Pub Date : 2020-09-07DOI: 10.2991/assehr.k.200907.009
D. Martynova
This article is devoted to the study of the medical institutions' influence on the modification of the plot about the Eve's sin in the second half of the XIXth century. In 1896, the inventor of the graphic pun, Henri Avelot, created the caricature "Four arts", singling out "serpentinisme" among artistic trends (such as symbolism). Using this neologism, the cartoonist criticized contemporary art of his time that borrowed physical manifestations of pathologies (for example, hysteria) to create "innovative" art concepts and works. Analyzing major masters' artworks of this period with "serpentine" movements, it can be traced how the development of the health cult and the strengthening of the disciplinary power of hospitals started the process of aestheticizing diseases. As a result, three new iconographic types appeared in French culture: the snake woman; the "Eve’s daughter"; the woman and the "phallic serpent", in which the serpent appears as an allegorical embodiment of a doctor. The snake woman image became an aesthetic ideal that permeated all aspects of culture, which was expressed in the neologism "serpentinisme", which ironically brought this trend closer to the artistic direction.
{"title":"Serpentinisme in French Art of the Second Half of the XIXth Century","authors":"D. Martynova","doi":"10.2991/assehr.k.200907.009","DOIUrl":"https://doi.org/10.2991/assehr.k.200907.009","url":null,"abstract":"This article is devoted to the study of the medical institutions' influence on the modification of the plot about the Eve's sin in the second half of the XIXth century. In 1896, the inventor of the graphic pun, Henri Avelot, created the caricature \"Four arts\", singling out \"serpentinisme\" among artistic trends (such as symbolism). Using this neologism, the cartoonist criticized contemporary art of his time that borrowed physical manifestations of pathologies (for example, hysteria) to create \"innovative\" art concepts and works. Analyzing major masters' artworks of this period with \"serpentine\" movements, it can be traced how the development of the health cult and the strengthening of the disciplinary power of hospitals started the process of aestheticizing diseases. As a result, three new iconographic types appeared in French culture: the snake woman; the \"Eve’s daughter\"; the woman and the \"phallic serpent\", in which the serpent appears as an allegorical embodiment of a doctor. The snake woman image became an aesthetic ideal that permeated all aspects of culture, which was expressed in the neologism \"serpentinisme\", which ironically brought this trend closer to the artistic direction.","PeriodicalId":311554,"journal":{"name":"Proceedings of the 4th International Conference on Art Studies: Science, Experience, Education (ICASSEE 2020)","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123749783","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-09-07DOI: 10.2991/assehr.k.200907.013
Mingfeng Ma
{"title":"“Evaluating Painters All Over the Country”: Guo Xi and His Landscape Painting","authors":"Mingfeng Ma","doi":"10.2991/assehr.k.200907.013","DOIUrl":"https://doi.org/10.2991/assehr.k.200907.013","url":null,"abstract":"","PeriodicalId":311554,"journal":{"name":"Proceedings of the 4th International Conference on Art Studies: Science, Experience, Education (ICASSEE 2020)","volume":"3907 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124950304","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-09-07DOI: 10.2991/assehr.k.200907.037
Xiao Lu
The Chinese national opera "Struggles in an Ancient City" is one of the most successful national operas since the new century. The reason for its success is demonstrated in three aspects: mass foundation, choice of subject matter, and musical characteristics. The dissemination of novels, films and TV series of the same name in the early period laid a foundation for the masses; the choice of revolutionary historical themes and the strong support of governments at all levels have enabled its patriotic education function to be greatly exerted; the use of Chinese folk music and opera board cavity structure has been accepted by the general audience and has enhanced the aesthetics of the Chinese public. These are the main factors that contributed to the great success of the play and its widespread circulation in society.
