Dance Theatre Research Articles

An Analysis of the Rise of Chinese Dance Theater in the 20th Century

An Analysis of the Rise of Chinese Dance Theater in the 20th Century

Toward a Narratology of Western Narrative Theatre Dance

ABSTRACT: Dance is barely present in narrative studies. It is generally accepted as a narrative medium, yet lacks a systematic study that addresses its distinctive qualities. This article focuses on generic theoretical issues of dance as a narrative medium and discusses its place within current narratological debates. The first premise suggested here is that among the diferent manifestations of dance, narrative theatre dance is the fullest expression of narrativity, with a narrative essence that the notions of plot and experientiality help defining and grading. Taking the discussion through routes explored for drama, this essay also argues for a narratological model of the analysis of dance narratives on two levels: the story level and the discourse level understood as performance. Another set of considerations concentrate on the semiotic structure of dance, showing how it can be dissected in a productive way for narratological analyses. The essay ends with a discussion on the relevance of context and cultural conventions for the interpretation of dance. Underpinning these reflections are foundational studies of transmedial narratology, widely-used narratological definitions of narrative, and discussions of the narrative nature of drama as well as key texts from the history, philosophy and analysis of dance. Three examples of dance—John Weaver’s ballet The Loves of Mars and Venus (1717), Kenneth MacMillan’s The Invitation (1960), and Leonid Yakobson’s Vestris (1969)—illustrate this theoretical argumentation.

Research on Cross-Cultural Digital Communication Strategy of Musical Theatre Dance Based on Pattern Recognition Technology

Abstract The dissemination and development of musical theater promote each other; smooth dissemination can promote development, and comprehensive development can expand the time and space of dissemination. With the development of time, the effective digital communication strategy of musical theater has gradually become the direction of research. The study utilizes pattern recognition technology to combine sensors for action pattern recognition of musical theater dance and first develops a human motion model that meets the needs of musical theater dance action. The sensor system was designed and developed from three parts, such as acceleration measurement sensors, plantar pressure measurement shoes, and a data acquisition motherboard. On this basis, the pattern recognition method of this paper is combined with the musical to realize the improvement and optimization of the musical stage, and the digital communication strategy of the musical dance is proposed according to the audience communication model. The sensor-based pattern recognition method of this paper has reduced the average output error of accelerometers by another 60%, and the average output error of gyroscopes by 48% after the calibration of its sensors, and the recognition rates of the eight patterns oriented to the musical theater dance are all above 91%. Based on the digital communication strategy of this paper, the communication effect of the musical theater in the digital platform attention to the total number of people, the total number of viewers, and the revenue of the theater company increased by 150,000 people, 53,000 people, and 28,000 yuan, respectively. This study, based on pattern recognition of musical digital communication strategies in practice, achieved good results. It provides an effective path for the development and promotion of musical theater.

Contributions of Maltina Dance Reality Show to Dance Practice in Nigeria

Dance involves the totality and living experience of man from the prehistoric times till date. It was part of all his daily activities such as his work, communication and even in his worship of the gods and ancestors (Nigeria inclusive). To this extent, the Nigeria dance practice has developed greatly even in the face of multi ethnicity as it has given birth to various indigenous dances. These indigenous dances have also been the raw materials to every form of contemporary dances that has emerged over the years. Diverse platforms have also surfaced to help sustain Nigerian dances such as National Arts Festival (NAFEST), Nigeria University Theatre Arts Festival (NUTAF) and the trend of dance reality shows that has been the order of the day within recent times in Nigeria. An undoubted reality television show that has done greatly in the sustainability of Nigerian dances is Maltina Family Dance All Reality Television Show. The functionalist theory of dance is used to unveil the reality show which has been able to adjust to bridge the gap between the prehistoric era and the contemporary or modern era by using technological advances to keep the dance practice in shape. This research will examine Maltina Family Dance All Reality Television Show within the context of dance praxis and the immense contributions to dance practice and sustainability in Nigeria with a view to how it has put Nigeria indigenous dances to practice since the inception till date in the face of globalization and industrialization. It will conclude that the dance reality show has provided dance practitioners both with dance repertoires and engagement with diverse indigenous dances as well as rewards both as individuals and as professionals. Keywords: Dance, Dance Reality Show, Dance Art / Practice, Maltina Dance All Family Reality Television Show.

