文章以300位舞蹈艺考生为研究对象,以文献资料法、访谈法、测试法、数据分析法,运用FMS(Functional Movement Screen)功能性动作筛查对舞蹈艺考生进行测试与研究。从结果中看出,舞蹈艺考生受伤主要是由不良的脊柱稳定性和错误的动作模...文章以300位舞蹈艺考生为研究对象,以文献资料法、访谈法、测试法、数据分析法,运用FMS(Functional Movement Screen)功能性动作筛查对舞蹈艺考生进行测试与研究。从结果中看出,舞蹈艺考生受伤主要是由不良的脊柱稳定性和错误的动作模式造成的动作代偿导致的。本研究通过对舞蹈艺考生基本动作模式、灵活性、稳定性等方面的测评找到学生身体易受伤的原因,使舞蹈艺考生提高训练效率,降低受伤风险,纠正动作模式,为其备考训练提供科学有效的理论支持。展开更多
The purpose of this paper is to analyze the reception of Wagner＇s approaches to Greek antiquity by Greek musicologists and composers which took place at the first half of the 20th century. Wagner＇s such readings wer...The purpose of this paper is to analyze the reception of Wagner＇s approaches to Greek antiquity by Greek musicologists and composers which took place at the first half of the 20th century. Wagner＇s such readings were parts of wider narrations of archeology and how Greeks perceived their past.This research is largely based on primary sources of that time; its arguments construct two levels of critique： （1） Admiration （the ＇proper＇ aesthetic examples are German models, as exemplified in Wagner＇s work）; and （2） ＂Hellenism＂ as a means to distancing from Wagner （The past of ancient Greece is still believed to be better understood by the Greeks）. The principal conclusions are： （1） Wagner＇s views were admired because Wagner＇s example （ancient culture） should also be an example for Greek composers; and （2） Wagner＇s views were judged on the grounds of： Ideology： the expression of the ＂soul＂; the theory of ＂historic continuity＂; the balance between music, poetry, and dance; Wagner gave superiority to music, modem Greeks （should） give a predominant role to language as a means of expression in an ancient drama, or achieve a balance among the three arts of music, poetry, and dance.展开更多
Chinese classical dance contains a profound connotation of Chinese traditional culture, with distinctive forms of performance and aesthetic characteristics. In the world of multi-cultttral communion, the development o...Chinese classical dance contains a profound connotation of Chinese traditional culture, with distinctive forms of performance and aesthetic characteristics. In the world of multi-cultttral communion, the development of Chinese classical dance needs to be inherited on the basis of traditional culture to inject more innovation, highlight its unique artistic aesthetic value and deep national culture contains. In this paper, the development course, aesthetic characteristics and classical dance form of Chinese classical dance are expounded. From the perspectives of historical cultural inheritance, classical dance culture cultivation and dance culture innovation, the feasibility measures and measures are put forward in order to explore the effective path and methods to developing Chinese classical dance, which gives excellent national dance art inheritance, development and innovation.展开更多
The ultimate goal of college personnel training is ＂comprehensively implementing quality-oriented education and cultivating innovation-oriented personnel＂. The application of ＂harmonious teaching method＂ in the sp...The ultimate goal of college personnel training is ＂comprehensively implementing quality-oriented education and cultivating innovation-oriented personnel＂. The application of ＂harmonious teaching method＂ in the sports dance teaching of general colleges can help theoretically analyze the teaching process of existing sports dance actions and reveal the main reason for the gap with the goal of ＂comprehensive harmonious development＂, and also can verify the theoretical analysis results. Therefore, using teaching experiment method, experiment class and control class were selected for implementing two different teaching methods. Difference T test of small samples average was made on the acquired data for revealing the teaching effect difference between two different teaching methods. The result shows that the difference between two teaching methods was significant. The application of ＂harmonious teaching method＂ in the sports dance teaching of physical education of general colleges plays a certain positive role in training the comprehensive and harmonious moral, intellectual and physical developments of college students.展开更多
