Dance 35

Dance 35 - Dance 35 14/01/2009 00:42:00 ← Dance in China...

Info iconThis preview shows pages 1–5. Sign up to view the full content.

View Full Document Right Arrow Icon

Info iconThis preview has intentionally blurred sections. Sign up to view the full version.

View Full DocumentRight Arrow Icon

Info iconThis preview has intentionally blurred sections. Sign up to view the full version.

View Full DocumentRight Arrow Icon
This is the end of the preview. Sign up to access the rest of the document.

Unformatted text preview: Dance 35 14/01/2009 00:42:00 ← Dance in China • Noted from youtube” vs. African Dance • Move hand movements (gestural – isolate part of body) o Smooth, flowing, uniform • Much slower (tempo difference) • Single unit spine • Straight spine & flowing costume extremes o Extra sleeve = arms are important • Line of the dance parallels the line of the language/writing style • Use of masks • Wind instruments/string instruments • Solos and small groups Origins of dance in china • 1 st millennium BC • Civilian dance o Hold feathers ( distribution of harvest, hunting, fishing) • Military dance o Hold weapons o Moved forward and backward in coordinated group motion • Physical qualities o Choreographed hand and feet movements Express venerations of spirits of heaven and earth • The Han Dynasty (206 BC – 220 AD) o Establishes a music bureau o Tasked with collecting regional folk and dance • The Tang Dynasty (618 AD – 707 AD) o Culture becomes priority o Dance reaches a level of unprecedented brilliance o 10 movement music dance included a plot bright colors the takeoff point for Beijing Opera ← Regional Folk Dances • The Miao (aka Hmong) in Southwest China – lively, antiphonal/responsive singing and competitive dance • Taiwan – hand-holding line dance as a part of the harvest ritual ← Beijing Opera • Traditional form of Chinese theatre • Combined music, vocal, performance, mine, dance, and aerobatics….equally • Originally appeared in 18 th century • Intense costume and mask-like makeup • No set blank stage • Dance and acting are the same thing…symbolic and suggestive, broadly drawn/emotions (vs. specific) • Characters are not specific – type of person ← Sheng – main male performers • Lao: conservative in dress and makeup (old male) • Xiao: young male, makes foolish mistake, learns moral, etc. high shrill voice (voice changes throughout performance, symbolize growing up) • Wu: hero! Always involves combat, fight with sticks on stage. One of the hardest dance roles, acrobatic • Jing: painted face character (elaborate makeup) [wu jing – marshall arts] colored in red, loyalty or white-evil ← Chau – clown, play all secondary roles, comic relief, most connected to rhythm of orchestra, usually connect music to hardly ever sing, allowed to improvise ← Dan – any female role. All originally played by men. “false foot” dance technique – way of moving developed by male to imitate women – like movements, elegant and graceful • One older and one younger actress o Lao – older o Wu – warrior woman o Dao madan – young female warrior o Quingyi – virtuous and elite o Hua – unmarried o Hua shan – sensual + elite statues ← Performance Elements • Song • Combat • Dance acting • Aesthetics – suggestive, symbolic, high culture • Broad characters -> more people can relate Asethic of moving body Dan – graceful, smooth, elegant • Aspire to be like the character types (audience)...
View Full Document

This note was uploaded on 02/23/2010 for the course DANCE 35 taught by Professor Chapman during the Winter '04 term at UCSB.

Page1 / 30

Dance 35 - Dance 35 14/01/2009 00:42:00 ← Dance in China...

This preview shows document pages 1 - 5. Sign up to view the full document.

View Full Document Right Arrow Icon
Ask a homework question - tutors are online