{"title":"A Probe into the Successful Factors of the Chinese National Opera “Struggles in an Ancient City”","authors":"Xiao Lu","doi":"10.2991/assehr.k.200907.037","DOIUrl":"https://doi.org/10.2991/assehr.k.200907.037","url":null,"abstract":"The Chinese national opera \"Struggles in an Ancient City\" is one of the most successful national operas since the new century. The reason for its success is demonstrated in three aspects: mass foundation, choice of subject matter, and musical characteristics. The dissemination of novels, films and TV series of the same name in the early period laid a foundation for the masses; the choice of revolutionary historical themes and the strong support of governments at all levels have enabled its patriotic education function to be greatly exerted; the use of Chinese folk music and opera board cavity structure has been accepted by the general audience and has enhanced the aesthetics of the Chinese public. These are the main factors that contributed to the great success of the play and its widespread circulation in society.","PeriodicalId":311554,"journal":{"name":"Proceedings of the 4th International Conference on Art Studies: Science, Experience, Education (ICASSEE 2020)","volume":"913 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116407294","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-09-07DOI: 10.2991/assehr.k.200907.087
Qianyu Ding
Stream-of-consciousness movies began in the 1950s and 1960s, which advocates the use of irrational flow to constitute the content of the movie. And it presents the internal psychological thoughts of the characters to the audience in a unique way of montage. Stream-of-consciousness movies are a wonderful flower in the history of movies by analyzing the inner conditions of the characters and focusing on exploring the spiritual fields of the characters through unique editing techniques. From the current development of stream-of-consciousness movies, its own montage technique has been applied more and more widely. However, there is relatively little research on the corresponding theoretical level, and there is also a lack of detailed and systematic discussion and analysis on it. Combined with the relevant stream-of-consciousness film to stream-of-consciousness film expression techniques, this paper first analyzes the role and value of montage in the editing of modern stream-of-consciousness movies, then analyzes and summarizes the editing techniques, and finally analyzes the relevant editing techniques of the entire stream of consciousness movie.
{"title":"Analysis of Montage Application in Modern Stream of Consciousness Movie Editing","authors":"Qianyu Ding","doi":"10.2991/assehr.k.200907.087","DOIUrl":"https://doi.org/10.2991/assehr.k.200907.087","url":null,"abstract":"Stream-of-consciousness movies began in the 1950s and 1960s, which advocates the use of irrational flow to constitute the content of the movie. And it presents the internal psychological thoughts of the characters to the audience in a unique way of montage. Stream-of-consciousness movies are a wonderful flower in the history of movies by analyzing the inner conditions of the characters and focusing on exploring the spiritual fields of the characters through unique editing techniques. From the current development of stream-of-consciousness movies, its own montage technique has been applied more and more widely. However, there is relatively little research on the corresponding theoretical level, and there is also a lack of detailed and systematic discussion and analysis on it. Combined with the relevant stream-of-consciousness film to stream-of-consciousness film expression techniques, this paper first analyzes the role and value of montage in the editing of modern stream-of-consciousness movies, then analyzes and summarizes the editing techniques, and finally analyzes the relevant editing techniques of the entire stream of consciousness movie.","PeriodicalId":311554,"journal":{"name":"Proceedings of the 4th International Conference on Art Studies: Science, Experience, Education (ICASSEE 2020)","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128605304","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-09-07DOI: 10.2991/assehr.k.200907.076
Jingkun Qi
The research object in this paper is the selected female print artists of the 13th National Exhibition of Fine Arts. This paper analyzes the rules of their participation activities on the basis of data. The study found many characteristics, such as: there is a significant difference in the gender ratio of the selected artists; there are gender differences in creative activity cycle; social gender influences women's creative activities; the selection system of art exhibition has some restrictions on the participation of female artists. At the last, the article discusses the female print artists' creation activities through the description of selected female in the 13th National Exhibition of Fine Arts.
