Dance beauty is the visual embodiment of the inner spirit of a play. Artistic imagination often determines the characteristics and value of works, and also affects the appeal and dissemination of art. Dance designers should understand the trends of art and social life. They should not only be experts in solving all kinds of creative problems, but also be generalists who keep pace with the times. With the advent of the digital age, scientific and technological progress has profoundly changed the visual presentation of performance and continuously promoted the development of contemporary stage landscape. In recent years, AR (augmented reality), interactive image, digital technology, large-scale stage technology and equipment and other new expression elements have provided richer possibilities for the appearance of stage aesthetics. It is a creative trend in recent years to make dance beauty better serve the presentation of plays and not blindly pursue "visual wonders". How to make good use of scientific and technological means in stage art creation? Limited theater space, how can dance beauty release infinite artistic charm? How to better use the power of science and technology to release beautiful artistic imagination and protect the audience's yearning for stage art? The stage artists who work hard for the "now and now" between the stage and the audience have never stopped exploring and practicing. Blend people and scenery, echo the performance, and accurately express the theme of the work Dance designers need to clearly convey their creative intention, so that the audience can experience the main idea and aesthetic concept that the creator wants to express through the stage space they create. This kind of creation requires the use and transplantation of a variety of artistic elements. It is a process of creative transformation and innovative development. Embracing high technology and trying various new technological means can resonate with the audience; Looking for unique methods and choosing simple visual language can also reflect artistic imagination. The key to introducing scientific and technological means into dance design is to add charm to art and make technology fit the theme expression. For example, on the stage of the drama Shangganling, the "battlefield" carrying more than 10 actors playing volunteer soldiers took off and turned into the top of the tunnel. We used gas explosion technology to reproduce the war scene of gunfire and smoke; In the original dance drama "Legend of the moon of Chang'e" of Shanghai Opera House, the full moon set with a diameter of 9 meters designed by us can be slowly removed from one side of the front area of the stage to complete 360 degree rotation. The full moon set also projects the on-site audience into the "Moonlight", making them the "witness" of the drama story. It is not easy to establish a unique stage vocabulary and pursue "one play, one style". At the beginning of the creation of the dance drama "just green", I had many discussions with directors Zhou Liya and Han Zhen on "how to more closely cooperate and blend actors' performance and stage vision". It is our creative consensus to deeply integrate dance and vision. A dance play based on an ancient Song Dynasty painting needs to explore the most accurate visual language expression. When the dance drama text sets the "Exhibitor" as the performance perspective, it makes me think about how to establish multiple narrative spaces to better show this time-space journey of "crossing the Millennium". When the idea of "painting thousands of miles of rivers and mountains by dancing" was established, I had to give up the creativity of using Wang Ximeng's line drawing ink as the visual appearance or using green Tulle as the installation means, but let the dancers "complete" the painting by multimedia means. When the intertwined three-dimensional narrative structure is established, I must give up the usual means of constructing text scenes in dance beauty design and establish a new visual continuous narrative system. Artistic imagination drives technological creativity. On a sunny spring day, I was lucky to see the original work with the creator in the Palace Museum. Watching every detail of the exhibition with awe, we are deeply moved by the unique way of painting appreciation in Chinese traditional culture. The first draft of dance beauty design shows the beauty of "exhibition" through the operation of multi-layer concentric circle mechanical devices on the ground of the main stage, but the vertical running track of the ground rotating device and the suspender is inconsistent, so it is difficult to realize the poetic beauty of spatial overlap. I have a new creative idea: can I give up the conventional stage equipment of the theater and create a set of stage technology system with the picture scroll as the central vision, so that the ground and air of the stage can form a whole operation, so that people and scenery can blend and watch the performance echo, and dancers can "draw and draw freely"? The painting appreciation method of "exhibition" provides a soothing and smooth visual language for the performance, showing the simple and elegant aesthetic atmosphere of the Song Dynasty. It can be said that making the stage of "only this green" into a precise artistic installation is by no means "dazzle skills", but the need to accurately express the theme of the work from the performance. Create "infinity" in "limited" and create a simple and rich imagination space Choreographers often face multiple tests: they must adapt to the tour of different