A Cross-cultural Interpretation Of Tao's Body Theater In The "all-media Era"

The year 2011 was the beginning of Tao Dance Theater attracting international attention and the emergence of international dance criticism.Since this year,domestic and foreign different types of dance critics gradually open to the Tao Dance Theater's dance criticism of the comprehensive writing.During the period from 2011 to 2020,under the interaction of cross-media communication and cross-cultural interpretation,the dance criticism of Tao Dance Theater both in China and abroad(in the English-speaking world)not only shows the interaction and understanding from the subject to the culture,but also shows the rich and diversified text types and discourse appearance of dance criticism in a relatively complete way.Based on this,as a study of dance criticism from the perspective of omni-media and cross-culture,it is of great academic value and exploration significance to carry out a case study on the domestic and foreign dance criticism of Tao Dance Theater in this period.About 2011 to 2020,the Chinese and foreign ceramic Tao Dance Theater's criticism comprehensive combing,both types to dance under the present all media development criticism and criticism of the media integrated exploration,evaluation of different dance cultural main body(media carrying dance criticism communication,dance critics,dance criticism texts and audiences)between closely related comprehensive research.This paper,guided by the methodology of cross-cultural interpretation,through the combination of external research and internal research,analyzes the dance criticism of Tao Dance Theater at different latitudes according to the abundant and detailed first-hand text materials.This thesis consists of three chapters.The first chapter explores the different types of criticism,the characteristics of media and the composition of the main body of dance criticism under the cross-media cultural communication.The second chapter,under the guidance of the idea of intercultural and the mode of dance criticism operation,focuses on the interpretation of the interactivity between Chinese and foreign dance criticism texts and cultural subjects of Tao Dance Theater.Through the in-depth extraction and interpretation of the relevant dance criticism discourse,in order to expand the text reflected in Tao Dance Theater's body culture and identity issues,dance and music creation of the subject of cultural intersex,and audience as the subject of the interaction of the four-specific discussion.Chapter three and then explore the media age,studying Chinese and foreign dance theatre ceramic body evaluation between cultures brought about by the experience and enlightenment,mainly reflected in the dance,a review of the writing of the new pattern,such as professional dance critics of writing standard stick,and creation main body the isomorphism of cross-cultural art practice,to accept the main taste of ascension echo,and the intercultural construction of Chinese dance criticism.Since both the object of the criticism(the Tao Dance Theater)and the object of this study(Tao Dance Theater's dance criticism text)are placed in a trans-media and trans-cultural context,the research can re-explore and recognize the discourse dynamics of Chinese and foreign dance criticism in Tao Dance Theater from a perspective of cross-cultural interpretation.The cross-media integration of traditional media criticism and new media dance criticism as well as the interactive understanding between different cultural subjects jointly shape the diversified and inclusive cultural vision and writing pattern of all media Chinese and foreign dance criticism in Tao Dance Theater.It is in the resonance between different cultures that the writing characteristics and cultural character of Chinese and foreign dance criticism can be seen,and the future development trend of Chinese dance criticism can be further confirmed under the background of intercultural blending and interaction.