The Study Of Dynamic Sculptural Shapes In Theater

In the 20th century,Greenberg’s theatrical claims of formal simplification and minimalism promoted the reconstruction of the visual language of art.The traditional grand narrative gradually dissolves,and the perception of the overall style of the work is strengthened.For the orderly construction of works in theatrical space,visual perception is not a collection of constructivism and empiricism,but a grasp of meaningful overall structural styles.In the overall context improvement of dynamic sculpture,it pays attention to the "schema" of shape,and analyzes the visual perception changes of movement and form in the viewer.This paper attempts to illustrate the observer’s visual perception representation and influencing factors of the perceptual experience of dynamic sculpture in the overall situation construction of theatrical space.In the cognition of movement,creation and perception are separated.In the creation of the body,because the trajectory is spatial and divisible,the thinking and consciousness transmitted by the movement mostly present visual characteristics in the trajectory of the shape,while in perception,movement and time are based on the continuous existence of intuition,and the gestalt aesthetics builds a bridge between creation and cognition from the perceptual feedback of the overall style of"shape" and the organizational relationship.The "schema" beauty of the shape is more consistent with the aesthetic logic of the viewer’s visual perception.The language of form in theatrical is based on Greenberg’s formalist paintings,following the principle of formal simplification.However,there are also doubts,believing that "things" should get rid of the visuality of painting,and when "objects"are in a specific space,the "interaction" of the viewer can highlight the self-value of"things".Theatricalization thus transitions to the construction of the overall situation.This paper breaks through the barriers of the expressive research of dynamic sculpture based on movement technology,absorbs the research results of Gestalt aesthetics on shape,and uses the visual characteristics of dynamic sculpture to perceptual psychology in the overall context.Using philology,iconography,aesthetic psychology and other methods,this paper discusses the morphological representation of dynamic sculpture in "object","place" and "viewer",as well as the influencing factors and aesthetic value attributes under the framework of theatrical spatial representation.In the specific discussion,the first chapter analyzes and discusses the three elements that affect the composition of theatrical space,and so on the overall visual perception style of dynamic sculpture in the intervention of the shape in the contextualized space,so as to establish the support and visual quality of the perspective for the paradigm of the movement sculpture.Chapter 2 takes the cognitive iteration of form,the perception of shape in theatrical space,the construction of gestalt in theatrical space,and the expression of shape in dynamic sculpture as the context,and sorts out the correlation between the perception of theatrical spatial shape and the visual presentation of dynamic sculpture.Based on the particularity of movement and the separation of perception and performance,Chapter 3 explores the expression orientation of movement factors in space,analyzes the harmony point of movement and form expression,and establishes an entry point for the creation of formal language.Chapter 4 demonstrates the aesthetic value of dynamic sculpture in theatricalization,gets rid of the rigid influence of shape as a technical attachment point for dynamic sculpture expression,reconstructs the aesthetic resonance of the viewer,and creates the emotional atmosphere of the overall style of the work.