One of the most intellectually challenging and perhaps rewarding engagements in any creative endeavour, be it written literature or performance, is decrypting the metaphorical construct imbued in such a work, within t...One of the most intellectually challenging and perhaps rewarding engagements in any creative endeavour, be it written literature or performance, is decrypting the metaphorical construct imbued in such a work, within the confines of the intentions of the writer or performer. Beyond coded speech, dance and choreography are works of art which make use of symbols to communicate man＇s thought, experience, and emotions. These symbols are conveyed basically through movement and they are forms of artistic expression to which all men, across climes, can respond, be it in a live performance or recorded video film. More than ever before, the music video film has taken a great place of prominence in the entertainment circles the world over, and musical choreography has become a major tool, used by singers, musicians, and music producers in these video films to enhance their creative output and make their productions more appealing both for economic and aesthetic purposes. This paper examines the motifs of dance and choreography in two Nigerian music videos, namely, Olori Oko （2006） by a Gospel group called Infinity and Roll It （2007） by a hip-hop group named P. Sqanre. The paper investigates the themes of the music, the concepts of the dances, and the styles of choreography in both works. The paper concludes that though both works belong to different genres, they are each successful in their own rights and have both contributed in elevating the standards in the practice of dance and choreography in Nigerian music video film.展开更多
How can choreography and physical theatre pieces continue to perpetuate the work after rendering？ How to preserve their aura, their dynamics, and their ephemeral and genuine nature, as Walter Benjamin said？ In 1936,...How can choreography and physical theatre pieces continue to perpetuate the work after rendering？ How to preserve their aura, their dynamics, and their ephemeral and genuine nature, as Walter Benjamin said？ In 1936, Benjamin already anticipated in The Work of Art in the Age of lts Technological Reproducibility that something is missing even in the best-finished reproduction. And memories of dance and physical theatre are intricate. The question is how to create a type of documentation that does not betray the vital flow of the event-based phenomenon. In this short article we will see a series of choreographic and performance artists like Esther Ferrer, Ayara Hern^indez Holz, and Olga de Soto who claimed a new form of organic documentation, making it turn performance or memory of viewers. Other creators as the company La Fura dels Baus claim documentation as spectacle and others on the opposite side, as Tino Sehgal propose radically non documentation of their work. Precisely, these different positions coincide with those of thinkers like Peggy Phelan, Sarah Bay-Cheng, or Paula Caspao who respect to a range of documentation and how it can never replace the live art.展开更多
文摘文章以300位舞蹈艺考生为研究对象,以文献资料法、访谈法、测试法、数据分析法,运用FMS(Functional Movement Screen)功能性动作筛查对舞蹈艺考生进行测试与研究。从结果中看出,舞蹈艺考生受伤主要是由不良的脊柱稳定性和错误的动作模式造成的动作代偿导致的。本研究通过对舞蹈艺考生基本动作模式、灵活性、稳定性等方面的测评找到学生身体易受伤的原因,使舞蹈艺考生提高训练效率,降低受伤风险,纠正动作模式,为其备考训练提供科学有效的理论支持。
文摘The purpose of this paper is to analyze the reception of Wagner＇s approaches to Greek antiquity by Greek musicologists and composers which took place at the first half of the 20th century. Wagner＇s such readings were parts of wider narrations of archeology and how Greeks perceived their past.This research is largely based on primary sources of that time; its arguments construct two levels of critique： （1） Admiration （the ＇proper＇ aesthetic examples are German models, as exemplified in Wagner＇s work）; and （2） ＂Hellenism＂ as a means to distancing from Wagner （The past of ancient Greece is still believed to be better understood by the Greeks）. The principal conclusions are： （1） Wagner＇s views were admired because Wagner＇s example （ancient culture） should also be an example for Greek composers; and （2） Wagner＇s views were judged on the grounds of： Ideology： the expression of the ＂soul＂; the theory of ＂historic continuity＂; the balance between music, poetry, and dance; Wagner gave superiority to music, modem Greeks （should） give a predominant role to language as a means of expression in an ancient drama, or achieve a balance among the three arts of music, poetry, and dance.
