The cattle rushed to the sky, and the tigers and tigers came with great power. Following the launch of the "Spring Festival Gala in my Eyes in the Year of the Ox" on the first day of the Spring Festival of the Year of the Ox, the China Literary and Art Critics Association continued to plan and invite four young and middle-aged literary and art critics in the fields of dance, music, music, music and dance art to gather in the new media of china literary and art criticism to accompany you to spend the New Year with you, and to taste the Spring Festival Gala of the Central Broadcasting Corporation with you, so that the Spring Festival Gala, which has lasted Chinese New Year's Eve for 40 years, has a more tasteful, more tasteful and more evocative taste.
Dance of the Spring Festival Gala in the Year of the Tiger: Cultural Dance and Cultural Dance Blend
Tang Baijing
He is a member of the China Literary and Art Critics Association
Students of the First National Literary and Art Criticism Leading Talents Training Course
Associate Researcher of Yunnan Academy of Ethnic Arts
Tigers roar green mountains and thousands of miles, and the wind blows green willows in the spring. In the 2022 Spring Festival Gala of the Year of the Tiger, the dance programs presented a profound cultural heritage, with the integration of cultural dance and literary dance, highlighting the new atmosphere of the new era.
The Chinese cultural heritage resonates with the aesthetics of the times
General Secretary Xi Jinping pointed out: "The broad and profound Chinese civilization is the unique spiritual identity of the Chinese nation, the foundation of contemporary Chinese literature and art, and the treasure of literary and artistic innovation. "Chinese culture has a long history and profound heritage, in recent years, with the continuous popularity of the "national tide style" and "Wenbo fever", the dance works that dig deep into the excellent traditional Culture of China have attracted much attention, and the works of dancing to "revitalize" historical relics are not uncommon, and the previous hit "Tang Palace Night Banquet" and the "Dunhuang" and "Thousand Hands Guanyin" that have been on the Spring Festival Gala stage belong to this category. How to resonate with the aesthetics of the times, the choreographers continue to innovate and strive for excellence, as General Secretary Xi Jinping said, "Chinese culture has always advocated 'collecting the que literature of a hundred generations and collecting the legacy of a thousand years'." "This year's Spring Festival Gala programs "Only This Green", "Golden Face" and the sitcom "Remembering Jiangnan" all pay attention to the dialogue between dance and cultural relics across ancient and modern times, integrate artistic creativity and Chinese cultural values, combine the Chinese aesthetic spirit and contemporary aesthetic pursuits, and activate the vitality of Chinese culture.
The dance poetry drama "Only This Green" excerpt "Green Dance" is based on the famous Northern Song Dynasty painting "Thousand Miles of Rivers and Mountains", choreographers Zhou Liya and Han Zhen are well versed in the introverted and adductive tone of Song Dynasty paintings, and use anthropomorphic, freehand and empathetic artistic techniques to transform the imagery of the green landscape into a gentle and elegant woman wearing a long skirt with a green dragging skirt, a hair comb towering into a cloud bun, and an eyebrow painting far away from the mountain, and the dancer's action design uses static braking to highlight the contrast between the sense of frustration and the extension of the flowing water, and the "green" long sleeve played by Meng Qingyang is thrown away. The upper body leans back and parallel to the ground, the "green waist" is like a "lying stone", the triangular formation composition means layered mountains and mountains, falling clouds and dangerous peaks, this statue presents so many delicate temperaments of the mountains, the dancers are calm and have a different charm in the interspersed flow, it can really be described as "I see how feminine the green mountains are, and the green mountains see me as I should be." ”
The creative dance "Golden Face" uses the form of dance images to connect the ancient and modern with bronze human faces and gold masks excavated from the Sanxingdui site, telling a love story through thousands of years. In the beautiful and romantic double dance of male dancer Da Zhu and female dancer Wang Xi, the dancers' half-squatting and three bending movements of their hands are unique to the dance characteristics of the southwest people, and it can also be seen that the artistic style and ingenuity of choreographer Yang Liping, "learning the ancient is not muddy, breaking the law is not violating the law", showing the theme of eternal love.
