A Study On Aesthetic Morphology Of Tiguyangge

In the ancient time, the people living in the north region of shanxi invented an aesthetic art manifestation which reflects the local life and thoughts, that is, Ti gu yang ge which originates from Shuozhou. It is mainly performed in the north and south of Yanmen Pass and regions of Inner Mongolia which are close to Shanxi. The distinctive feature of Ti gu yang ge is that is based on the folk dance. Its main characters are Guzi(actor) and Lahua (actress). The performance of Lahua combines martial arts and opera which is lyric, gentle, flexible and bold. It has distinctive artistic characteristics and extremely dancing aesthetic values.The thesis would take the departure of dancing aesthetics and collect the information of its historical origin, geographical distribution and folk life. Through the elemental movements gained in person from the local and the aspect of its performance shape and movement shape, the thesis try to analyze the Ti gu yang ge’s aesthetic forms and characteristics of Lahua’s dancing in aesthetic form, thus have a analysis of current national awareness and cultural values and explore the dancing aesthetic trend of modern folk dance. Using the way of deconstruction, the paper reconstructs the elemental movements of Lahua dancing and breaks the traditional rhyme, space of movement and exerting strength, and seeks individual dynamic language in decomposed movements, thus redistricts the traditional dancing language. Through the researching and analysis, the paper would summarize the dancing language with style, and sublime it to a deeper level. Keeping its female and cultural characteristics at one hand, the paper try to reconstruct the decomposed movements and achieve personal pursuit through multiple angles of human thoughts.Exploring the effective inheritance and developing rules of Ti gu yang ge which is listed as intangible cultural heritage is essentially to explore the relationship of aesthetic culture between traditional folk dance and modern dance. So the reproduction from the spiritual level is the departure and the application study on the inheritance and development of Ti gu yang ge should begin with the exploration of the integration of traditional and modern cultures. The author try hardly to seek how the stage dance can be used to interpret and contribute to folk dancing culture. Through the dig of its folk and traditional base, innovation and filling the gaps in Ti gu yang ge works and performance, this paper would like to make more people to focus on the Tigu dance from the stage. The inheritance and development of Ti gu yang ge need the combination of class teaching, professional research and anticipation of the mass, and only in this way can Ti gu yang ge make sense.