{"title":"The Phenomenon of Chinese Female Print Artists’ Creative Activities in the 13th National Exhibition of Fine Arts","authors":"Jingkun Qi","doi":"10.2991/assehr.k.200907.076","DOIUrl":"https://doi.org/10.2991/assehr.k.200907.076","url":null,"abstract":"The research object in this paper is the selected female print artists of the 13th National Exhibition of Fine Arts. This paper analyzes the rules of their participation activities on the basis of data. The study found many characteristics, such as: there is a significant difference in the gender ratio of the selected artists; there are gender differences in creative activity cycle; social gender influences women's creative activities; the selection system of art exhibition has some restrictions on the participation of female artists. At the last, the article discusses the female print artists' creation activities through the description of selected female in the 13th National Exhibition of Fine Arts.","PeriodicalId":311554,"journal":{"name":"Proceedings of the 4th International Conference on Art Studies: Science, Experience, Education (ICASSEE 2020)","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132062995","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-09-07DOI: 10.2991/assehr.k.200907.096
Xing Liu
Music talent shows have always been an important type of Chinese TV programs. In the 3.0 era, TV programs are mainly about idol cultivation and subculture music. Hall's encoding / decoding theory provides theoretical explanations for the new ecology of program makers, players and audiences in the 3.0 era and the new landscape of consumer society. With the development of big data and new media, TV producers put the audience's position in front to bridge the gap brought by different meaning structures, and at the same time share the coding identity with the players and the audience to consolidate the interactive ritual chain. In the 3.0 era of musical TV talent show in China, subculture has gained space for expansion, advanced gender culture has gained the Promised Land for development, and capital has been realized by hot style. What needs to be paid attention to is the influence of "information cocoons" on teenagers as the main fan group.
{"title":"Observation on the Turn of Music Talent TV Show 3.0 in China","authors":"Xing Liu","doi":"10.2991/assehr.k.200907.096","DOIUrl":"https://doi.org/10.2991/assehr.k.200907.096","url":null,"abstract":"Music talent shows have always been an important type of Chinese TV programs. In the 3.0 era, TV programs are mainly about idol cultivation and subculture music. Hall's encoding / decoding theory provides theoretical explanations for the new ecology of program makers, players and audiences in the 3.0 era and the new landscape of consumer society. With the development of big data and new media, TV producers put the audience's position in front to bridge the gap brought by different meaning structures, and at the same time share the coding identity with the players and the audience to consolidate the interactive ritual chain. In the 3.0 era of musical TV talent show in China, subculture has gained space for expansion, advanced gender culture has gained the Promised Land for development, and capital has been realized by hot style. What needs to be paid attention to is the influence of \"information cocoons\" on teenagers as the main fan group.","PeriodicalId":311554,"journal":{"name":"Proceedings of the 4th International Conference on Art Studies: Science, Experience, Education (ICASSEE 2020)","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125066182","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-09-07DOI: 10.2991/assehr.k.200907.028
Yanan Wang
"Povest vremennykh let", known as "Tale of Bygone Years" in English, is the first historical work independently completed by the East Slavs. The history of East Slavs and the ancient Ross has been handed down to the world thanks to "Povest vremennykh let". "Povest vremennykh let" not only recorded the birth, development, and establishment of the ancient Ross state power, but also detailed the process of the establishment of the lofty status of Christianity as a sole legal religion in the Ross state. In addition, Nestor, the author of "Povest vremennykh let", used the narrative technique of historical event sanctification to integrate the establishment of the ancient Ross and the spread of Christianity in Ross, and made a religious interpretation of the history of ancient Ross. This article will analyze the religious consciousness contained in "Povest vremennykh let" as a historical book.