These two works have different styles and different strengths, "Only This Green" is a dance excerpt of a mature dance poetry drama, although there is no theatrical version of the rotating stage installation, but the mature theater work has laid the extraordinary aesthetic style of this dance; "Golden Face" tries to use the recent fiery dance video means to achieve the interchange of different scenes, and also strives to break through in the narrative to achieve a dramatic expression of ancient and modern crossing. The two dances successfully "broke through" in the lively and jubilant programs of many Spring Festival Galas with the sound of loud sounds and the invisible aesthetic imagery of elephants, which were well received by the audience.
National art empowers the revitalization of rural culture
General Secretary Xi Jinping pointed out: "The implementation of the rural revitalization strategy can not only look at how many tickets are in the pockets of farmers, but also look at the spiritual outlook of farmers." "National art empowers the revitalization of rural culture, which not only retains the characteristics of rural culture, but also uses this inheritance to obtain value recognition, thereby realizing cultural consciousness and reshaping cultural self-confidence." The dance "Pose for a Spring" from Lancang Lahu Autonomous County, Pu'er City, Yunnan Province, not only shows the cultural inheritance of the Lahu intangible cultural heritage dance "pendulum dance", but also shows the vigorous spiritual outlook of the Lahu people in the new era. Lancang is the place where Academician Zhu Youyong "wrote his papers on the earth", and it is also the "hometown of Chinese folk culture and art" that nurtures the Lahu people's dancing, and it is also a happy land for singing "Happy Lahu". Lahu swing dance emphasizes the movement of the feet, mainly to tiptoe, kick and step, the up and down swing of the arms and shoulders simulates the production and life actions such as sowing, planting seedlings, cutting grass, etc., and the small tiptoe steps cooperate with the swing of the hands to form a rhythm of swinging shoulders and the entire body stretching upwards and undulating, making people indulge in happiness and joy. When the Lahu actresses with their backs like foot drums "dress up for a second", the traditional costumes of red and black become green national costumes, symbolizing the green spring, metaphorically referring to the great changes after the Lahu Mountain Township got rid of poverty and became rich, the so-called "there is hope for the head", from the elderly to children, carrying guitars to sing happiness, this full load of happiness, simplicity and sincerity, is the new hope for rural revitalization in the new era.
△ Dance "Pose for a Spring"
Shouzheng innovation is deeply rooted in the homeland feelings
Looking back at the history of Chinese civilization, "shouzheng innovation" has always been the spiritual core and essence of Chinese civilization. General Secretary Xi Jinping has constantly emphasized: "The Chinese nation is a nation that keeps right and innovates", "has a tradition of keeping right and innovating", and "no matter how the times develop, we must stimulate the national wisdom of keeping right and innovating and forging ahead courageously." "Over the years, the Spring Festival Gala has become a cultural symbol of the Chinese nation's family and country feelings, national self-confidence and identity.
Children's dance "Star Dream" expresses the original heart of the Chinese nation's aerospace dream with children's childlike heart, dance symbolizes the wings of children's dreams of flying with the props of large feathers, symbolizes the travel of the universe and the galaxy with the flow of skateboards, adheres to the realistic theme of scientific and technological power under the artistic innovation full of imagination and romance, and hopes for the home and country feelings of a rich country with children's dreams.
The dance "Hotpot Sonata" shows the cultural epitome of hotpot, which is a cultural microcosm of Chinese cuisine, "the people take food as heaven" is a long tradition of the Chinese nation, and the hotpot culture is not only a symbol of family reunion, but also an expression of the mind of the world. The choreographer boldly innovated in this cultural concept, combining the elements of street dance and Sichuan opera to change the face, strengthening the rhythm of the dance, and setting off the spicy nature of Chongqing hot pot. The composition of the dance is based on a blocky square, highlighting the characteristics of the hot pot "circle", metaphorically referring to the Chinese philosophical thought of "the round place of heaven".
