Dance Drama Research Articles

Cultural Relics Dance Drama

In recent years, the upsurge of Chinese traditional culture has hit. The museum cultural relics and dance drama have achieved a perfect combination. The use of new scientific and technological means has not only given new life to cultural relics, but also opened up new ideas for the vast number of cultural and museum workers and literary creators. The two interact and achieve each other, bringing visual enjoyment to the audience and promoting the development of cultural and museum undertakings.

Talking about the Artistic Features of the Dance Drama "If Life Could Just Be Like First Meeting"

The dance drama "Life Is Just Like the First Meeting" takes the love affair between Nalan Xingde and Lu Shi and the friendship with Gu Zhenguan, Cao Yin and Kangxi as the main content, and runs through the whole text. The traditional elements of the Han and Mongolian peoples are integrated and displayed on the stage using unique and novel stage art techniques. This paper mainly analyzes and discusses the artistic features embodied in "If Life Could Just Be Like First Meeting" from three aspects: the dance image, the narrative art and the comprehensive use of the stage.

Which direction will electronic word-of-mouth (eWOM) choose? Dance drama eWOM's spatiotemporal characteristics and influencing factors

Compared with movie electronic word-of-mouth (eWOM) with concentration, retail eWOM with continuity, and accommodation eWOM with locality, dance drama eWOM is specific to time and space because of the performance of offline single-threaded touring. Dance drama is associated with a special cultural output function, with a focus on potential development value rather than apparent sales revenue. To explore the eWOM generated by dance dramas with specific spatiotemporal characteristics, two vector autoregressive models for megacities and other cities are developed based on the online review data of the representative dance drama The Journey of a Legendary Landscape Painting, and the dynamic relationships among eWOM reviewer characteristics, rating characteristics, and online buzz are investigated. The results of the study show that in terms of spatial characteristics, dance drama eWOM displays significant differences across different city types, and the relationships among eWOM reviewer characteristics, rating characteristics, and online buzz are causally inverted in megacities and other cities. In terms of temporal characteristics, dance drama eWOM exhibits long-term an fluctuating characteristics, and the cycle of dance drama eWOM spans approximately 10 months. In terms of spatiotemporal joint characteristics, the spatial distributions of dance drama eWOM and dance drama background culture remain consistent. Specifically, the eWOM for The Journey of a Legendary Landscape Painting moves from south to north, but for the Spring Festival, Gala eWOM moves from east to west.

On the Shaping of Characters in Dance Drama

Dance performance is a kind of artistic dynamic image soaked with "emotion", and only by grasping the unity of inside and outside and the situation, can we completely shape the character image and achieve a certain artistic aesthetic effect. In dance creation, the creator is an inseparable and complete process of artistic creation, from deeply capturing the dance image, creating and organizing the dance language, arranging and designing the dance section, to finally reflecting the artistic conception on the stage by the actors through rehearsal. This paper takes the dance drama "Zhaojun Out" as an example to discuss how to shape the characters with dance, improve the dancers deep aesthetic thinking on the dance image, and shape the character characteristics of the main characters in the dance drama.

Costume and Body Language of Ethnic Dance Drama under Semiotics: An Analytical Study

Dance drama is a dramatic form with dance as its main means of expression, which has been developed in China for less than a century. In recent years, the development of Chinese dance drama, especially ethnic dance drama, has shown an obvious upward trend. Several excellent dance drama works have appeared, forming some distinctive dance drama styles, among which The Journey of a Legendary Landscape Painting, The Peacock, and The Railway to Tibet are quite representative. This study will investigate the above three dance dramas based on semiotics. An analysis of costume and body language is carried out in this study based on the semiotics, from the morphological characteristics of dance and costume. In addition, the author makes a comprehensive exploration of the integration of the external form, fabric, structure and pattern of costume and body language, tries to reveal the way of interaction between costume symbols and body symbols in dance drama, and summarises the artistic connotation of the integration of dance costumes and body language. Then, it provides ideas for the role creation and education of dance drama.

