Emotional Expression in the Dance "Ailian Shuo"

Many people spoke highly of this "vivid" solo dance "Ailian Shuo" by the anonymous Zhou Dunyi. In "Love Lotus", they once wrote: "Love lotus only, never touch the mud, make friends straight, make fragrance far and clear, and the plants are graceful and graceful, but far and far away. From the point of view of growing environment, write her noble and pure "out of the mud but not stained" and simple "lead an honest life without being a demon"; From the aspect of body fragrance, write her "straight through, not loose" integrity, and write her "fragrant and clear" fragrance; From the aspect of expression, she wrote that she was lofty, "graceful and pure, but not ridiculous from a distance", kneeling on one leg, a small bound flower was tied to her chest, and her hind leg was hooked and leaned back into a "lotus" shape. The topic is bright and prominent, and then an image makes me seem to see the appearance of a lotus fairy, standing up slowly from the ground, with one hand half covering her face, which seems to make me understand the shyness of a girl and stand on tiptoe one by one, which makes me feel the growth process of lotus. Accompanied by beautiful music, this lotus is no longer a simple lotus. It's more anthropomorphic. It shows a woman dancing on this green lotus leaf. When she sees the world for the first time, she is inevitably shy, but she wants to show her unique temperament to other brothers and sisters around her. In the contradiction between wanting to show and not daring to show, many movements show the homeopathic twisting of her head and body, and some small movements also show inner contradictions.

In the dance work "Ailian Shuo", the characteristics of China's classical dance "circle" are more prominently reflected, that is, by waving hands and circling the field. These movements all follow the regular characteristics of the circular movement route, which is also consistent with the image of the lotus. In terms of combining rigidity with softness, we pay attention to combining rigidity with softness, paying attention to ups and downs, being dynamic and quiet, and interspersed with "appearance" in flowing movements, which is famous for its toughness. The lotus flower blooms for a while, and then becomes a graceful woman dancing with her graceful posture on the lotus leaf, sometimes squatting, sometimes standing, sometimes lying flat, sometimes cheerful, sometimes shy, sometimes elegant, which combines the beauty of the lotus flower with the extraordinary temperament of the woman, making us enter the fairyland for a while, then return to reality, and then return to the fairyland. The theme of this work is "kneeling on the ground with one leg, hitting the chest with a small flower, and hooking up the hind legs and leaning back into a" lotus "shape", which has appeared three times and formed a unique visual dynamic picture image. I think the images that appear three times are similar, but they are not exactly the same, so the meaning of performance is also different. The appearance of three theme movements is an emotional change.

This classical dance work is different from the previous lyrical classical dance works. It has a philosophy in it, giving the audience a space for imagination and a feeling of living in a fairyland. The dancers are immersed in this wonderful state with us, * * to appreciate and * * to revel. . . . . . Generally speaking, the poem is not externalized into action, but based on the description of the lotus shape and temperament in the poem, the "Lotus" is portrayed as a female shape with the beauty of China tradition by anthropomorphic methods.