Digitalization into stage art plugged in the wings of innovation

Some time ago, the classic drama "Tea House" of Beijing Renyi used 8K HD live broadcast achieved a great achievement of 50 million performers; the large -scale national dance drama "Awakening Lion" launched the "One Yuan Huimin Cloud Performance", which attracted more than 3.4 million people to enjoy in the "cloud" appreciation ... A few years ago, if someone proposed that a stage art work can attract millions or even tens of millions of people in a short period of time, it will definitely be considered to be the heaven. Nowadays, all this happens in front of us, allowing people to see the disruptive changes brought about by new technologies to stage art performance forms.

In fact, more than more than performance forms, under the shape of technology, from creativity to creation, all aspects of stage art are undergoing profound changes. Digitalization has changed the creative mechanism and production method of stage art. Digital performance breaks through the limitations of the traditional theater frame -type stage space and the production process of linear rehearsal. In addition to the actor's performance, it also increases the recording, post -production, storage, and broadcasting links. Essence Take the performance of "Dialogue and Fable 2047" series of performances. The main creative team includes not only Beijing opera, Guqin, Humai, puppet drama and other performance teams, but also gathered technical creative teams such as stage laser, drone, 3D holographic, and the latter uses digitalization. The stage language focuses the distinctive national art and the frontiers of sound and photoelectric in the unconventional acting space to reinterpret, creating a refreshing artistic effect. Similarly, traditional stage art works such as the Peking Opera "Dragon and Phoenix" and the dance "Dance Spring" have achieved three -dimensional expression with the help of interactive experience and digital technology, showing the characteristics of all -round and multi -center. In short, whether it is a new creation work or a digital creation of traditional works, stage art creation has begun to transform from the director center system to screenwriter, visual director, technical director, producer and other creators.

Digitalization reconstructs the presence of stage art works and the mode of viewing. The blessing of digital technology has made technology and art colliding with many new forms of works. In addition to the digital "shifting screen display", these works have also begun to digitize the entire creation chain. Cross -media theater, theater broadcast and online on -demand are just digital testing water, VR (virtual reality), AR (augmented reality), MR (mixed reality), XR (extended reality) and other series of digital technologies are reconstructing stage art to reconstruct the art of the stage art Performance scene. More and more audiences have begun to accept online payment, virtual performance, naked eye 3D, real -time evaluation and other viewing models. Looking forward to the future, with the continuous maturity of brain neuroscience, artificial intelligence, and hardware technology, stage art will have deeper disruptive changes from the form of the work to the performance scene.

Digital technologies not only bring virtual scenes, non -linear narrative methods, but also bring interactive experience and real -time feedback. The audience's comment feedback has become part of the content of the work. Therefore, the boundaries between the creators and the audience have begun to blur. The audience has the dual identity of art applauder and aesthetic creators, which greatly expands the aesthetic connotation of art production, and also puts forward higher requirements for stage art creators. In the era of digitalization, stage art creators must understand both art and technology, but also creative imagination and good expression, so that technology can be effectively used in the works, creating unique technical aesthetics, satisfying satisfaction The audience is getting higher and higher aesthetic needs.

When people are amazing from the new acting form and way of viewing brought by technology, another sound sounds in people's ears: Will technology interfere with normal aesthetics, and art creation will fall into technical centerism? In creative practice, the correct treatment of technology and art requires both theoretical innovation and creators to continue to explore in practice. For art institutions and creators, in the face of this unprecedented technological revolution, if you want to take the technical Dongfeng to take the road of art innovation, you can start from the following three aspects:

First, emancipate the mind, crack the "technical phobia", and look at the integration of digital technology and art industry from the perspective system of Meta Art. Specifically, front -line art creators can understand, learn, and master cutting -edge digital technologies in a timely manner by participating in theme discussions, technical training and creative workshops, and continuously improve their ability to control the use of new technologies in creation.

Second, based on the forefront of cultural and technological development, promote the cooperation between the arts and arts and scientific research institutions, relying on creative laboratories, commissioned projects, joint production, etc., to provide platforms and opportunities for digital art creation for front -line creators. At the same time, it should be seen that with the advent of the digital era and the era of all -media, the lack of composite talents seriously restricts the digital art creation of the literary and art colleges. Therefore, the training of digital performing arts talents should be accelerated, such as encouraging art colleges and science and technology universities to cooperate to open digital performing arts experimental classes or professional directions, and cultivate composite talents that understand both stage art and master digital technology.

Third, focus on the creative transformation, innovative development of the excellent traditional culture of China, and the aesthetic needs of contemporary audiences, encourage creators and managers to establish the concept of "cultural big data", digital development and transformation of existing classic works, in the new In the creation of works, boldly absorb the use of traditional cultural elements, innovate the expression of traditional culture in the digital era, and realize the art symbiosis of traditional culture and new technologies.

(Author: Ma Ming, a professor at the School of Humanities at Beijing Dance Academy)

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