神韻藝術團是成立於2006年的中國古典舞與傳統音樂藝術團，總部於美國紐約州，由法輪功修煉者創辦[1]。2019年有六個團同時在世界各地巡迴演出[2]。據其官網介紹，神韻宗旨是復興五千年神傳文化，其「藝術靈感取自儒、釋、道學說發源、發展，是中國傳統文化的真正精髓」，使命是「復興中華傳統文化，並喚起人們對當今中國法輪功所面臨的殘酷迫害的關注」。[1][3]2006年獲《Billboard》雜誌評選為全美七大優秀大型舞台劇[4]，常獲世界各地藝術大師的五星級評價[5]。
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《紐約時報》於2010年以〈一夜看盡五千年中華傳統音樂與舞蹈〉報導，指神韻每年在全世界逾100個主要城市巡演（至今未能前往中國大陸演出），2010年演出季，觀眾已超過一百萬。每個分團約100人，包括舞蹈家和音樂家，有獨立的樂隊、編舞、作曲家等，均受過傳統的文化培訓。[6][7]
2024年在全球至少20個國家、200個城市巡迴演出[8]。據神韻官方網站介紹，神韻演出內容擁有多項特點，分別為：
每一團約有60名舞者[9]，演出內容以中國古典舞為主體，輔以中國民族民間舞蹈。
三藩市灣區的三藩市紀事報，基於對神韻藝術團的編舞李維娜（Vinna Lee）的專訪，形象地介紹什麼是中國古典舞及作為其重要成份的『韻』。[10]
神韻的節目包含法輪功的內容。2010年的舞蹈節目內容，有宋朝忠誠的將軍岳飛、喬裝成男子從軍的女英雄花木蘭、16世紀的中國小說西遊記，以及講述法輪功學員在天安門廣場和平示威被捕的現代傳奇《震撼》（Astounding Conviction）[11][12]。
神韻藝術團有中西合璧的樂團現場伴奏，以西洋管弦樂器為基礎，加上二胡、琵琶、嗩吶、笛子、等中國傳統樂器。[6][13]
神韻藝術團樂團成員，包括中國國家一級演員、大提琴演奏家、原中國中央樂團交響樂隊隊長兼指揮陳汝棠[14]。[14]
除了合奏，演出中也穿插器樂家的獨奏，比如二胡演奏家美旋、戚曉春的演出。[15]
神韻聲樂演員中有男高音歌唱家、中國國家一級演員關貴敏[16][17]，有被認為是全球七大女低音之一的唯一華人（德國籍）楊建生等。[15][18]2007年演出的一支獨唱中提及轉輪聖王[19]神韻聲樂演員中，還有在中國時為外國政要表演的國家一級演員、獲獎男高音洪鳴，以及女高音耿浩藍等等。[20]
演出中，舞蹈演員會依不同的朝代或身份而穿戴不同的服裝與使用不同的道具。[6][9]
神韻的舞台背景屬於數位動態背景，隨着每一齣不同的劇情而改變，有蒙古大草原、炊煙裊裊的中國小村莊等。[6][21][22]除了靜態背景之外，背景也具有動態效果，能與劇情、演員進行互動，讓演員能在天幕與舞台間穿梭，延伸舞台空間效果。[23]
從神韻藝術團於2006年成立以來，持續擴大到7大分團，於北美、亞洲、歐洲、大洋洲、南美洲等地大型城市的劇院演出。
- 神韻紐約藝術團
- 神韻國際藝術團
- 神韻巡迴藝術團
- 神韻世界藝術團
- 神韻北美藝術團
- 神韻環球藝術團
- 神韻新紀元藝術團
- 神韻交響樂團
- 2012年於紐約卡內基音樂廳首演，2013年起於美國各大城市之大型音樂廳展開巡演。2016年起，神韻交響樂團包括固定的在美巡演行程，也開始在加拿大、台灣、日本等國家和地區展開國際巡演行程。[來源請求]
神韻藝術團登臨的大型戲劇院（表演場地），包括紐約無線電城音樂廳[24][25]、林肯中心[26][27]、華盛頓哥倫比亞特區約翰·甘迺迪表演藝術中心[28]、倫敦皇家節日大廳、巴黎會議與會展中心、加拿大多倫多索尼表演藝術中心[29]、台北國父紀念館[30]、美國加州荷里活的杜比劇院（原名柯達劇院）。[31]
一群遭中共迫害的修煉法輪功的華人藝術家，2006年在美國紐約成立神韻藝術團[32][33][34]。法輪功是一種精神修煉，1999年被中國共產黨禁止與嚴重迫害。神韻藝術團的宗旨是保護瀕臨滅絕的中國文化遺產[35][36][37]。神韻藝術團表示，演出的所有收益都會返回神韻，用於支付演出藝術家的費用，並支持紐約飛天藝術學院的運作。[38]飛天藝術學院，是西方社會第一所教授傳統音樂、藝術和中國古典舞的綜合性藝術學院，培育出的許多藝術家進入神韻演出。[39][40]