The Contemporary Spirit of "Bacon Casting Soul" Revolutionary Dance Drama

The Contemporary Spirit of "Bacon Casting Soul" Revolutionary Dance Drama

Creative Artwork of Elementary School Children's Dance Drama Performance Based on Folklore (Folklore) of Kediri City

Problems encountered related to art education include the rareness of alternative literacy of art forms for elementary school students based on culture. Local art products such as the Panji story will be very valuable if elaborated in the world of children in the form of performing arts. Involving children in the creative process of practicing art can provide empirical experience to improve their creativity. This study aims to determine the level of validity, originality of the work and the applicability of drama dance performance art works for elementary school children. The method of developing this drama dance art work is carried out with the stages of observation, exploration, composition and evaluation. The results of the study showed that the product of the creation of elementary school children's drama dance performance art based on folklore is very valid/suitable for use. This is evidenced by the score of 4.80 obtained by the dance expert validator. The validation results are related to the variety of movements, floor patterns, costumes and make-up. While the second validator obtained a score of 5 which means that the Panji Laras drama dance product/work is very valid/suitable for use. The validation results include the level of originality of the work, novelty and applicability for elementary school children. Thus, the work of dance drama performance art entitled Panji Laras is very valid/worthy of being used.

Audiological Profile of Yakshagana Artists.

Yakshagana is an India's traditional folk theatre musical dance drama. The purpose of the study is to profile audiological characteristics and document hearing-related symptoms in Yakshagana artists. A cross-sectional study was performed on 96 Yakshagana artists. Participants' demographic data were captured, and audiological evaluations, including high frequency audiometry (HFA), tympanometry, acoustic reflex threshold and transient evoked otoacoustic emission (TEOAE), were performed. The majority of the individuals had minimal and mild hearing loss. The mean scores of pure tone thresholds were greater at 4kHz and 8kHz. The majority of the HFA thresholds at 10kHz, 12.5kHz, and 16kHz indicated no responses, which can be accredited to the fact that noise-induced hearing loss (NIHL) first affects the higher frequencies. TEOAE analysis showed a greater percentage of failures in the higher frequencies, particularly at 3 and 4kHz in both ears, which can be an indicator of bilateral cochlear damage. These findings indicate that Yakshagana artists are at risk of hearing loss due to noise exposure. Hearing evaluation and regular monitoring of hearing thresholds is advisable for this population as it can impact their careers.

Dance drama "Never Gone Radio Wave": the challenge and significance of genre dimension, emotional expression and artistic expression

With its rigorous creative attitude and exquisite dance skills, the dance drama "Never Gone Radio Wave" shows the perfection and romance of red theme dance creation and injects new vitality into spy war theme dance. Through subtle type deduction, technical support and detailed description, the revolutionary process and characters are portrayed more prominently. In shaping the characters in a specific background, the director not only highlights the main color, but also skillfully blends in other color blocks, which makes the dance drama have strong artistic expression. At the same time, the drama pays attention to the expressionist pursuit of subjective truth and transforms the fragmented historical materials into a ballet work, which fully embodies the challenge and far-reaching significance of this ballet.

A study on the Bakhtin's Carnival theory and Korean Mask Dance Drama - Focused on Bongsan Tarchum and Hahoebyulsinguttarnori -

A study on the Bakhtin's Carnival theory and Korean Mask Dance Drama - Focused on Bongsan Tarchum and Hahoebyulsinguttarnori -

A Comparative Study of Dance Dramas Reimagined from Legends: A Case Study of China's “The Butterfly Lovers” and Korea's “Smile Chunhyang”

A Comparative Study of Dance Dramas Reimagined from Legends: A Case Study of China's “The Butterfly Lovers” and Korea's “Smile Chunhyang”

‘Power of One’: Situating the ‘Iris Chang Phenomenon’ in the National/Transnational Remembering of the Nanjing Massacre

ABSTRACT This article examines the ‘Iris Chang phenomenon’—the hypervisibility of Chang in the national/transnational remembering of the Nanjing Massacre—which recalls memories dialectically to become relevant to Chinese socio-political and cultural transformations. It mainly investigates why and how Chang’s historical narratives have altered Chinese official discourses and triggered transnational literary and cinematic works that resist simplifying history into heroes and victims. Specifically, it analyzes how Chang’s moving body in the dance drama Deep in Memory functions as a conduit for transmitting the national trauma and makes history felt affectively and viscerally in the present. Overall, this article argues that Chang has been mobilized as an ethnic, cultural, and political signifier that unceasingly recalls the past to shape the Chinese public’s historical consciousness regarding World War II.