해외 사례와 비교한 한국무용의 정치적 트라우마 재현과 극복 가능성

Little specific research, in Korea, has been conducted on whether dance can overcome it by recreating the trauma caused by war or national violence. This study examines the possibility of active political participation in Korean dance by reproducing the trauma caused by national violence and applying the theory of dance and overseas cases that conveyed the message of overcoming to Korean dance creations performed at the 40th anniversary of the May 18 Democratic Movement. To this end, domestic research trends on dance, trauma, and political context are examined, and concepts related to choreography and dance are defined to find contact points with overseas cases. In addition, overseas dance cases and theories that reproduce the trauma caused by national violence are introduced, and this is applied to works performed at the 40th anniversary of the May 18 Democratic Movement. As a result of a comprehensive study of Roland Barthes' ecriture thought, which means falsehood in reality, Roland Bleiker's aesthetic politics on the premise of imperfections in the reproduction effect, and Bill T Jones's choreographer statement, which emphasized the humble choreography creation spirit, it was found that securing uncertainty and plurality in choreography creation can maximize the possibility of trauma reproduction. As a result, most of them are still limited to memorial rituals such as Ssitgimgut and Salpurichum, and it is necessary to sufficiently increase the possibility of overcoming trauma through the efforts of the audience such as victims.

Environmental themes in Chinese dance theater: experience and perspectives

This article highlights the involvement of Chinese dance theater in environmental protection. The author analyzes the ecological concepts of the work of three outstanding Chinese choreographers Yang Liping, Wang Yuanyuan, Tong Ruirui, whose works consistently embody the idea of the development of beautiful China, the ecological balance between human and nature, and the humankind’s adaptation to the new conditions of urban digital civilization. The purpose of the study is to investigate the existing experience of implementing Environmental themes in Chinese dance theater, as well as to outline the role of the Chinese ballet theater in the development of environmental consciousness. The research materials were the following stage works: “Pilgrimage to Lhasa”, “Two trees”, “Fire”, “Daughter of the country”, “Spirit of the Peacock”, “Romantic peacock”, “Echoes of Shangrila”, “Dynamic Yunnan”, “The Spirit of the Birds” (director and choreographer Yang Liping); “Haze” (director and choreographer Wang Yuanyuan); “Deep Memory”, “The World of Flowers”, “Then”, “The Earth”, “Goddess of Luo River”; ecological trilogy “Soaring Wings: Journey of the Crested Ibis”, “The Origin of the Big River”, “Deep AI You” (director and choreographer Tong Ruirui). The conclusions summarize the main characteristics of studied artists’ performances on environmental themes, as well as outline the prospects for further promotion of environmental awareness by means of dance theater. According to the author, the dance theater of China can continue to participate in environmental protection actively. The following forms of work turned out to be the most promising: further staging of choreographic performances on ecological topics, ecological production of the plays, open-air performances in natural areas and parks, original dance events in rural areas, choreographic open-air master classes, access to eco-responsible dance productions in online format, participation of ballet dancers in complex activities (ecological festivals, environmental photo sessions, media-programs or performances etc.).

The future of audio-visual designers with a focus on sound

Sound designers have historically been associated primarily with the realm of films, TV-movies, and series production. However, the scope of their influence is expanding significantly beyond these domains. Notably, professionals in the fields of museum curation, festivals, theatres, and planetariums are increasingly recognizing the transformative potential of incorporating audio-visual elements into their presentations, thereby enhancing the overall quality of audience engagement. Traditionally, many museums have relied on subpar audio guides and monotonous recordings played through inadequate loudspeakers to accompany their exhibits. In stark contrast, innovative exhibition concepts are foregrounding the profound impact of audio-visual installations. These installations completely rethink exhibition experiences, offering visitors entirely new dimensions of engagement within the realms of art, history, and science. In the context of planetariums, a substantial majority of shows continue to feature cosmological themes and scientific narratives presented in full-dome environments. Nevertheless, universities and younger audio-visual designers are now pioneering groundbreaking advancements in immersive audio-visual experiences. The evolution of theatre is yet another arena undergoing a profound metamorphosis due to the integration of audio-visual elements. As multimedia theatre forms such as picture theatre, new music theatre, and dance theatre increasingly embrace interactive electronic media, the traditional theatrical experience is undergoing a paradigm shift. This departure from convention is ushering in a new era of audio-visual performance quality that transcends prior artistic boundaries. Given these transformative trends, the study of sound design is compelled to evolve in tandem. Incorporating visual tasks into the curriculum is becoming imperative, as sound designers navigate these innovative frontiers of multimedia integration. By embracing cross-disciplinary approaches that encompass both sonic and visual dimensions, aspiring sound designers will be better equipped to shape the future of immersive audio-visual storytelling across a diverse array of creative platforms.