- 《三藩市紀事報》、北加州地區發行量最大報，於2007年至2009年接連三個新年，介紹並讚揚神韻演出。[10][41][42]2008年以《百年難遇》（EPIC PROPORTIONS）所作報導中，提到此演出被稱為「海外慶祝中國新年規模最大的活動」，提到演出有約40個獨立節目，每一節目表現中國一個歷史片段或一個中國新年故事，有皇宮、武士和仙女下凡等場景，也有當代正在發生的故事的舞蹈展現，報導提到演出最主要出發點就是展現中共統治中國以前的中國歷史，引用了神韻編舞李維娜的話：「中國新年是家庭團聚的日子，就象是聖誕節。我們的演出不僅僅是娛樂，更是為了回顧歷史，復興中國的文化之本；包括被中共迫害和遺棄的善良、寬容、美麗等原則；不管什麼背景觀眾，會發現很容易理解演出的內涵；不要錯過第一個節目，大幕拉開是一幅令人驚嘆的畫面，將帶給你久遠歷史前的信息。」[41]
- 《芝加哥論壇報》藝術評論家史密斯在2008年觀看神韻演出後，以《演出中女士們行雲如水》為題作報導，評論證神韻是名副其實、無可爭議的「壯觀（Spectacular）」，服裝「豐富精巧（intricately detailed）」；動態天幕展示「田園詩般（pastoral）的美景」並具備「電影特效的創意（cinematic ingenuity）」；舞蹈演員「技術高超（nimble mastery）」、「動作優雅（delicate）」。[43]
- 《丹佛郵報》，在2008年元月以《在中國新年慶祝中華傳統文化》為題進行的報導，作者John Wenzel 表示正在環球巡演的這個演出，在努力展現生動、真實、沒有被現代化宣傳扭曲的中華藝術；報導談到北京當局試圖阻礙神韻演出，因為視這場演出為對維持其現狀的威脅；而在世界各地，幾十萬觀眾觀看後了解了有5000年悠久文化的中國。該報導表示，鑑於中共對中華傳統文化的壓制，神韻藝術團旨在挽救中華傳統文化，演出透過罕見的特殊服飾和生動活潑的肢體語言，演繹出中國古老神話和傳奇故事，吸引了多元文化觀眾的目光，整場晚會中有中西主持人介紹各節目，幫助觀眾掌握各節目的精髓。並引用了對神韻藝術團顧問張而平先生的採訪：「現今中國境內多數藝術演出雖兼俱中西方形式和樂器，主要為政治服務，因為共產黨意識形態被作為舶來品輸入中國後，為成功在中國落地生根，要壓制中華傳統文化形式。中國新年本是家人團聚與慶祝的時刻，可社會上還有人因人權被侵犯、受鎮壓而無法和親人團聚。神韻晚會不只是對西方人，對於我們中國人自己，反觀歷史及思考中國現狀，都會大開眼界。觀眾對晚會形成壓倒性的正面反饋，很多中國觀眾看後都流下眼淚。」報導表示神韻晚會透過輕快、冥想音樂以及基於廣泛歷史研究的細緻動作，明確傳達出平和的訊息。[25]
- 《百老匯世界》，這個綜合介紹和預報劇院演出的專業網站（broadwayworld.com）於2008年12月8日，刊登專欄作家、音樂劇演員和導演Beau Higgins的文章，極力讚美神韻藝術團的《聖誕奇觀》（Holiday Wonders），是全新的音樂、舞蹈大手筆演出，稱特別美麗、前所未見，表示演出薈萃了傳統的音樂、歌曲、編舞、精美服飾和嘆為觀止的動態天幕，再現自豪和非凡的悠久中華文化；作者特別提到了神韻領舞演員Michelle Ren飾演傳奇女騎士花木蘭中的非凡演出。[24]
- 《百老匯世界》2015年11月11日報導，全球數百萬人已經看過神韻表演。在頂尖的藝術中心，眾人熱烈鼓掌歡迎，歐洲貴族也參與，北美門票銷售一空，在亞洲場場爆滿，這些已經成為神韻演出的一個國際現象。[44]
- 《紐約時報》文藝活動版2010年8月13日，發表記者SUSAN HODARA以《一夜賞盡五千年樂舞》的文章，介紹了神韻藝術團是一個依靠門票銷售和捐贈來運營的非營利組織，其宗旨是復興中華傳統文化，並介紹神韻引人入勝的藝術表現方式。報導談到，在08年一月至八月，該團在約130個用音樂、舞蹈和舞劇展現跨越五千年的中華文化。報導中表示，每年神韻均會有全新的原創節目，2.5小時演出融合一系列精心編排的節目，從獨唱、多人舞蹈到二胡獨奏，配以優雅舞台設計、原創樂曲、華麗服飾、獨特道具和背景天幕，有美聲歌曲、鼓樂和西藏、蒙古等民間舞蹈；現場伴奏樂隊用中國樂器如琵琶、古箏和笛子等，也有西方樂器，技術難度高。每一節目配有不同的天幕：宮殿、草原、高山、下雪和雲層，一切動畫與演員的動作協調配合。[6]文章引述神韻發言人的話：
