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Application of LED electronic display in stage performance
With the rapid development of modern video technology, it is not uncommon to use LED electronic displays for stage activities in the current stage performances. In foreign countries, the Czech dance beauty designer Svoboda is famous for using the image to create the stage. His use of images has reached an unattainable peak.
The use of LED electronic displays in domestic stage performances has been very frequent. It is very expressive: it can simulate real scenes and reproduce nature. Effect images can also appear, and can also be used to present information and more. It has the flexibility and virtuality that the traditional scenery can't match, and some of the light source features of the lighting system. For example, the large screen is made of light-emitting diodes, and the real-world shape with different shapes is simulated through its own light source performance. Can show the light effect of the light. The information it conveys has been difficult to define with traditional sets or lights, just like the effect of a pattern on a canopy with a computer light. It has similar characteristics and there is no new term to describe it. It is also called "the scene".
In the early stage performances in China. The LED electronic display was first used only as a presentation video material, and a synchronous video image. In the stage performances at the time, the stage workers did not include them in the beauty of the dance, but only because of the display of video images, but with the disappearance of their fresh feelings, the aesthetic fatigue has formed for our audience. It has been flooded in domestic performances. With the development of performance communication and the changes in the concept of stage workers, this situation has been significantly improved, and in some performances, LED electronic sign has emerged as an extremely important component of stage art.
 
The information that the audience gets from the images is much larger than the information displayed by the physical carriers of traditional dance scenes and lights. In the image, what we see is not just the various effects simulated by the imaging device, it brings us into the reach of us - not necessarily the reach of the arm, but also the thinking, the consciousness , a concept or a range of other abstract concepts that can be known. For example, in the 2004 Yar Forbidden City electronic concert, the dragon dragon pattern projected by the video equipment was used to cover the huge installation in the back area of ​​the stage. The feeling conveyed by the modern elements and the performance environment (Forbidden City) is perfect. Combine. Like a dragon in the ancient palace city, in the strange and melodious music, it makes us feel not only the dance-like atmosphere, but also the familiar dragon shape in the air, we should think of Is more and more. Along with the technological development of imaging equipment, the scenes that were previously impossible to achieve in the traditional scenery can be changed freely, and it is easy to use on the LED electronic display screen. For example, in 2004, the use of large screens such as CCTV's "Hundred Years of Xiaoping" and "Spring Festival Evening" has already served as a considerable set of features. In the performance, a large screen appears matching the show, instead of the set function.
 
But it is a virtual picture created by the imaging equipment, which gives us the space to imagine, it is more atmosphere than the real scene. The traditional dance beauty scene is constructed with concrete material materials and has a visual external style to give the audience a solid feeling. The feeling of the image is between the real and the freehand, using real and specific virtual images to express the intention. According to the connotation and meaning of the program, the image is refined, and the matching pictures are selected to express, which not only brings new aesthetic enjoyment to the audience, but also forms a new aesthetic expectation and aesthetic association. In the domestic performances, there are also indiscriminate use of video equipment. The use of images is free from the plot of the program. It is a meaningless pile-up, an uncontrolled superposition of live scenes, etc. It does not bring us pleasing to the eye, but Disorganized. It ignores the interactive thinking of the audience, does not form effective feedback, and causes our aesthetic fatigue and visual pollution. This is especially worthy of attention from imaging workers.
 
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