The Research For The20^th Century American Modern Dance Drawing On The Experience Of The Oriental Culture

This thesis targets on the drawing on experience of the oriental cultrue phenomenon of the20th century American modern dance. It takes there presentative figure of the fourth converted generation as a study case and uses the research methods for health-related linguistics and translation linguistics, comparative poetics and sociology to have a profound understanding of how the American modern dance learned from Eastern philosophy and the wisdom of the body to form the different foundations for each period of time and the bases of the artists. In the horizontal axis it uses the method of peeling typical layersfrom the general; in the longitudinal axial it concentrates on the revolution and the formation period of time rather than the stable and mature time. Through paying attention to the stability and uninterrupted level of body language, we can understand how the American modern dancedrawing on the oriental cultural, what their cultural needs and what is the balances and backwash of the local language; In the case of the flexibility and generative levels of body language we will discuss as a completely opposite culture, how the Oriental art could bring to American modern dance the cultural shock and complementary sense when it’s at bottleneck. With efforts we will try to distinguish the degree of each time’s cultural drawing on, cultural misunderstanding, cultural creation, as well as the mental and physical ability of the translators; We will analyze the overall cultural patterns and different historical stages of the20th century art while concerning theintegrity of the art forms to highlight how profound the Oriental thoughts have impacted the entire U.S. contemporary art in some specific cultural events. Gradually, the cultural functions of the drawing on experience of the oriental cultural appeared. We should know how the20th century American modern dance breaks from the lookout to the east exotic culture has gradually established the concept of cultural dances from innovation effortin the local culture. Focus on watching all previous confusion and found in the process of drawing on, lessons and experiments, from the selection and utility, and the fusion, transformation and innovation, constantly adjust in time and cultural conflict, reconciliation, final deep cognition and backwash to both the art model. In this paper, all chapters follow the order of research, which firstly explain practical analysis, afterwards theoretical interpretation. Phenomenon is observed in first, after the law. On the basis of the modern dance development in different historical stages, the transition of the art development and differentiation, dividing this paper into five chapters:the first four chapters analysis the intercultural translation practice, the fifth chapter is the study of intercultural translation rule and utility. First four chapters are following an unified logic and level, namely:the way of drawing on experience of the oriental, the result of drawing on experience of the oriental,the reason and analysis of drawing on experience of the orientalto achieve the effect (translational power and influence)-turn draw on the experience of the oriental culture utility on demand (native culture and cultural breakthrough under cross-cultural checks and balances on both sides). Specifically, in the first chapter about Ruth Saint Denis’translation studies of Oriental Body Dignity, Dennis in his early-stage art (early20th century), although under the background of distant of oriental dance and religious philosophy, he imagined collage of multiple elements of oriental culture, from which to choose his own and the quality of the sacred temple dance balanced by local European traditional dance and dance immigration of United States, in order to achieve reconstruction of dance in body and mind, giving the possibility of dance to express serious topics and sacred emotion, then completing the cultural needs of building up localized modern dance in the20th century. In the second chapter about Martha Graeme’s translation studies of oriental body energy concept, Graeme who broke away from the style of Dennis’s dance group is in the period of generating his personal style (20s and30s of20th century). He was focusing on how to use Java, Bali dance especially India yoga body energy concept and ground motion posture to change the emphasis of respiratory and abdominal power, and to add oriental multi-level nourishing of integrated resources, to form a style which is different from both Dennis’ traditional dance moves and traditional Indian culture embedded body style. The new dance style concealed and watered down identifiable symbols in the east. In the rebellious body power, it reached the corresponding relationship among dancers and reality existence of American modern dance, culture of the times and aesthetic demand. In the third chapter about Kemp Cunningham’s translation studies of randomness in Oriental philosophy, Mr. Cunningham, in the help of his fellow assistant John Cage who is in professional research of music translation in Zen philosophy, and the assistance of Robert Lawson who is a professional in stage settings and paintings translation, under the background that in the50s of20th century American abstract art genres development context and the demands of getting rid of the dance drama factors of Graeme overweight in traditional dance logic, he managed to translate the randomness of oriental Zen and "I-Ching" into randomness body and stage, dismantling the aesthetic smoothness and comfortableness of dance, then adapting the norm of improvisation for his new dance concept. Kemp finished conceptualization important turns in20th century American modern body dance. In the fourth chapter of Teresa brown of Oriental body ZiZaiXing translation study, explains Mr Brown in succession candy Cunningham opportunities and under the premise of daily actions as the traditional balance of power, in the sixties of the20th century the context of everyday objects become art theme, how to Orient’s body relaxation and eastern in the philosophy of zhuang zi "swim" translated into a way of power is from the creative logic to wanton and ease, under the Jia Dexun theatre dancer group power out of camp Cunningham body technology program and the method of opportunity, and through the transfer of humanity reached American modern dancers to participate in social issue new voice and status. In chapter five, of the United States law and the value of the modern dance draw on the experience of the oriental culture, draw on the experience of the oriental culture will be divided into eight stages, namely:cultural dilemma and demand, cultural exploration and discovery, cultural conflict and the selection and reference, cultural misreading and translation, cultural integration and understanding to generate breakthrough and innovation, and transformation etc. Draw on the experience of the oriental culture reveals the modern dance artistic value, social value and the philosophy of value. It provides extension of draw on the experience of the oriental culture practice of the modern dance a method to be translated to source of oriental culture’s influence and touches. The concluding chapter looking out and accepting the cross-cultural supplies, Oriental traditional culture vitality of modern dance in the United States, and how to face the end of western art theory forecast; it reveals the cross-cultural body translation after the two world wars, and after half a century of cold war, in the face of receiving the insights of the current human civilization as well as in the process of extreme development "globalization" of heterogeneous culture, under the pattern of innovative, high quality civilized continuation, native culture and so on.