要成為傑出藝術家，不能只學會精湛的技術，還要有某種生活態度，即必須堅強、保持冷靜、有同情心、內心平和。這些品質，無論可見與否，會伴隨人，人們會感覺到。
- CNN在2010年以「中華文化在美復興」為題，對神韻藝術團進行介紹。[45] 福斯國際電視網娛樂記者於2012年1月13日，專訪神韻藝術團後，以《神韻幕後》為題播出採訪花絮。[46]美國著名售票網站Ticketmaster，數百觀眾給予神韻的評分平均分為4.4顆星（滿分5顆星）[47]。
- 《BROADWAY ACROSS AMERICA PORTLAND》雜誌收錄了幾位名人對於神韻的評價。奧斯卡影后凱特·布蘭切特表示，「觀賞神韻是一個不凡的經歷，除了技巧高超，作品原創性與對故事的敘述令人吃驚；同時也相當精緻美麗。」《阿凡達》藝術總監Robert Stromberg表示：「非常美麗，史詩級的演出且具啟發性；讓我對下一部阿凡達得到一些靈感。」著名百老匯評論家Richard Connema說：「從1942年迄今，我已看過約3,000-4,000個表演，我給神韻頂級的5顆星，我看過的所有表演都無法和今晚的表演相比，用我想到最好的詞彙來形容，就是「mind blowing」。」[48]
- 阿根廷第一大日報《號角報》（Clarin）記者Laura Falcoff 2012年12月觀看神韻後，在報紙頭條發表對神韻藝術團2013年新一季在阿根廷首演的觀後感，認為神韻的使命是繼承和保持中國真正的正統半神文化，開場的節目非常震撼又充滿了神秘，巨大天幕背景中顯示從宇宙極限到中國古代的建築；並表示神韻節目極為豐富多彩：舞蹈、聲樂、東西方樂器相結合的現場音樂伴奏，天幕背景無懈可擊，演員們從舞台上飛到天上，又從天上飛到舞台。[49][50]
- 加拿大密西沙加新聞網站（mississauga.com），刊登了記者David Paterson觀看2012年12月神韻本季度在密市進行的首場演出後，以「壯觀演出帶你週遊中國」為題發表觀後感。他提到，神韻既然稱要復興5000中國文化，就應拿出令人贊口不絕的演出。作者提到密市首演場中，神韻把中國廣闊土地各個角落的音樂、舞蹈和傳奇帶給了生活藝術中心內暴滿的觀眾；經歷400回服飾變化的約100位舞蹈演員、歌手和音樂家，帶觀眾們週遊中國、在各地作短暫停留；節目從佛家創世神話，到和尚英雄，到蒙古碗舞，觸及了整個歷史。對於團體舞，約15位演員絕對同步，作者認為體現演員間互相間最好的合作。[7]
神韻藝術團在表演中部分內容從評論家與觀眾處收到了不一的評價。[51]
一些評論家對藝術團節目中這部分內容傳達的信息作出了肯定[52][19]，有觀眾對沒有五星紅旗、解放軍與中共宣傳的演出感到讚賞。[53]
但除正面報導以外，神韻藝術團表演亦時有受到負面和混雜不一的評價；特別是對於2008年度的演出，有四個媒體發表過這類評價：《紐約時報》大紐約版2008年2月6日以《一場有人難以看下去的中國文化演出》為題描述一中國移民對因事先不知道演出有他所反感的法輪功相關信息，而對神韻不滿，[54]《多倫多星報》2008年元月的一文作者曾對藝術團的表演給出1.5顆星的低分，認為太一般。[55]英國《衛報》2008年2月的一評論中，作者給以2顆星的低分；作者雖誇獎「精美佈景前，舞者伴着流水般絲巾與扇子呈現如同書法的舞姿」等，但在文章最後作者認為其中兩則節目是「華美與宣傳的太奇怪的混合」。[56]英國《每日電訊報》2008年2月一則評論的作者以「寓宣傳於娛樂」表示反對；作者談到，國際特赦組織的證據顯示法輪功學員確實在中國受到殘酷迫害，但她拒絕認同法輪功的一些觀點，例如外星人、同性戀等等（儘管演出中沒有這樣的內容）；作者觀察到儘管大多數中國裔觀眾為神韻歡呼，但也有部分不是如此。[57]
