In the dim light, a beautiful woman dressed in a bright and beautiful cheongsam appeared from the side of the stage, she looked anxious, hurried, carrying a small handbag, and appeared under the oppressive and deep background music.
The lights flashed, as if returning to the old prosperous Tangxi Fengyue old place. The woman looked around, looking for and seeking, sometimes eagerly moving forward, sometimes hiding her face and crying, unable to hide the infinite sorrow in her heart.
Just when the audience was affected by her emotions and was sad and depressed, a woman turned around and appeared, the woman was already smiling, charming, as if recalling the original spring breeze and the infinite scenery.
"Rouge Buckle" is divided into three sections, the first section shows the flashy and tragic life of the troubled times like flowers; The second paragraph reflects the bleak state of the world, the embarrassment of life and the tenacious will to fight against fate;
The last section is accompanied by the music "Burial Heart", which expresses Ruhua's disappointment and sadness in life. In order to portray the characters, the choreographer boldly innovated and integrated a variety of elements with dance movements and dance styles.
Among them, there are a large number of facial expressions to express emotions and express the heart, a look, a frown depicts the inner torment of a woman who has gone through the world and is difficult to obstacle;
It also uses narrative movements to express the scene and express the development of events, such as the movements of dance are mostly completed on half-toes, and the thin and fragmented steps show that the life of a woman at the bottom of the society is not easy, and it is difficult to walk an inch, and it also simulates the anxiety and eagerness of looking for people like flowers;
In the dance, many arms are raised upwards to express Ruhua's yearning and expectation for life and love. It is worth noting that in the last paragraph, the joy is short-lived, and when Ruhua decides to give up the chase with reluctance and disappointment, and no longer be crazy about love, she steps on a slow pace.
Walked to the center of the stage with a dull gaze, suddenly stopped, stood on her heels, threw her head back with her lower chest and waist, forming a severed head, and at the same time stretched out an arm and touched it upward, as if she wanted to touch the untouchable stars, showing her despair of this love, and also foreshadowing the tragic end of this love.
Mr. Feng Shuangbai said: "The creation of a unique artistic image will become the primary issue in the development of the Chinese dance world, and the popular exploration of language and technique will give way more to a deeper image building." ”
It can be seen that the accurate shaping of a character image plays an important role in dance works. Relying on literary texts, "Cousin Mei" uses a variety of artistic techniques such as "repetition", "contrast" and "exaggeration" to focus on portraying the characters, characters and emotional experiences, and uses the prop plum tree to express her affection and thoughts for Juexin.
In the design of the dance movements, the choreographer paid good attention to the identity and character of the character, Mei is a lady with poetry and books, and her mood is depressed and eventually becomes ill, and she often coughs up blood, so she holds a handkerchief in her right hand, and her movements are dignified and in line with her identity, and she can see that she is weak.
At the beginning of the dance, she stood quietly on the stage, holding a handkerchief in her right hand to cover her chest, her left hand behind her back, stepping back with her right foot, facing the audience sideways, her back upright, her breath sinking, and the void was weak, outlining a basic human figure.
Another example is that after three large-scale freeze-frame movements on the front of the stage, the body sank and shifted the center of gravity backwards, and returned to the center of the stage with small steps to stand, and a mouthful of blood spat on the handkerchief.
The choreographer uses a lot of movements from life in the choreography, the movements do not have too many "big openings and closings", almost all of them are very weak, and he pays great attention to the portrayal of the details of the characters, such as bowing her head and thinking, wanting to walk and stop to express her inner entanglement, wanting to grasp something but reluctant to give up, and the big jumps and spins in the climax part all show her inner struggle and chaos.
Both of these works are excellent plays, so there is no doubt that both the conception and the structure are excellent, especially in the characterization, both works pay good attention to the portrayal of details, because there are thousands of characters.
Their differences can only be reflected through the details of stage movements, "Rouge Buckle" is like a flower, all the characters revolve around the characteristics of the wind and dust woman, so whether she is sad, disappointed, proud or even desperate in the end, her eyes, demeanor, and posture always convey this message.
"Cousin Mei" starts from the two points of everyone's beauty and frailty, and makes the characters as vivid as possible. Through the three aspects of work and background, character and character, movement and meaning, the similarities and differences between the two dance works "Rouge Buckle" and "Cousin Mei at Home" are analyzed.
It can be seen that each work does not exist independently, from the creative prototype, to the creative process to the final presentation, there are more or less connections and references, but each work has its own more focused expression and theme, but in general, dance and literature are actually the same, it is a big system, in which everyone learns from each other, supports each other, and makes progress together.
