Form And Meaning

The body is the carrier and premise of dance art,and technology is one of the elements of the presentation of dance works.The latter is not only a form of expression,but also gives a deeper meaning to the body and the work."If the skin does not exist,the hair will be attached to it." "Technology" is born from one’s body,prospered for art,and finally comparable to Fu.Unskilled art is unimaginable and impossible to talk about.The body is the primary research object of somaesthetics.The concept of "somaesthetics" was first proposed by Richard Shusterman in 1996.On the basis of inheriting and promoting Nietzsche’s theory of somaesthetics,he based on his unique position of neo-pragmatism philosophy and aesthetics,reflecting and rethinking Philosophy,art and aesthetics are defined and closely linked to the body.Shusterman’s somaesthetics focuses on the attention and acquisition of body consciousness."Dance is the most representative art of somaesthetics",which is a concept mentioned in many of his aesthetic works.Later somaesthetics researchers based on this In the past,dance as an independent art form continued to expand and enrich the method of somaesthetics for dance research,but few scholars linked it with the technical function of dance.Therefore,from the perspective of "somatoesthetics",using techniques to enter Dao,use Dao to transform techniques,and use Dao to discuss techniques,observe and explore the value and functionality of dance techniques,and analyze the rational application of dance techniques in dance performance and creation.Presenting and interpreting the dancer’s grasp and expression of technology in combination with the works are the problem occurrence and research focus of this thesis.The main body of this thesis is divided into three chapters.Chapter 1,"Homage to the Body: A Brief Commentary on ’Somaesthetics’ ".They are,the first section,on "somaesthetics";the second section,the natural body and the artistic body;the third section,the dancer and the dancing body.It mainly clarifies the theoretical viewpoints and development changes of "somaesthetics",discusses the special significance of the body in art,and especially emphasizes the importance of the body in dance.Chapter 2,"Tracing the Origin: Analysis of the Causes and Types of Chinese and Foreign Dance Techniques".This chapter is divided into two sections,the first section,domestic: using history as the warp to identify the tide;the second section abroad: using dance as the weft to see the change.Combined with the relevant historical relics,phenomena and dance works in the history of dance at home and abroad,the causes and types of them are briefly analyzed and analyzed,and the types,origin and development of the technicality of body movements are further explored.Chapter 3,"Discrimination of Function: Quotation and Interpretation of Chinese and Foreign Dance Works".Fragmentation and shape are at your heart’s pace,with ease;the road is one foot high,and the skill is ten feet high;the skill without skill is wind and water in three sections,analyzes some typical dance works,and then explains the functional value of body technology in dance art.In the conclusion part,the functional significance of dance technical skills is analyzed and summarized from four aspects: "theme dimension excavation","psychological path extension","role positioning improvement" and "emotional climax boosting",and explains that the meaning is contained in the form,the form is presented by technology,and the technology is contained in the body,which once again emphasizes the important meaning of dance technology under the observation of "somatoesthetics".In general,the research on the function of dance technology in this paper focuses on the reflection and examination of the body-technology-form-meaning,and is based on the relationship between "shu" and "dao" in Chinese dance art and the purpose of development,I hope that the attention and research on this proposition can make a small contribution to the cause that I love.