Влияние театра танца Пины Бауш на творчество современного китайского режиссера Тянь Циньсинь

Tian Qinxin remains one of the most active theater directors in China, and her works have always been categorized as mainstream productions that have had a great influence on the Chinese theater scene. Tian Qinxin also continues to make pioneering attempts within the mainstream of Chinese theater, constantly challenging new forms of expression. In this process, the master of German neo-expressionist dance, an iconic figure in the history of modern dance in the world — Pina Bausch's concept of dance theater has had a profound influence on Tian Qinxin's directorial language. This influence is not only individual, but also a concrete manifestation of the fusion of the spirit of traditional Oriental aesthetics with modern Western theater aesthetics, the fusion of nationalism and modernity.

Teatr tańca Brama Chmur w poszukiwaniu chińskiej i tajwańskiej tożsamości kulturowej

CLOUD GATE DANCE THEATRE IN SEARCH OF CHINESE AND TAIWANESE CULTURAL IDENTITYThis paper shows the dynamics of topical, aesthetical and political changes in the world-known contemporary dance group – Cloud Gate Dance Theatre of Taiwan (Yunmen Wuji), created by Lin Hwai-min in 1973. Those metamorphoses are observed in a broad socio political and cultural context, in the rapidly changing reality of Taiwan, Mainland China and the whole world at the turn of the 20th and 21st century. Short analyses of the most iconic dance compositions by Lin Hwai-min make it possible to trace the direction of the changes, starting from search for Chinese cultural identity, through the quest for definition of Taiwanese cultural and national identity, gaining the feeling of being rooted in traditional Chinese aesthetics and finally confirming the importance of local Taiwanese tradition as an equally meaningful source of creative inspiration.

Dancing on the Strand: The Adelphi Theatre’s Dance Repertoire, 1840–1860

Dance was ubiquitous on the early Victorian stage but theatre dance of the period has received little critical attention. Examination of the repertoire of the Adelphi Theatre in London in 1840–1860 shows that dance occurred in a wide range of theatrical contexts including melodrama, farce, extravaganza and burlesque. The Adelphi also specialised in adaptations of Romantic ballets that combined spectacle, narrative, dance and song. In such theatre pieces dance could be not only decorative, but also fully integrated into the structural and thematic contexts in which it was embedded. In The Enchanted Isle, for example, dance makes a suggestive contribution to the political agenda of the play.

Method of Physical Action (MPA) in TAO Dance Theater

TAO Dance Theater is one of the contemporary dance companies with significant influence in the world. Its individualized and pure physicality prompts viewers to reevaluate and redefine aesthetics. This paper aims to investigate TAO Dance's "Method of Physical Action" which resembles Polish theatre master Grotowski's concept of "art as a vehicle." In other words, TAO Dance Theater achieves a suitable execution of self-constructed performance procedures, penetrating conscious and emotional manipulation under the influence of society and culture. It breaks away from the constraints of everyday life experiences and mainstream dance training, as well as prevailing objectification through visual preconceptions, ultimately achieving the best state of natural externalization through physical action.

A primitive-based representation of dance: modulations by experience and perceptual validity.