{"title":"The Religious Consciousness in “Povest vremennykh let” (Tale of Bygone Years)","authors":"Yanan Wang","doi":"10.2991/assehr.k.200907.028","DOIUrl":"https://doi.org/10.2991/assehr.k.200907.028","url":null,"abstract":"\"Povest vremennykh let\", known as \"Tale of Bygone Years\" in English, is the first historical work independently completed by the East Slavs. The history of East Slavs and the ancient Ross has been handed down to the world thanks to \"Povest vremennykh let\". \"Povest vremennykh let\" not only recorded the birth, development, and establishment of the ancient Ross state power, but also detailed the process of the establishment of the lofty status of Christianity as a sole legal religion in the Ross state. In addition, Nestor, the author of \"Povest vremennykh let\", used the narrative technique of historical event sanctification to integrate the establishment of the ancient Ross and the spread of Christianity in Ross, and made a religious interpretation of the history of ancient Ross. This article will analyze the religious consciousness contained in \"Povest vremennykh let\" as a historical book.","PeriodicalId":311554,"journal":{"name":"Proceedings of the 4th International Conference on Art Studies: Science, Experience, Education (ICASSEE 2020)","volume":"171 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116869668","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-09-07DOI: 10.2991/assehr.k.200907.055
O. Krasnogorova
This article is devoted to a holistic analysis of the piano cycle by O. Messiaen "Vingt regards sur L’Enfant-Jesus" from the point of view of the features of the musical language and the problems that arise in front of the performer of the largest composition in piano literature of the twentieth century. The article substantiates the importance of the performer's comprehension of the concept of the cycle, the means of expression created by the composer and defined in the work "Technique of my musical language", as well as the author's comments on the musical text. Particular attention is paid to the study of the principles of organizing artistic texture based on a system of "modes of limited transposition", integration of melody and harmony, "resonant" chords, etc.; a specific coloristic technique of "sound stained-glass window", discovered by O. Messiaen. The author draws attention to the expansion by the composer of the coloristic possibilities of the piano, imitation of bell sounds, "bird" singing, giving unique trepidation, sophistication, luminosity to the sound of the instrument and presupposing a rich palette of pianistic techniques of the performer.
本文从音乐语言的特点和二十世纪钢琴文学中最大的作品的表演者面前出现的问题的角度，致力于对O.梅西安的钢琴循环“Vingt regards sur L’enfantt jesus”进行全面分析。本文论述了演奏者对循环概念的理解、作曲家在作品《我的音乐语言的技巧》中所创造和定义的表现方式以及作者对音乐文本的评论的重要性。特别注重研究基于“有限转位模式”、旋律与和声的融合、“共振”和弦等系统组织艺术织体的原则;一种特殊的色彩技术“声音彩色玻璃窗”，由O. Messiaen发现。作者注意到作曲家对钢琴色彩可能性的扩展，对钟音的模仿，“鸟”的歌唱，给乐器的声音带来独特的颤栗，复杂，明亮，并预设了表演者丰富的钢琴技巧。
{"title":"Problems of Performance the O. Messiaen Cycle “Vingt Regards Sur L’Enfant-Jesus” for Piano","authors":"O. Krasnogorova","doi":"10.2991/assehr.k.200907.055","DOIUrl":"https://doi.org/10.2991/assehr.k.200907.055","url":null,"abstract":"This article is devoted to a holistic analysis of the piano cycle by O. Messiaen \"Vingt regards sur L’Enfant-Jesus\" from the point of view of the features of the musical language and the problems that arise in front of the performer of the largest composition in piano literature of the twentieth century. The article substantiates the importance of the performer's comprehension of the concept of the cycle, the means of expression created by the composer and defined in the work \"Technique of my musical language\", as well as the author's comments on the musical text. Particular attention is paid to the study of the principles of organizing artistic texture based on a system of \"modes of limited transposition\", integration of melody and harmony, \"resonant\" chords, etc.; a specific coloristic technique of \"sound stained-glass window\", discovered by O. Messiaen. The author draws attention to the expansion by the composer of the coloristic possibilities of the piano, imitation of bell sounds, \"bird\" singing, giving unique trepidation, sophistication, luminosity to the sound of the instrument and presupposing a rich palette of pianistic techniques of the performer.","PeriodicalId":311554,"journal":{"name":"Proceedings of the 4th International Conference on Art Studies: Science, Experience, Education (ICASSEE 2020)","volume":"377 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115072141","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-09-07DOI: 10.2991/assehr.k.200907.024
Olga Sobakina
The subject of the study is dominant feature of the 20th-century Polish culture: the "Zakopiański" style (also Zakopane style) and the main range of phenomena related to it. The idea of creating the style belonged to Stanislaw Witkiewicz, who saw in the culture of Podhale (its historical name is the Rocky Tatras) the preserved rudiments of the pra-Polish culture, on the basis of which modern art could be revived. Being an artist and writer, Witkiewicz created a kind of myth of a state rank around this phenomenon: on the basis of the Podhale art, he proposed to revive the modern national Polish culture, which seems to be a certain paradox. The imaginative folklore patterns gave endless possibilities for various interpretations. The followers of Witkiewicz brought their additions to this style, greatly simplifying its original mythical and philosophical content. The aesthetics of the "Zakopiański" style was developed by writers and artists of the Young Poland circle at the beginning of the 20th century. During the interwar period, artists were influenced by expressionism, formism and futurism, however, they were primarily motivated by the idea of creating modern Polish national art. This style found its most vivid expression in composer's works. The neo-folklore direction, convincingly represented by the "new national style" of Karol Szymanowski, became the most promising. In order to determine the cultural retrospective, the author uses the methods of historical reconstruction and style analysis, presents the main approaches to this phenomenon that are relevant in modern Polish art history.