美國芝加哥每日先驅報2011年4月19日刊登了Scott C. Morgan的評論《儘管有未曾期待的節目，神韻光彩奪目》，作者首先介紹神韻是總部設在紐約的非營利機構，神韻有三個藝術團在作全球巡演，旨在保護、並且透過亮麗服飾和演出以展現中國古典舞的特徵和文化。因此，許多源自於中國神話傳說和文學的故事，透過民族民間舞或幽默的形式，在神韻舞台上閃耀生輝。作者談到在某些歌劇演唱充滿了中國宗教色彩的歌詞，神韻使用其表演藝術的平台為法輪功學員傳播信仰。還談到，在所有歡快節目中，夾雜有數則批評中國在國際上備受譴責的宗教自由和人權記錄的節目，稱這些節目達不到其他節目的藝術水準，編排誇張簡單。作者稱儘管如此，神韻演出確實是一個壯麗的奇觀，給人留下深刻印象；作者肯定了精心編排的中國古典舞、女高音耿浩然等歌手們的美聲唱法及鋼琴伴奏家的傑出才能、非凡的東西方合璧樂隊、頗具代表性的為宗教信仰自由辯護的方式。作者稱唯一意見是「對於在耀目的舞蹈節目中，會出現大膽信仰規勸內容，希望在演出的廣告中能更早說明」。[58]
神韻的節目當中，有反映中共當局迫害法輪功的內容。[59]美國《聖安東尼奧新聞快報》2012年5月9日在其官網上刊登一則評論，作者Jasmina Wellinghoff認為神韻「帶有信仰規勸」信息；「大多數節目是有趣的，但是政治、宗教方面稍微有點濃厚。神韻報幕員在舞台上談論法輪功，而部分舞蹈也涉及這一話題，都直接了當」。[60]
對於為何在演出介紹資料中沒有突出法輪功，一名神韻藝術團的製作經理解釋說，法輪功只是該展現中國傳統價值觀的演出的許多方面中一個方面，如在介紹中加以突出，顯得比較偏頗。該經理還表示，藝術團的大部分表演不涉及法輪功所遭受的政治迫害，但不少節目蘊含法輪功所頌揚的「真、善、忍」這一中國古老傳統價值觀的組成部分。溫尼伯法輪功協會成員 Maria Cheung 回應稱，將這個演出打上宣傳標籤，是由於不了解中國古代價值觀，而且是受中國共產黨對法輪功妖魔化的宣傳所誤導。[61]
非營利文化機構Folkloric Productions Dance Co. Inc的執行董事Cathy Skora女士批評一則負面評論，表示該評論者弄錯了神韻演出的意義和主題。[62]Skora認為，神韻舞者完美無瑕，無一例外顯然高度受訓於舞蹈和戲劇；她表示，藝術家的工作是傳遞思想和主意，在這方面神韻做得非常好，無論個人節目還是團體節目均傳達了普適的主題；神韻演出並非宗教宣傳，而是以法輪功的「真善忍」建立的極佳文化舞蹈...Skora在評論最後表示：作為全球公民，世界通過互相連接提供給了我們前所未有的機會，我們應接受、歡迎、學習和成長；在紐約州水牛城我們是何其幸運，能經歷世界向我們展現的象Shea's水牛城藝術中心表演的神韻這樣的世界級文化藝術的豐富多彩。[62]
神韻藝術團的宗旨是保護瀕臨滅絕的中國文化遺產。神韻的大部分節目，都是呈現中國古典音樂與舞蹈，另有一些關於法輪功的芭蕾舞劇，其中一台芭蕾舞劇演繹了法輪功修煉者在中國受迫害的遭遇。[35]網絡論壇有些討論的留言表示對神韻表演感到失望，The Hill刊文指出，有些聲音批評舞蹈作品中的宗教或政治信息，此類言論往往源自於中國共產黨政府對該劇的強烈和誹謗性譴責，近年來，中國共產黨對神韻的言論已滲透到西方的批評中。中方一直利用其經濟和外交影響力向世界各地的劇院和政府部門施壓，並擾亂神韻演出。2016年，中共駐韓國大使館威脅要對首爾一家主辦劇院進行經濟報復，迫使演出在開演前幾天取消。2024年，神韻遭到恐嚇、騷擾、團員巴士車輛的輪胎被割傷等仇恨犯罪事件[63][64]。2024年3月，美國聯邦調查局FBI對一系列針對紐約神韻藝術團，以中文做出的炸彈、大規模槍擊威脅進行調查。美國國務院表示，譴責任何國家實施的任何形式的跨國鎮壓行為[65]。
| 此章節之 中立性有爭議。其內容、語調可能 帶有明顯的個人觀點或地方色彩。 (2024年9月30日) |
2024年8月，《紐約時報》報導稱，前表演者指控神韻藝術團存在虐待行為，聲稱是被修煉法輪功的家人強迫到飛天上學，演員身體不適時，不鼓勵其就醫，並通過「情感虐待和操縱」他們服從艱苦的排練和巡演安排，通常每天工作15小時，工資低；如果離開會面臨危險，失去（法輪功的）保護等[66]。