The generation of complex movements such as dance might be possible due to the utilization of movement building blocks, i.e., movement primitives. However, it is largely unexplored how the temporal structure of a movement sequence and the recruitment of these primitives change with experience. Therefore, we obtained a representation of primitives with the temporal movement primitive model from the motion capture data of dancers with varying experiences, both for improvised and choreographed movements (elements from contemporary/modern/jazz) with different qualitative expressions. We analyzed differences between movement conditions regarding the number of temporal segments and the number of primitives, as well as their association with dance experience. Especially for the choreography with a neutral expression, the results indicate a negative association between experience and the number of segments and a positive association between experience and the number of primitives. The variation in the recruitment of these primitives suggests an increased consistency of modular control with experience, particularly for improvised dance. A prerequisite for the meaningful interpretation of these results regarding human movement production is that the model can generate perceptually valid dance movements. This was confirmed in a subsequent experiment, although the validity was slightly impaired for improvised movements. Overall, the results of the choreographed movement sequences suggest that experience is associated with an increase in motor repertoire that might facilitate fewer and longer temporal segments.NEW & NOTEWORTHY This study demonstrates that a temporal movement primitive model, trained with movements performed by dancers with different levels of experience, is able to generate natural-looking dance movements. The results suggest that motor experience in dance is associated not only with fewer temporal segments but also with an increase in the number of underlying movement building blocks. The recruitment of these primitives, which might be used to simplify movement production, additionally seems to become more consistent with experience.

Manifestation of Lingnan Folk Dance Culture within Dance Compositions

Lingnan folk dance, the traditional dance art form of the Lingnan of China, encapsulates the humanistic sentiment of the area. Various types of Lingnan folk dances reflect the simple and hardworking life attitude of the laboring populace in the Lingnan. The Lingnan of China is characterized by its rich folk cultural diversity, resulting in unique Lingnan dance styles under the influence of different folk cultures. The varied and dynamic variations of the typical Lingnan folk dance styles can be categorized into examples like Lingnan opera folk dance and lifestyle folk dance. Impacted by the multi-ethnic culture and social consciousness of the Lingnan, folk dances primarily express ethnic sentiment within dance compositions. The use of dance as a medium accomplishes the transmission of folk dance art, exemplifying folk culture in the process of this conveyance. As a means of cultural inheritance in the Guangdong and Guangxi, the elements of daily life should be emphasized within dance compositions of Lingnan folk dance, along with the aesthetic representation of dance. This thesis will summarize the content and artistic connotations of Lingnan folk dance and will further delve into the manifestation forms of folk dance culture.

Deconstruction and Reinvention: The Use of Montage in Dance Theater Creation

Deconstruction and Reinvention: The Use of Montage in Dance Theater Creation

Re-generative Habit

‘Re-generative Habit: Dancing the mimetic faculty’ examines the role of habit in choreographic practice through a comparison with Walter Benjamin's concept of the 'mimetic faculty'. This article considers the intersection of habit, dance and language as being distinct yet interconnected expressions of an innate mimetic ability. Drawing on Benjamin's theories of the ‘mimetic faculty’ and ‘non-sensuous similarity’ from his philosophy of language, I examine how these concepts intersect in my choreographic practice, using my recent screendance project 'Mimeisthai' as a case study. This project presents a specific example of a 'performance-generating systems' approach to dance-making, inspired by Danish Canadian dance theorist Pil Hansen, and highlights the inherent tension between established habit and the desire for creative innovation. By emphasizing the relational, performative and dynamic aspects of habit within creative practice, this article challenges familiar views of habit as being simply automatic behaviour. Instead, habit is depicted as a flexible, versatile element that not only offers stability but also opens up possibilities for new forms of expression to emerge.

MASK DESIGN CHARACTERISTICS IN KOREAN TRADITIONAL HAHOE MASK DANCE THEATER

The article analyses the specifi cs of masks making and design in the traditional Korean theater of Hahoe masks, considered in the context of the present. The specifi city of the integration of Hahoe mask dance theater as a phenomenon of traditional arts and crafts into the space of perception of modern spectators is determined. The article contains an overview of the features of art design and the perception of masks by the modern spectators due to these features.

