THE PHYSICAL CULTURAL LANDSCAPE OF CHINESE DANCE THEATER IN THE NEW ERA: A CASE STUDY OF TAO DANCE THEATER AND XIE XIN DANCE THEATER

Abstract

Dance theatre originated in Germany in the late 1960s, represented by Pina Bausch and her Uppertal Dance Theatre founded in 1973. Dance Theatre, T a n z t h e a t e r in German and Dancetheatre in English, is a highly integrated form of theatre performance that incorporates elements of dance, music, and traditional theatre into a comprehensive art form that focuses on the richness and depth of human experience. Lloyd Clemenka (2021). The historical processes that have influenced the development of dance theatre in China in the new era are as follows: in the 1980s, when the wave of reform and opening up in China began, Western cultural forms were crowded into the country, and during this period new dances mixed with modern, classical Chinese and contemporary dance vocabularies appeared, all of which bore the early beginnings of dance theatre; from the 1990s to the beginning of the 2000s, the economic, political and cultural development of China developed rapidly, and dancers of this period began to engage in a new form of performance, the dance theatre, which is a form of dance. In the 1990s and 2000s, China's economy, politics and culture developed rapidly, and dancers in this period began to explore the practice of "dance theatre", and Chinese dance theatre entered a period of enlightenment; after 2000, the marketization of diverse cultures strengthened international interoperability, and China entered the multimedia era, and artists launched a wide range of attempts to make dance theatre enter the period of the promotion of "artists' collective consciousness". "In 2010, the development of science and technology triggered the reconstruction of artists' identities, and their creations were impacted by consumerism and globalisation, which led to the development of individual dance troupes and the era of "individuality and autonomy" in China's dance theatre.