Real Historical Imagination: the Depths of Memory under the Spatial Transformation -- Comment on the Realistic Theme Dance Drama Deep in Memory

This article focuses on the dance drama Deep in Memory, which is adapted from the real historical event of the Nanjing Massacre. The author pays attention to three layers, one is the real historical events of the Nanjing Massacre, the English works of the Nanjing Massacre, the Nanjing Massacre: the forgotten catastrophe in the Second World War, and the director of the historical events of the Nanjing Massacre and the Nanjing Massacre: the forgotten catastrophe in the Second World War. Through these three levels of transformation, real memory discusses the contradiction between history and art, which involves the realistic technique of realistic dance drama; narrative memory focuses more in the internal research of art, and discusses the space, structure and form analysis of the two dance dramas; Warm memory shows the attitude of the author s through the works, showing the humanistic care and compassion.

Martial Dance: Stage Wushu as a Performing Art

ABSTRACT The current Chinese martial arts have at least three major values or functions – combat, health, and art. However, the combative value has been weakened while its healthy and aesthetic values have been strengthened in mass culture. With the development of digital technology, the media for disseminating visual cultural products have been broadened to film and television, advertising, performing arts, photography, video games, and so on. The inherent aesthetic quality of Chinese martial arts has been fully explored, reshaping the performativity of stage wushu in kung fu dance drama and wushu performance troupe with Shaolin Kung Fu as its core. This paper investigates the historical origin, present representation, and cultural connotation of stage wushu in accordance with performance theories and media culture theories and concludes that stage wushu is a type of hyper-real martial arts.

Strategi Komunikasi Arja Muani Akah Canging Sebagai Hiburan Inovatif Di Desa Munggu Kecamatan Mengwi Kabupaten Badung

ABSTRACT One of the performances in Bali that is often performed is the arja dance drama, but in this millennial era, interest in arja drama dances has begun to decline. Arja is known as a classic theater with long and boring performances. The communication strategy was used by the Arja Muani Akah Canging group as an effort to attract the interest of the audience, from young to old. Arja muani Akah Canging provides a new atmosphere in presenting his show as innovative entertainment. The problems raised in this research are (1) what is the communication strategy of arja muani Akah Canging as innovative entertainment in Munggu Village, Mengwi sub-district, Badung regency? (2) what is the function of the communication strategy in staging arja muani Akah Canging as innovative entertainment in Munggu village, Mengwi sub-district, Badung district? (3) what are the implications of the arja muani Akah Canging communication strategy as innovative entertainment in Munggu village, Mengwi sub-district, Badung district? This study uses three theories to dissect the formulation of the problem, namely: the theory of turgi drama, the theory of structural functionalism communication, and the theory of rhetoric. This research uses qualitative methods by collecting data through observation, interviews, and literature studies. This study aims to examine the communication strategy arja muani Akah Canging as innovative entertainment. Based on the results of the study, this study found the following results: 1) The process of staging arja muani Akah Canging with the preparation, staging, final staging stages. As well as a communication strategy in staging the arja muani Akah Canging in Munggu village, Mengwi sub-district, Badung district. 2) The function of staging arja muani Akah Canging is the primary function as a means of entertainment for the community in religious ceremony activities. The secondary function is as a binder of community solidarity, as a medium for delivering government programs. 3) the impact of staging arja muani Akah Canging on culture, social, economy, education through art, and degradation of conventional arja. (Keywords: Communication Strategy, Arja muani, Innovative Entertainment)