△ Dance "Hotpot Sonata"
epilogue
The integration of literature and dance highlights the beauty of the times, and the survival of beauty focuses on cultural inheritance, so that cultural inheritance shines in innovation. The dance program of the 2022 Spring Festival Gala of the Year of the Tiger, from the changes of the times, the progress of China, the call of the people, the beauty of history, the beauty of mountains and rivers, and the beauty of culture, inject the value of beauty into the art of beauty, and show the spiritual climate of the new era in an all-round and panoramic manner.
The music of the Spring Festival Gala in the Year of the Tiger: Looking back at the classics
Xiang Xiaogang
Researcher of the Central Conservatory of Music
△ Song "Spring Wind 100,000 Miles"
Compared with previous Spring Festival Galas, music programs are far ahead with 17 music works in the 2022 Spring Festival Gala of the Year of the Tiger, playing an indispensable and important role in giving up who they are.
There are 13 songs in total, accounting for 76% of the music programs of this Year's Spring Festival Gala. Among them, there are "Sense of the Times" (sung by Deng Chao, Li Yuchun, Yi Yanqianxi), "True Love Dance" (sung by Ren Jialun, Wang Yuan, Song Qian, and Ji Kejunyi), which show young people looking forward to the future and loving life, as well as "100,000 Miles of Spring Wind" (sung by Yin Xiumei and Yan Weiwen) and "Spring Bells" (sung by Sun Nan and Tan Weiwei), which reflect the spring full of people and return to the earth, "Our Times" (sung by Zhang Ye and Lü Jihong), which focus on grand themes such as "Departure", "Strong Country", "Chinese Civilization", and "Winter Olympics"; Yellow River Yangtze River (Sung by Chen Kun, Xiao Jingteng, Wang Jiaer, Peng Yongchen), "Light Up Dreams" (sung by Liao Changyong and Li Wei), and "You Are the Gift in My Life" (sung by Liu Huan) and "Love Together" (sung by Li Ronghao and Zhang Shaohan) focus on "If You Are Happy" and "Green Plum Bamboo Horse".
△ Winter Olympics theme song "Light Up Dreams"
With the courage of seeing the mountains and the passion of thousands of miles, the works of various songs strive to fully cover the hundreds of millions of people of all ages in front of the TV.
As a representative work of Taiwanese singer Zhang Yusheng, "The Yellow River and the Yangtze River" cannot hide the intention of the songwriter Zhang Yusheng to pay tribute to the great poets of the Tang Dynasty, Wang Zhizhuo and Li Bai. While listening to this song "Yellow River yangtze river", the author can't help but think of the song "My Chinese Heart" (Huang Xiazi and Wang Fuling' song) that was sung by Hong Kong singer Zhang Mingmin in 1984 after singing in the spring evening. The same is the mother river of the Chinese nation, and the two songs have the same magic of the same song, conveying the strong feelings of home and country surging in the hearts of the descendants of Yan huang.
△ Song "Yellow River Yangtze River"
Similarly, the song "Happy Hour", co-performed by Zhu Yilong, Zhao Liying, Wang Junkai and Yu Kewei, not only pushed the evening to a climax, but also reflected the theme motivation of the composer's attention to the fourth movement of "Ode to Joy" of Beethoven's "Ninth Symphony", and found an opportunity for success for this "tide song" that was both "laughing" and "amazing". Of course, this kind of creative technique is not difficult to find in recent years of "Pursuit" (Zhang Hepingzi, Shu Nanqu, Sun Nan singing) and other song works.
Previous Spring Festival Galas have been indispensable to the song works about "The Sound of Spring". In 1986, Hong Kong singer Zhang Delan took the song "Spring Beauty" to the stage of the Spring Festival Gala, which became famous in the mainland. The song "Spring Bells" launched at the Spring Festival Gala of the Year of the Tiger is also a work of "The Sound of Spring". It is worth mentioning that the composer of "Spring Bells" is The young composer Kang Zhuqing, who created the song "Pilot", which has been widely sung throughout the country since last year. At the same time as a century-old opportunity, riding on the wings of "Pilot", we have reason to believe that this young composer can ride the wind and waves and follow "Spring Bells" to reap the fruits of creation again.
