The Study On The Creative Changes And Aesthetic Formulas Of Small-sized Chinese Mongolian Dance Works

This thesis investigates the situation of Chinese Mongolian dance works, as well as the creative changes of aesthetic formulas on each stage. However, it doesn’t stay on general historical research; it applies the integrative method combing different subjects, and discovers the inner disciplinary from a special angle.This thesis is divided into four parts. The first part is introduction. Firstly, it expounds the reason of research, the current researching situation, the values in academic field, and the researching method. The second part is chapter one, it uses the method of historical material reference, and describes the general situation of traditional Mongolian dance from ancient times to the days before 1946 in five stages, and summaries the aesthetic features carefully of five stages. This part applies the basis of historical background for later research, and it gives the preparation for the later discussion on the change of aesthetic formulas on small-sized dance works from ancient times to nowadays.The third part includes chapter two, three and four. It investigates Chinese Mongolian dance works on stage in three sections which are 1946 to 1965,1966 to 1977, 1978 till nowadays. This part solves three main problems. Firstly, it bases on the historical reference, and applies the method of oral history and dance-ecology, in order to describe the situation of small-sized Chinese Mongolian dance works on each stage. Secondly, it elaborates the structure of aesthetic formulas on each stage, from aesthetic concept, theme of work, aesthetic characteristics of language in work. Thirdly, it clarifies the markedness in the contrast of the former stage on aesthetic formulas, applying the method of semeiology in cultural and artistic field.The fourth part is conclusion. Firstly, it differentiates the conception of markedness and its overturn in cultural semeiology. Secondly, it puts aesthetic formulas of Chinese Mongolian dance works on stage in entire social system. This part elaborates middle terms, namely social identity, including policy guide, identity of professional group, and identity of ordinary recipient group, elaborates the transformation of the marked and the unmarked, and elucidates the function of evolvement of aesthetic formulas, in order to show the overturn of markedness of aesthetic formulas on Chinese Mongolian dance works on stage.This thesis paper tries to avoid the general method of history and aesthetic research. It analyzes the logical relationship behind the differences of aesthetic formulas on each stage. It also elaborates how the differences are accepted by society and become the main stream of era through overturning. The answers to these questions are in favor of building a tridimensional and dynamic historical frame of axes in social environment. Although we could not calculate the future tendency through previous statistics on frame of axes as geometry, we could find some clues, or obtain a footstone on thought for future development.