Chinese Mythological Elements and Contemporary Art Works

"Contemporary art" is an "alternative construction" that seeks a way out in the context of "modernity". It is a work of art constructed using the way of thinking of contemporary people; it is the development of post-modern art and continues after modern art and is derived from it; it is a new concept, new form, and new path. Chinese totem aesthetic art has substantial symbolic value and significance. Among the art categories, dance dramas with mythological themes deeply explore elements of various regions, ethnic groups, and dance types and incorporate traditional dance vocabulary. A large amount of vocabulary is used in dance dramas with mythological themes. This vocabulary not only makes the dance dramas present a unique national style but also sorts out and excavates the cultural relics of different mythological themes, effectively promoting the fullness of dance dramas with mythological themes.

Analysis of Chinese Contemporary Theme Dance from the Perspective of Ecological Aesthetics

Ms. Yang Liping is a famous dancer and a national first-class actress. She is famous for peacock dance and known as "Peacock Princess". Ms. Yang Liping has many outstanding representative works, such as female solo dance "Spirit of the Bird", dance drama "Yunnan Image" and so on. Among them, the dance "Spirit of the Bird" won the gold medal of Chinese classic dance works in the 20th century. This article mainly analyzes the form and content of the dance "Spirit of the Bird" from the perspective of ecological aesthetics.

“All things coexist and all things love” – research on the creation of the original dance drama “Gangong Bird”

The dance drama “Gangong Bird” is based on an ancient traditional folk narrative ballad widely circulated in the Li ethnic area of Hainan. The origins of the 2017 and 2021 versions of the dance drama “Gangong Bird” tell the story of Gan Gongniao from different angles. The whole story has the appearance of a Chinese mythological story. It mainly uses typical Li nationality Sandaowan and modern dance movement elements and breathing force methods . Revealing the ugly image of bullies and expressing love that pursues freedom without being restrained .

Discussing The White-Haired Girl Opera and Ballet from the Perspective of Female Characters

The scope of this dissertation is to study the female protagonist, Hei'er, in the White Hairy Maiden Opera and Ballet and to exemplify the historical context of the White Hairy Maiden Opera and Ballet and the characteristics of the status of women in this era. The purpose of the research is to draw the characteristics of the era of the female characters in Bai Mao Nü in relation to the female lead's plot and the women's characteristics of the era in the context of Chinese history. The writing process of the thesis is firstly to find the tableaux and scores of the White Hairy Woman's operas and dance dramas in Chinese websites for reading and to collect the literature related to the White Hairy Woman's operas and dance dramas, and to collect the literature on the historical background of China and the status of women in the period of the 1940s to the 1970s. Secondly, I set out a framework for the thesis, matched and categorised the collected literature with the framework, and wrote the thesis; finally, I revised the final version and submitted the course thesis. My research found that the female drama of the White Hairy Daughter opera and ballet fully embodies the unequal gender treatment and social status of women in 1940s China. This work of White Hair Woman also portrays a more vivid image of Chinese women in the 1940s. However, the limitation of this thesis is that this thesis discusses the character lines and the related historical background from the score of White Hairy Woman, but it is difficult to find the literature that elaborates on the music of White Hairy Woman, and almost all of them focus on the content of White Hairy Woman's textual plot. The reason why the authors have some difficulty in discussing the musical score examples and the women's period characteristics is because there is very little literature that can help the authors to provide good ideas for their analyses. The final conclusion is that the female zeitgeist after the 1940s has given the female role of the White-haired Woman a deeper historical significance, and has provided scholars studying the White-haired Woman's operas and ballets with a new interpretation of female perspectives. It is also enough to show that White Hairy Woman is not only a successful musical theatre in 20th century China, but also a female theatre work that can promote Chinese women to gradually weaken sexism.

Research on the Technical Methods and Aesthetic Characteristics of Water Sleeve in Chinese Classical Dance—Taking the dance drama "Qing Yi" as an example

Research on the Technical Methods and Aesthetic Characteristics of Water Sleeve in Chinese Classical Dance—Taking the dance drama "Qing Yi" as an example