{"title":"“Zakopianski” Style: History of Creating","authors":"Olga Sobakina","doi":"10.2991/assehr.k.200907.024","DOIUrl":"https://doi.org/10.2991/assehr.k.200907.024","url":null,"abstract":"The subject of the study is dominant feature of the 20th-century Polish culture: the \"Zakopiański\" style (also Zakopane style) and the main range of phenomena related to it. The idea of creating the style belonged to Stanislaw Witkiewicz, who saw in the culture of Podhale (its historical name is the Rocky Tatras) the preserved rudiments of the pra-Polish culture, on the basis of which modern art could be revived. Being an artist and writer, Witkiewicz created a kind of myth of a state rank around this phenomenon: on the basis of the Podhale art, he proposed to revive the modern national Polish culture, which seems to be a certain paradox. The imaginative folklore patterns gave endless possibilities for various interpretations. The followers of Witkiewicz brought their additions to this style, greatly simplifying its original mythical and philosophical content. The aesthetics of the \"Zakopiański\" style was developed by writers and artists of the Young Poland circle at the beginning of the 20th century. During the interwar period, artists were influenced by expressionism, formism and futurism, however, they were primarily motivated by the idea of creating modern Polish national art. This style found its most vivid expression in composer's works. The neo-folklore direction, convincingly represented by the \"new national style\" of Karol Szymanowski, became the most promising. In order to determine the cultural retrospective, the author uses the methods of historical reconstruction and style analysis, presents the main approaches to this phenomenon that are relevant in modern Polish art history.","PeriodicalId":311554,"journal":{"name":"Proceedings of the 4th International Conference on Art Studies: Science, Experience, Education (ICASSEE 2020)","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128814708","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-09-07DOI: 10.2991/assehr.k.200907.085
Ying Zheng
From 2005 to 2020, Chinese opera stage art, based on inheritance and innovation, adopts all kinds of advanced technologies, uses Chinese and foreign aesthetic concepts for reference, attracts audiences in more professional and diverse forms, and brings them excellent visual enjoyment. This article takes the stage art creation of opera from 2005 to 2020 as the research object. Through 15 years of case analysis of modern stage art to grasp the development status of modern stage art, this article explores the dilemma of modern stage art creation, further studies the development prospects of stage art, and starts thinking about the development trend of stage art in Chinese opera.
{"title":"Exploration and Thoughts on the Status Quo of Chinese Opera Stage Art","authors":"Ying Zheng","doi":"10.2991/assehr.k.200907.085","DOIUrl":"https://doi.org/10.2991/assehr.k.200907.085","url":null,"abstract":"From 2005 to 2020, Chinese opera stage art, based on inheritance and innovation, adopts all kinds of advanced technologies, uses Chinese and foreign aesthetic concepts for reference, attracts audiences in more professional and diverse forms, and brings them excellent visual enjoyment. This article takes the stage art creation of opera from 2005 to 2020 as the research object. Through 15 years of case analysis of modern stage art to grasp the development status of modern stage art, this article explores the dilemma of modern stage art creation, further studies the development prospects of stage art, and starts thinking about the development trend of stage art in Chinese opera.","PeriodicalId":311554,"journal":{"name":"Proceedings of the 4th International Conference on Art Studies: Science, Experience, Education (ICASSEE 2020)","volume":"71 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117252973","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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