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转型、转型、再转型,舞蹈界的转型似乎成为演员们的必由之路。王舸,因在《情天恨海圆明园》中活灵活现的成功表演而让人们“铭记”他舞者的身份。怎么就摇身一变成了编导呢?在脱颖而出的编导身份背后,支撑着的一定是非同一般的感慨。王舸:创作初期,最大的问题应该是技法,包括结构、题材的选择,如何转换成舞台作品,如何用形象来表达思想等。身体的表达不是最终的目的,通过身体来表达一种思想才是最终的诉求。用真实的
Transformation, transformation, re-transformation, the transformation of the dance industry seems to be the only way for actors. Wang 舸, because of the vivid performance in the “Love God Sea haunted Yuanmingyuan” let people “bearing in mind ” the identity of his dancers. Why transformed into a director? Stand out from behind the identity of the director, support must be unusual feeling. Wang 舸: In the initial stage of creation, the biggest problem should be the technique, including the choice of structure and theme, how to transform it into stage works, and how to use the image to express thoughts. The body’s expression is not the ultimate goal, through the body to express a thought is the ultimate appeal. Use real