基金This paper is Supported by the Youth Science Foundation of Henan University of Science and Technology （Grant No. 2104SQN020）
文摘Chinese classical dance contains a profound connotation of Chinese traditional culture, with distinctive forms of performance and aesthetic characteristics. In the world of multi-cultttral communion, the development of Chinese classical dance needs to be inherited on the basis of traditional culture to inject more innovation, highlight its unique artistic aesthetic value and deep national culture contains. In this paper, the development course, aesthetic characteristics and classical dance form of Chinese classical dance are expounded. From the perspectives of historical cultural inheritance, classical dance culture cultivation and dance culture innovation, the feasibility measures and measures are put forward in order to explore the effective path and methods to developing Chinese classical dance, which gives excellent national dance art inheritance, development and innovation.
文摘The ultimate goal of college personnel training is ＂comprehensively implementing quality-oriented education and cultivating innovation-oriented personnel＂. The application of ＂harmonious teaching method＂ in the sports dance teaching of general colleges can help theoretically analyze the teaching process of existing sports dance actions and reveal the main reason for the gap with the goal of ＂comprehensive harmonious development＂, and also can verify the theoretical analysis results. Therefore, using teaching experiment method, experiment class and control class were selected for implementing two different teaching methods. Difference T test of small samples average was made on the acquired data for revealing the teaching effect difference between two different teaching methods. The result shows that the difference between two teaching methods was significant. The application of ＂harmonious teaching method＂ in the sports dance teaching of physical education of general colleges plays a certain positive role in training the comprehensive and harmonious moral, intellectual and physical developments of college students.
文摘One of the most intellectually challenging and perhaps rewarding engagements in any creative endeavour, be it written literature or performance, is decrypting the metaphorical construct imbued in such a work, within the confines of the intentions of the writer or performer. Beyond coded speech, dance and choreography are works of art which make use of symbols to communicate man＇s thought, experience, and emotions. These symbols are conveyed basically through movement and they are forms of artistic expression to which all men, across climes, can respond, be it in a live performance or recorded video film. More than ever before, the music video film has taken a great place of prominence in the entertainment circles the world over, and musical choreography has become a major tool, used by singers, musicians, and music producers in these video films to enhance their creative output and make their productions more appealing both for economic and aesthetic purposes. This paper examines the motifs of dance and choreography in two Nigerian music videos, namely, Olori Oko （2006） by a Gospel group called Infinity and Roll It （2007） by a hip-hop group named P. Sqanre. The paper investigates the themes of the music, the concepts of the dances, and the styles of choreography in both works. The paper concludes that though both works belong to different genres, they are each successful in their own rights and have both contributed in elevating the standards in the practice of dance and choreography in Nigerian music video film.
文摘How can choreography and physical theatre pieces continue to perpetuate the work after rendering？ How to preserve their aura, their dynamics, and their ephemeral and genuine nature, as Walter Benjamin said？ In 1936, Benjamin already anticipated in The Work of Art in the Age of lts Technological Reproducibility that something is missing even in the best-finished reproduction. And memories of dance and physical theatre are intricate. The question is how to create a type of documentation that does not betray the vital flow of the event-based phenomenon. In this short article we will see a series of choreographic and performance artists like Esther Ferrer, Ayara Hern^indez Holz, and Olga de Soto who claimed a new form of organic documentation, making it turn performance or memory of viewers. Other creators as the company La Fura dels Baus claim documentation as spectacle and others on the opposite side, as Tino Sehgal propose radically non documentation of their work. Precisely, these different positions coincide with those of thinkers like Peggy Phelan, Sarah Bay-Cheng, or Paula Caspao who respect to a range of documentation and how it can never replace the live art.