cities and theaters, and strive to achieve the best artistic effect under the constraints of scene making budget, theater space, stage installation time and so on. Creating "infinity" in "finiteness" is the norm of dance beauty creation, experience and the starting point of soaring imagination. Dance beauty is the visual embodiment of the inner spirit of a play. Artistic imagination often determines the characteristics and value of works, and also affects the appeal and dissemination of art. Dance beauty design should be based on the artistic noumenon and create a simple and rich imagination space. In Zhang Yimou's Peking Opera "return to the world", I reconstructed the stage style of traditional Peking Opera "one table and two chairs", with black, red and white as the main colors, and integrated into pen and ink images to establish an abstract and simple subject vision. A crescent moon echoes the character's mood and creates a situation; The performance of attacking by breaking through the door is more varied than the static traditional dance beauty technique. In the scene of "grass boats borrow arrows" in the Peking Opera "Chibi" of the National Grand Theater, we used the means of combining virtual and real to hang hundreds of "arrows" with suspenders to form a rainbow flow direction as a whole, which is full of visual interest. We made a huge boat for Cao Cao on the stage and a moving boat for Zhou Yu and Zhuge Liang, in sharp contrast. Many of the audience of "Red Cliff" are post-80s and post-90s. Some have watched it more than once and brought their classmates to see it. Behind the simplicity of dance beauty is the support of technical accuracy. "Just green" designs the ground into multiple turntables and combines them with multiple rotating devices in the air, which can accurately match the visual expression of "exhibition", but the technical difficulty is very high. The ground is a four turn turntable, forming a constantly changing stage space; The aerial device drives three "picture scroll" arc boards to slide freely, rise and fall; The air and ground devices are programmed by computer and operated by experienced professional technicians respectively. When the music sounded, the scroll slowly unfolded, rotated and lifted off... A total of 72 points changed on the ground and in the air. During the two-hour performance, it always kept close cooperation with the dancers, with accurate positioning and error within 2 cm. The "immersive" painting appreciation experience of "just green" has won the sincere affirmation of the audience and is also an encouragement to the workers behind the stage art. To explore the unique stage visual language, craftsman spirit is a necessary quality Choreographers should be familiar with the methods of stage design, have an in-depth understanding of various types of work such as director, lighting design and costume design, and give clear suggestions when necessary. Dance designers should understand the trends of art and social life. They should not only be experts in solving all kinds of creative problems, but also be generalists who keep pace with the times. Even in the face of the same play, we should keep it fresh and explore new ways of interpretation. In the creation of the opera Turandot, director Zhang Yimou and I strive to make each version of the opera unique. This play has been performed in many countries. Everywhere we go, we will adjust measures to local conditions, deeply understand the cultural style of the performance place, and create works that meet the aesthetic needs of the audience in this region from the aspects of audience group, theater style and performance cultural environment, so as to refresh the audience's visual imagination of this classic play. "Only this green" shows the theme perspective of craftsmen integrating their hard work into the long scroll of painting, which is very enlightening to me. In the process of exploring the unique stage visual language, the craftsman spirit of the creator is a necessary quality. The dance beauty of "only this green" is precise and complex, and the production cycle is short. Strict calculation and scientific planning are needed to complete the stage installation within the time limit. Last year, we installed the stage in the Taihu theater of the National Grand Theater. Although the smooth operation of the air ground device brought great confidence to the main creative team, the subsequent problem was that the programming was too complex, resulting in the extremely unstable CNC system. The "picture scroll" initially chose the double-layer translucent material close to silk. The complex action design brought great difficulties to the light projection. The material was too light Excessive weight will affect the accuracy and stability of operation... Various problems, from the courage of innovation and attempt to the persistence of practice and exploration, the main creative team supports each other and adheres to the creative quality. With the unremitting efforts of the team, these technical problems have finally been effectively solved. The amazing moment created by the creator's ingenuity endows the stage installation with fresh vitality. The director, screenwriter, music, dance beauty, multimedia, clothing and other departments have made great efforts in the presentation of stage art. The efforts of countless participants in front of and behind the stage are the best embodiment of the craftsman spirit. Only with this awe can we be worthy of the audience; Only this ingenuity is the greatest respect for your career. (outlook new era)