunderstanding that due to the tendency of "poeticization", dance dramas will move towards "dance poetry drama" or even "dance poetry". The fundamental mistake leading to this misunderstanding is that the so-called "poeticization of dance drama" is actually a dilution of the drama of dance drama, and its root cause lies in the continuous simplification of the character relationships in the basic structure model of dance drama. It should be pointed out that when the concept of "choreography" was inexplicably put forward, even for the genre of large-scale dance creation, it did not just point to "choreography" which was a dramatic degeneration of "dance drama"; Under the concept of "dance poetry", there are also "dance poems" that are thematically strengthened from previous "theme dance parties" (especially those involving folk customs). Although "Dance Poetry" also calls itself "dance poetry", it has never been related to dance drama. A typical example of the dramatic degeneration of dance into "dance poetry" is "Changbai Love". "Changbai Love" uses poetic dance to interpret the history of our country's Korean nation. The characters throughout the work are a man and woman who first became lovers, then husband and wife, and then parents. Compared with the basic model of the character relationship in the dance drama structure, this is a large-scale dance work simplified to only character A and character B. The work loses the tension of the drama because there is no conflict between people. What the creator does is to design dance images full of symbolic connotations for the life journey of the hero and heroine. Since the creation of images and their combination without connecting them with related words are important features of the poetic structure, "Changbai Love", which is composed of dancing images one after another, can indeed be called a "dance poem". It is called "dance poetry" not because it lacks the conflict of the drama but because it is full of poetic imagery. There are many similar works that use a couple of men and women throughout the work to connect the dances (such as "Long Min Water Love"). Although they call themselves "dance poems", they do not pay attention to creating images with symbolic connotations. "Poetry" is a poem that does not have "expression" but only "elaboration". This kind of "poetry" is actually just a beautification of the concept of "group dance". In fact, this is the case. Many dances that do not have any characters but are just connected around a certain custom or style are also gathered under the banner of "choreography". Of course, the reduction of characters means the reduction of conflicts between people, and also the reduction of the overall dramatic conflict of the dance drama; but this does not mean that the work cannot be structured as "drama" at all. "Tuliba People", which calls itself a "dance poetry drama", features tigers and phoenixes throughout the play, connecting the marriage and love customs of the Tujia people. The director describes the living conditions of people through dances that show the marriage and love customs. This This state may not necessarily appear as a life-and-death class conflict, but it can reveal people's emotional conflicts, personality conflicts, and conflicts between human development and environmental constraints. There are no works that simplify the characters without downplaying the dramatic conflicts. The dance drama "Ma Le Visits the World" may be an exception. There is only one character in the first half of the dance drama - Mom, and there are only two characters in the second half - Le (son) and Fujime.

The dance drama gives the characters a never-ending action - looking for the sun. Ma searches in the barrier of the dangerous natural environment, and Le continues the unfinished action; Le searches in the temptation to overcome the warm social environment, making it and Tengmei's relationship The pas de deux also changes the harmonious style to create an atmosphere of conflict. That is to say, although the simplification of the characters in the dance drama will not necessarily lead to the dilution of the conflicts in the dance drama, if we do not structure the goals of the characters' actions and the obstacles on their way, if we do not structure the conflicts in the only characters (male and female principals), it will If we maintain the harmonious style of the "couple dance", we will lose the "drama" of the dance drama. Those genres that claim to be "dance poetry" because they have lost their "drama" are a misunderstanding that we need to be wary of when creating dance dramas.

7. Transformation of Character Relationship Types and Update of Dance Drama Structure Pattern

The tendency of dance drama structure patterning caused by the typification of character relationships makes our dance drama creation face a problem. Dilemma. If we insist on structuring the character relationship of the dance drama with the prima donna as the center and insist on using the duet dance between the prima donna and the male prima donna as the main narrative device, we will inevitably fall into the previous structural model; if we want to get rid of the previous structural model to achieve To update the dance drama, we must transform the type of character relationships, and this may be at the expense of abandoning the main narrative device of the dance drama. In fact, some works that are milestones of Chinese contemporary dance dramas do not all follow the standardized dance drama structure, nor do they all vary from that dance drama structural model. The "20th Century Chinese Dance Classics" rated by an organization 10 years ago (1994) included "The Little Knife Club>>