The Construction Of The Paradigm Of Stage "Sense Of Place" Folk Dances

As a folk art form that carries "vernacular","ethnicity" and "modernity",folk dance has played an important role in the development of Chinese folk art in the past century.Therefore,it has been a long-standing object of study in art,folklore,history,and anthropology.In the last century,during the "Pingjiao Movement",the "New Yangge Movement",the "Border Music and Dance Conference",the "Socialist Cultural Construction and even the"non-heritage" protection movement in the new century,we can see folk dances being"discovered","expropriated" and "innovated".The figure of "being innovated" can be seen.It can be said that under the guidance of the "nation-state" consciousness,folk dance has been given the opportunity to deeply participate in social changes,and in turn,it has driven itself to change.Especially since the new century,with the worldwide emphasis on the protection of traditional cultural heritage,the theoretical research and stage practice of traditional Yangge have shown new vitality,and in the process of moving from "local knowledge" to "shared culture",its form is bound to change.In the process of moving from "local knowledge" to"shared culture," its patterns are bound to change.This study examines the series of dance collections "Chen Xiang",which was launched by the Department of Folk Dance and the Research Base of Folk Dance Culture of Beijing Dance Academy from 2014 to 2019,with the aim of recreating and revitalizing traditional music and dance,to examine the model of staging folk dance with a "sense of place"."The study examines the background of the construction of the staging paradigm of folk dance with a sense of place,analyzes the construction method of the staging paradigm of folk dance with a sense of place,and reveals the significance of the construction of the staging paradigm of folk dance with a sense of place.This thesis focuses on the theatricalization of folk dance,but it is very important to examine it in an interdisciplinary context.By sorting out the sense of place and everydayness contained in folk dance,we can understand the interaction between "local" folk dance and folk culture in the context of stage creation,and reveal the influence and significance of"local" folk dance on the ecological reconstruction of folk dance nowadays.The structure of this thesis consists of five main parts,the first part is the introduction including the object of the study,the significance of the study,the research method,and an overview of the current status of the study;The second section describes the theory used in the text and provides an overview of the subject of the study,discusses the feasibility of"sense of place" in folk dance research,and the embodiment of "sense of place" in"Chenxiang"."The third part focuses on the motivation for the construction of the paradigm of staging "sense of place" folk dance,and analyzes the "sense of place" from three levels:national discourse orientation,artistic research turn,and the tendency of staging creation.The fourth part,on the basis of discussing the components of "sense of place" folk dance,analyzes that the series of "Chenxiang" constructs the "sense of place" through the embedding of regional cultural symbols and the restoration of daily life scenes.The fifth part focuses on the positive role of "sense of place" folk dance on cultural order,cultural ecology and cultural exchange.The sixth part concludes by analyzing and summarizing the attributes and characteristics of folk dance with a sense of place,discussing the role of "sense of place" in the current research of staging folk dance,and further considering the heritage value of folk dance in the context of both modernity and localization.