Originally sung by Hong Kong singer Karen Mok, the song "So Many People in this World" was covered by mainland singer Han Hong in a different way, and achieved an unexpected stage effect, which once again showed that the successful second creation was also "creation", giving the work new value. However, the Spring Festival Gala of the Year of the Tiger has the shortcomings of having more than two times of creation and insufficient creation of one time. When listening to "So Many People in this World", the author also couldn't help but think of the mainland singer Wei Wei's "Dedication of Love", which opened the precedent of public welfare songs after singing in the Spring Festival evening in 1989. Although "Dedication of Love" and "So Many People in this World" have made the audience of the scene cry for 33 years, if the road of the work is simple, the author seems to prefer the former.
△ Song "You are the gift of my life"
In the whole Spring Festival Gala, what impressed the author the most was "You Are the Gift of My Life" (Uladon Song) jointly completed by Liu Huan and his disciple, "Good Songs of China" Liu Huan group student Uladon. If only one "beautiful" song can be selected in the 17 (individual) musical works of the Spring Festival Gala, then the author undoubtedly prefers this song "You are the gift in my life". On the surface, the song seems to depict only "the love of the ego", but the work is quite malleable, if some people understand it as a work that reflects the "great love" of the world. Just like the composer Wang Liping's masterpiece "The Sea, The Hometown", Uladon's once creation presupposes a vast space for Liu Huan's second-degree creation and the third-degree creation of the audience. Unfortunately, such works are rare at the moment and cannot be sought.
△ Musical short drama "Vientiane Rejuvenation"
In addition, the musical short drama "Vientiane Rejuvenation", the musical talk show "Happy Atmosphere Group", the special design of the Winter Olympics "Ice and Snow Shining Chinese New Year", and the original ecological scene performance "Song of the Land" have also made useful developments for the diversification of the form of this Spring Festival Gala. In particular, "Ice and Snow Shining Chinese Year" uses scientific and technological means and music content to push the artistry of this "special design" to a gratifying height.
The Spring Festival Gala of the Year of the Tiger CrossTalk Sketch: Sticking to the Body Comes from Life
Wang Xingyun
Associate Researcher of Tianjin Institute of Arts
At the Spring Festival Gala of the Year of the Tiger in 2022, a total of seven language programs were staged. These seven works have deep intentions, strong interest, practical details, high quality, each with its own characteristics, and a distinct sense of the times, which highlights the artistic pursuit of literary and art workers who "rely on painstaking efforts in creation, strength in performance, image on shaping, efficiency on quality, and reputation on virtue and art".
The persistence of the artistic ontology
There are two cross-talk works in the language program of the Spring Festival Gala of the Year of the Tiger, namely "Happy Dialect" by Jiang Kun and Dai Zhicheng, and "Like Not Like" by Lu Xin and Yu Hao. The biggest feature of the two programs is that the structure is rigorous and exquisite, the language image and humor, which can be described as an excellent cross-talk work in recent years.
What is Fine Crosstalk? Standards vary, and opinions vary. There are quite a few people who think that works that can make the audience laugh can be called fine cross-talk. Of course, making people laugh is one of the effects that crosstalk should have, but it must not be regarded as the only artistic feature of crosstalk. Cross-talk is a comprehensive language art, which should make the audience smile in the process of laying a steady and shaking. At present, some newly created cross-talk works violate the structural framework of traditional cross-talk, often piecing together various types of paragraphs into a series of ball cannon-style baggage collections, or even just relying on exaggerated expression actions and even "meat paragraphs" to create laughter. Although such a creative path may have a temporary effect, "low-style funny, bottomless indulgence, eye-catching entertainment, endless desire, there are hundreds of harms to literature and art without any benefit!" First, the audience group is at risk of loss. The cross-talk of the "baggage collection" makes the audience lack a deep aftertaste. In the long run, the audience will feel that crosstalk is just like this, and lose interest in crosstalk. Second, the actor has the worry of abandoning his skills. Since a sloppy show can make the audience laugh, why should the actors practice hard and study the singing? As a result, crosstalk will inevitably lead to decline.