Curtain Calls in Dance: Negotiating the Terms of Disengagement

Through curtain calls in Eurocentric theatrical dance forms, dance artists, audience members, and staff coordinate how dance concerts end and participants disperse. Nevertheless, despite the widespread use of such practices, the rituals of bows and applause have largely eluded critical inquiry. This article offers dance practitioners choices toward thoughtfully negotiating the processes of engagement and disengagement in groups contingently assembled for dance events. A brief historical inquiry introduces how such behaviors may enact deeply embedded, power-laden agendas of relationship. Then, curtain calls are revealed as complex spaces of intersubjective negotiations, iterative of numerous possible functions at work.

Effective Behavior Research of Blended Teaching in Dance Theory Course

In the teaching of dance theory courses in colleges and universities, teachers use a mixed method to carry out teaching work, which not only changes the single teaching mode of dance theory courses in the past, but also provides diversified choices for teachers to better develop course teaching work. . At the same time, it also allows students to realize the cultivation and improvement of their own comprehensive literacy ability in the process of blended teaching, and truly helps students achieve long-term development. In view of this, in order to make students learn more effectively in dance theory classes at the university level, teachers need to try to summarize some Methods and strategies that can better guide the course teaching work, so as to make the blended teaching of dance theory courses in colleges and universities more effective and meaningful.

Symbolic Meaning Relationship between the Condong Character and the Putri in the Gambuh Batuan Dance Drama

Gambuh is the oldest Balinese theatrical dance drama, with a rich repertoire of dance movements, music, dramaturgy, and costume design, making it the source of Balinese performing arts that emerged later. The main story is about the journey of Prince Panji to find his lover, Princess Candra Kirana. There are two important female characters, namely Condong (servant) and Putri (Princess), who have different social statuses but have a close relationship and play a key role at the beginning of the drama, making them the determinant of the success of the performance. The research aims to reinterpret the meanings contained in the Gambuh dance drama, especially the relationship between Condong and Putri, to offer a living interpretation of local wisdom, pass them on to the next generations, and contribute to building the character of the nation that has nobility and refinement of character. The research was conducted using a qualitative research method, including a literature review, participatory observation, and in-depth interviews in Batuan Village, Gianyar Regency, Bali. The research process begins with a formal description of the characters, dance movements, costumes, and antawacana (dialogue), then the symbolic meaning analysis is carried out using Aesthetic Theory and HG Gadamer and Paul Ricoeur's Hermeneutics approach. The results of the study show that the relationship between the two characters, Condong and Putri, carries the meanings of dedication, sincerity, ethics, and the strength of women - values that are local wisdom but very relevant to women today. The elements of Rwa Bhineda, which are two opposing forces, Trihita Karana, which is harmony with nature, God, and humans, and the Hindu concept of Satyam Sivam Shundaram, which embodies ethical and pure values wrapped in beauty in the Gambuh dance drama - are the essence of Gambuh that is relevant to the present day, making it universal, transcending time and distance.

Decolonizing Tropical Environments: Awakening Nigeria’s Indigenous Dance Theatre

The projected apocalypse triggered by centuries of consistent environmental abuse has attracted multidisciplinary attention which has intensified in the last few years. Scholarship largely figures colonial mechanisms and their variables such as imperialism, industrialization and militarism as responsible for the wasting of tropical bodies in the guise of development. The focus of this paper is threefold. Firstly, to establish that colonialism and neocolonialism is at the center of ecosystem degradation in the tropics and examine concepts of development as colonial constructs to sustain polluting rights in Nigeria. Colonialism remains at the center of the toxicity and wasting of humans and the environment in Nigeria, hence the call for decolonization of environmental discourses. Secondly, foreground the need to dismantle the tropes of development, civilization, and industrialization, as colonial installations to sustain the toxicity of the tropics. Thirdly, to investigate the necessity to return to Indigenous knowledge resources in order to forge new mindsets for envisioning sustainable futures. The rich multiethnic culture of Nigeria points to the potential of Indigenous dance theatre as an Indigenous knowledge resource to provoke much-needed conversations and change towards decolonization and posthuman consciousness. Towards this future, the paper addresses the present challenges of Indigenous dance theatre as well as the modalities for engaging it for effective results in rewriting the Nigerian stanza in the colonial-enforced tragedy of the tropics.