Research On The Body Language Of Chinese Traditional Opera Dance

This paper is the tracing,positioning,analysis and summary of the body language of traditional opera dance.Focusing on the core of "body language",this paper first rearranges the historic morphology of the body language of the opera dance to establish the essential characteristics of the body language of the opera dance.After the analysis of the generation way and construction principle of the formulaic language system of the opera dance,the way for expressing its external shape and style,it tries to take the Chinese classical aesthetics as the essence,to explore the aesthetic paradigm and body culture contained in the body language of traditional opera dance.The Traditional Opera Dance Body Language Research includes five chapters:The first chapter is the rearrangement of the historical form of the body language of the traditional opera dance.Based on the study and comparison of the data of the development of the opera dance,the historical development process is divided into four stages: budding period,embryonic period,shaping period,polyatomic period.It can be seen from the shaping and maturity of the language mechanism of opera dance were later than the development of Chinese opera art.As a kind of manifestation of the pure body language which belongs to the law of the performance of the opera,the construction and improvement of its internal system is constructed under the premise that the opera art,the drama,the school of performance and the opera system are born and established.The second chapter is the study of the basic characteristics of the body language of the opera dance.Through the research perspective of heteronomy and self-discipline,it is concluded that the body language of the opera dance is programmed body language system formed under the condition that the body language abides by the virtual performance mode,with the spoken parts as the semantic reference,the rhythm of the gongs and drums as the support,the identity of the character as positioning,and the dramatic plot as the core of the performance.It is a dance language system which belongs to the performance law of the opera,but it has its own characteristics and unique value.The third chapter mainly analyzes the internal composition and the way of generation of the body language of the opera dance.It starts from the two basic elements of "point and line" of the drama dance program,and then divides it into six major types and the construction principle of the action program,to explore the generation way of its internal law,and finally achieves the evolution from opera dance program to the body language of opera dance,under the promotion of the context setting,the relation between the artistic principle,play and acceptance of deliberately breaking the law.The fourth chapter explores the external forms that can be observed in opera dance.It starts from the four body signals of the opera actor,namely the five sense organs,hand,body and feet to analyze the language form and semantic orientation of the prominent parts of body,and then extend the "speech" scope of the body to the clothing and props,thereby highlighting the language value and emotional charm the opera costumes props have under the control driven by emotion.As the body presentation becomes perfect and mature gradually,it forms an art style of ideal form which reflects the development philosophy of harmony in diversity.The fifth chapter focuses on exploring the rational principle behind the perceptual form of the opera dance,and tries to take the philosophy of classical Chinese aesthetics as the main idea,to explore the national culture spirit and aesthetic paradigm that opera dance body language contains through the aesthetic category of form and spirit,emotion and situation,Yin and Yang.In this paper,the comprehensive summary and induction of the theoretical form of opera dance not only supplement and expand the current theory of opera dance,but also provide theoretical basis for the enrichment and development of opera...