The two programs of "Happy Dialect" and "Like Not Like", through the display of the basic skills of cross-talk, in the study of comic singing, show the richness of cross-talk performance skills, and practice the "ten points of cross-talk performance art" summarized by the previous artists, that is, "knowing the meaning of words, voicing words, pronunciation accurately, breathing evenly, tone pairing, stable movements, work simulation, baggage storage, teasing and harmony, and new style." ”
△ Jiang Kun and Dai Zhicheng,"Happy Dialect"
Creations derived from life
Compared with other brother arts, which can use exquisite costume props and advanced light and shadow sound control to create an audio-visual feast to entertain the audience, language programs can only be recognized by the audience by carefully cultivating the content of the program. The spring evening sketch program of the Year of the Tiger adheres to the people-centered concept of creation, and uses works full of the atmosphere of the times to depict a picture full of fireworks in the world. With unique insight, pay attention to social hotspots, focus on people's lives, observe the people's hearts and minds, tell Chinese stories from the surrounding events, and artistically start from the topics familiar to the audience to introduce the expected themes to be expressed. The scenes presented in these works, such as the father-son generation gap, youth entrepreneurship, old lai's untrustworthiness, mother-in-law relationship, epidemic prevention and control, etc., are all closely related to the audience's real life. The audience loves to be so close to their own works, thus ensuring the live effect of the performance to a certain extent.
△ Sketch "Not Yet"
A good language program is not only to have a positive theme intention, but also to organize "baggage" jokes on this basis, which is the key to ensuring the artistic quality of the work. Although the sketches of the Spring Festival Gala of the Year of the Tiger originate from daily life, they do not stop at the mechanical reproduction of life, but dig out the comedy factor from the details. With the details of life full of comedy interest, the plot conflict is cleverly set up, and the character is vividly portrayed as the base point of the audience's laughter. The stubbornness of the father in "Father and Son", the cunning of Lao Lai in "Not Yet Returned", the cocoon of creating people in "Joy and Joy", the response of the old and good people in "Red Packets", and the small family of the medical workers in the epidemic prevention and control in "The Story of the Rest Area" have left a deep impression on the audience, and then the typical characters have been created by the typical personality, so that the audience feels that the work is real and credible. The resulting effect is the "gimmick in the flesh"; the laughter of the audience is the laughter from the heart.
Edutainment is the purpose of language programs, and the contrast between positive and negative aspects can just arouse the audience's thinking. In "Not Yet", Lao Shen lost his nature in the face of money, was abducted and deceived, and became a lao lai for his own selfish interests. In "Joy and Joy", the short video taken by the daughter-in-law in order to attract attention can attract attention and deliberately highlight the shortcomings of the mother-in-law. In stark contrast, Jia Ge in "Red Packets" also sells cars and also sends red envelopes. Although it seems funny, it also shows the integrity-based concept of human life, interpreting that "people must support each other and help each other in order to go further." ”
△ Sketch "Hi on Ka hi"
The Spring Festival is a happy and happy festival for the family, and the Spring Festival Gala sketches of the Year of the Tiger have received a happy ending after experiencing the beginning and end of the plot, effectively setting off the festive atmosphere. In "Father and Son", the father finally reached a reconciliation with his son across the differences in ideas, and used his savings to fund his son's entrepreneurship; the son obtained angel investment by virtue of his own technical advantages, and his career was on a smooth path. In "The Story of the Rest Area", although the husband and wife have stumbled through the bumps, they finally uphold the benevolence of the healer and work together.
The language programs of the Spring Festival Gala of the Year of the Tiger not only make the audience feel intimate and novel; they are both intriguing and thought-provoking; and guide the audience to internalize the spirit contained in the work and externalize it in practice. It is true that there are still some points in these works that deserve in-depth polishing, but they provide a useful reference for the creation of future language programs.
