A Case Study Of Igor Moiseyev's Stage Folk Dance Creation From The Perspective Of Cross-Cultural Communication

The stage folk dance genre invented by the Ukrainian-Russian choreographer Igor Moiseyev has unprecedentedly promoted the self-entertaining folk dance up to the level of a professional art form,and his practices and concepts have pushed forward the exchange and spread of folk dance culture,thus enhancing the development and prosperity of folk dance culture all over the world.Looking at the entire career of Moiseyev,his stage folk dance has developed and matured exactly in the cross-cultural communication;and at the same time,it has affected the professionalization of folk dance in other countries through the cross-cultural communication.As a result,the development of stage folk dance in China is such a typical case.Intercultural dance exchanges between Moiseyev and Chinese dance world have had a profound impact on the development of professionalization of Chinese stage folk dance,as well as an important significance for Moiseyev's own creative practice.This M.A.thesis takes Moiseyev's stage folk dance as its research object,and explores the creative experience of Moiseyev's stage folk dance,with a particular attention to the question on how Moiseyev's works have successfully spread to the world from the perspective of cross-cultural communication.In view of the dynamic nature of cross-cultural communication,this thesis specifically combs the history of the cross-cultural dance exchanges between Moiseyev and Chinese dance world and analyzes the creative method of Moiseyev through this bilateral activities,so as to provide a reference for the development of contemporary Chinese stage folk dance,in the hope of helping it shining on the international stage as successfully as what Moiseyev's has done.This thesis is divided into three chapters,which tries to point to the three important advances in Moiseyev's creative practices.The first chapter "From Folk to Stage" combs the formation of Moiseyev's school of stage folk dance creation,and summarizes his basic approaches to this particular choreography;The second chapter "From Russia to China" takes the very first tour of Moiseyev and his folk dance company to China in 1954 as a typical case study,in which Chinese folk dance creation has developed up to a professional way while Moiseyev has adapted several Chinese folk dances in a smart way,and examines how the both sides have benefited from it;The third chapter "From an individual to the world" explores the psychological roots of Moiseyev behind these three advances,and summarizes the essential experience of Moiseyev in his stage dance creativities and cross cultural communications.While crossing the river of time and maintaining the cultural differences,the Moiseyev's stage folk dances with global themes have swept the world stages in such a cheerful way,and provided such cheerful and positive energy for the people of all over the world.Therefore,I strongly believe that facing the great pressure and severe depression brought by the increasing industrialization and urbanization,the value and significance of Moiseyev 's stage folk dance for our "Community with a Shared Future for Mankind" should not be limited to the fields of artistic creativities or cultural communication,instead,they should absolutely awaken the originally “cheerful” nature of folk dance for the purpose of relieving and even curing all these city diseases common to all mankind.