Inspiration From Mei Lanfang's "Three Times Lying On The Fish" On The Meaning Of Body Rhyme And Vocabulary

In Mei Lanfang’s "Forty Years of Stage Life","The Drunken Concubine" once said: "These three lying fishes,I know that the seniors only squat down and do not have the figure of sniffing flowers.After I learnt it,they are Follow the same pattern as the gourd,and every time I perform,I always think this dance figure is valuable,but the question is,what do you do? What does it have to do with the plot?" Under this question,Mei Lanfang’s accidental act of sniffing flowers became an excellent opportunity for him to change the meaning of vocabulary.Why would the sniffing flowers in life be called "like a lying fish" by friends instead of other shapes? This question inspired the author to explore for actors How does his performance give new interpretation meaning to the original vocabulary ontology,and what is more important to think about is the basis for giving it meaning? What are the methods and approaches? Mei Lanfang turns the stylized lying fish into a state of drunkenness and smelling flowers.What he thinks about is a god that exists beyond form,a re-interpretation of the meaning of "crouching fish" and different semantic connotations based on context.There is a subtle relationship of heterogeneity and the same structure.In this way,the body rhyme vocabulary of Chinese classical dance is reflected.Its body has had its germinal properties after breaking the law of opera and martial arts terminology.Teacher Tang Mancheng also uses "Body rhyme has no era" points out the functional attributes of body rhyme expressing space,so the author needs to explore how to enter and break out of the law in terms of adaptability to specific subjects,and find out based on the aesthetic attributes of the ontology.The basic way and way of the development of vocabulary meaning.