The Dance of the Spring Festival Gala in the Year of the Tiger: Cultural Inheritance And Technological Innovation
Zhao Yan
He is a director of the China Literary and Art Critics Association
Editor-in-Chief of editorial department of China Stage Art Society
The family's collective viewing of the Spring Festival Gala is one of the most ceremonial activities of the Spring Festival, which is one of the few programs that can laugh and complain with parents, relatives and friends at the same time. Why do you always say that the Spring Festival Gala is still old? I thought I had never seen the world when I was a child, but now I still feel relish watching the old Spring Festival Gala video. Although the dance beauty of the Spring Festival Gala in the past was not high-tech, it contained a simple human touch and a strong New Year flavor. The author once lamented that in recent years, the visual of the Spring Festival Gala dance has reached an unprecedented extreme complexity, and the overall grandeur and prosperity are presented at the same time as the expansion and chaos of certain scenes. The choreography of the Spring Festival Gala of the Year of the Tiger in 2022 finally has the aesthetic taste and technical display that a prosperous country should have, the overall tone is set fresh and elegant, and the combination of science and technology and humanities is long and refreshing.
△ Opening "Happy and Auspicious Year"
The Spring Festival Gala should bring the audience a beautiful audio-visual enjoyment and a high-level cultural heritage. As a grand event weighed by all parties and paid attention to by the whole people, the Spring Festival Gala of the Year of the Tiger, which has both customs and elegance, is a hymn dedicated to the creators and inheritors of the long-standing traditional Chinese culture, so that the camera and the human eye can better focus. Although the visual level of language programs is still relatively jumpy, song and dance, martial arts, acrobatics and many creative programs have largely escaped the myth of the past technology flood and fancy color matching. This year, for the first time, the "Vertical Screen to Watch the Spring Festival Gala" was launched, and the switching of horizontal and vertical screens realized the new form of "cross-screen" live broadcasting, and the majority of the audience could independently choose a fresh viewing perspective through the new media platform, highlighting the youthfulness and new vitality of the Spring Festival Gala. It strives to show the spirit of the times, the advocacy of advanced science and technology, and organically combines the tribute and exploration of the historical and humanistic spirit.
The dance and poetry drama "Only This Green" is visually like stepping on the water and looking at the moon, most of which is treated with light and elegant white space, which contrasts and complements the rich simplicity of the dancers' costumes, and also provides unlimited creative possibilities for multimedia design. The costume modeling is committed to creating a dream of both real and virtual in the picture scroll, the style emphasizes the sense of thinness advocated by the Song Dynasty, combined with the hand sleeves stacked together like a mountain; the skirt type is to wrap the placket around the waist, and use its layering feeling to form a mountain-shaped cascade, presenting the elegant realm of Song aesthetics; the color extracts the head blue and stone green in the "Thousand Miles of Rivers and Mountains", and refines it to make it blend into the dance section, a touch of green and beautiful, step by step, the mountains and rivers are connected. The studio hall is set up with 130 4K cameras, through the real-time processing and production of the collected video stream, to achieve time-space condensation and multi-dimensional transformation; the use of XR, AR virtual vision technology, holographic scanning technology and 8K naked-eye 3D presentation technology, etc., break through the limitations of time and space, bring multi-level stereoscopic images to the audience, fully meet the audience's immersive viewing experience - people dance in the painting, they come from the painting, and will eventually return to the painting.
In the landscape Tai Chi "Xingyun Flowing Water", three young martial artists are filmed at a high altitude on the top floor of the landmark buildings in the three cities of Shanghai and Chongqing, from the "three-piece set" of Lujiazui, the Chongqing United International Building to the "Little Wild Waist" Canton Tower, in the clouds and fog, one move and one style, showing their fists and feet, the beauty of the sea of clouds at the top of the steel jungle is vividly displayed in the ultimate mirror, bringing the audience a sense of seeing contemporary martial arts blockbusters. Traditional Chinese martial arts collide with the elements of the modern urban landscape, reflecting the conflict and harmony between man, nature and the city with strong visual senses.
△ Opera "Endless Pear Garden Love"
The opera "Endless Pear Garden Love" uses the traditional aesthetic elements of ancient architectural pavilions and pavilions to design, showing the profound history of traditional opera art and the contemporary value of grandeur, and the color tone is also organically connected with the classical beauty of the costumes of the opera characters. For the first time, the studio uses LED screens to create a 720-degree dome space, and the giant curtain dome design makes the audience seat and the main stage blend together. The 4306 square meters of LED screen constitutes a highly malleable stereoscopic studio space, which breaks through the space limitations of building environmental beauty with visual layers.
△ Martial arts short drama "Milk Tiger Xiao Chun"
The little tiger baby with adventurous temperament, immortal faith and inheritance responsibility in the martial arts short drama "Milk Tiger Xiaochun" contains the great spirit of the Chinese nation to brave difficulties and forge ahead. The kung fu boys use the human body as a mountain posture, and their action choreography is vivid and lively, full of interesting aura, and uses the hypothetical expression of the limbs to express the tiger baby climbing the mountain and wading through many difficulties and obstacles, and finally bravely breaking through the three levels. The actor is defined as the subject of stage beauty, which means that his return becomes the most core element.
The children's dance "Star Dream" puts the vast cosmic stars on the stage, reflecting the major development achievements of China's aerospace from the perspective of children, AR and multimedia integration create an immersive performance experience, and the performances of the young actors are completed in the sea of stars that stimulate unlimited imagination. The little girl who shouted "Mom, pick a star for me to come back" in a childish voice is the daughter of astronaut Wang Yaping, and the star is the Wi-Fi signal for her and her mother, which not only highlights the theme idea movingly, but also creates the ultimate romance exclusive to Chinese.
The creative dance "Golden Face" first released the latest national first-class cultural relics unearthed by Sanxingdui - bronze mask, expressing the thick history of Chinese civilization, the yearning for a better life, the pursuit of love and the dedication to beauty with an archaeological background. The ancient Shu culture clothing modeling has both characteristics and difficulties, and the elements are taken from Sanxingdui cultural relics, but there can be no specific sense of dynasty. Cinematic means of filming, through CG design + optical motion capture technology, has created a romantic, mysterious, aesthetic and dynamic visual feast.
The creative music and dance poetry painting "Remembering Jiangnan" is another major visual highlight. The two "Fuchun Mountain Residence Maps" from the Zhejiang Provincial Museum and the Taipei Museum were once again combined on the stage of the Spring Festival Gala in the Year of the Tiger, conveying the purpose of cross-strait cultural integration through exquisite art forms. The program does not adhere to the monochromatic ink of the original painting, and partially combines the "light daisy" technique in some Chinese paintings, with light flower blue and ochre colors. Huang Gongwang's famous paintings of the Yuan Dynasty were split into more than 250 Elements of Chinese Painting, and the structure retained the ancient meaning while integrating modern treatment, forming an unprecedented three-dimensional dynamic space. The costume is shaped in the main color of theo brown silk, and the silk material creates a flowing and translucent, otherworldly texture and texture. The program uses CG and other special effects to integrate traditional arts such as poetry, books, paintings, and printing, and the fishermen, woodcutters, walkers, and readers who span more than 600 years in the paintings shuttle through time and shade to the audience.
The Spring Festival Gala of the Year of the Tiger tells us that the technological innovation of stage art should be a tool and carrier to enhance aesthetic awareness, which greatly expands the imagination and possibilities of literary and artistic content, and should not let the content be kidnapped by it. People are the real disseminators and inheritors of excellent culture in the flow of time.
△ Director of the China Literary and Art Critics Association, News Center of the Central Broadcasting Corporation
Reporter Pei Fei interviewed the artists who participated in the Spring Festival Gala
(Source: China Literature and Art Review WeChat)