法輪功旗下報刊《大紀元時報》發表了多篇文章反駁《紐約時報》的報道的多個觀點。文章聲稱他們的離職原因多是違反規定或藝術上未達標準，記者提問的方式似乎旨在誘導對神韻給予負面評論。《大紀元時報》訪問的演員均表示其中許多人都曾受傷並接受治療，沒有人提到因擔心受批評而不敢看醫生。有幾位演員將神韻非常低的受傷率歸功於定期檢查身體狀況和正確的技術；醫生表示定期提供醫療服務、包括中醫。飛天大學的管理規定，與其它精英寄宿學校的政策並無二致[67]。另一篇文章批評《紐約時報》混淆了神韻職業演員和學生見習演員，學生需要申請才可能參加神韻巡演，作為實習的一部分；紐時所稱的「薪水」，其實是「見習學生」巡迴演出期間，學校提供的津貼；此外，學校負擔學生入學後一切的學費、生活費、服裝費、食宿費、而且每個月提供補助[68]。神韻藝術團也在2024年8月17日的聲明譴責《紐約時報》的報道[69]。同年8月21日神韻藝術團表示收到一則威脅訊息，要求立即刪除神韻對《紐時》報導的批評（例如神韻官方聲明），否則員工及家人可能遭遇車禍、火災、黑幫襲擊[70]。
神韵艺术团致欧洲议会感谢信. zh-tw.shenyunperformingarts.org. [2024-07-09]. （原始內容存檔於2024-06-09） （中文（繁體））. 關於神韻 - 神韻藝術團. zh-tw.shenyunperformingarts.org. [2018-01-30]. （原始內容存檔於2021-01-22） （中文（繁體））. Hunt, Mary Ellen. Chinese New Year Spectacular in S.F., Cupertino. San Francisco Chronicle. 4 January 2009 [4 September 2009]. If ancient Chinese goddesses were modernized to the 21st century, one imagines that they would look a lot like Vina Lee, the tall, fine-featured, elegant choreographer and dancer whose artistry graces the Chinese Classical Divine Performing Arts Company....The show - which each year features new entries in a smorgasbord of vignettes - takes viewers on a visually dazzling tour of 5,000 years of Chinese history and culture via bravura displays of acrobatics and grand tales told through flourishes of Chinese classical dance. With hundreds of dancers in two dozen carefully designed, richly costumed pieces - everything from colorful handkerchief dances, Imperial-style dances in high platform shoes, drum dances, folk dances and wushu displays - it's a heady blend of the ancient and modern, of traditional Chinese instruments and their Western counterparts, and contemporary experiences expressed using the formality of Chinese classical dance. The true traditional Chinese dance, Lee says, blends three crucial elements: the yun or manner of carrying one's body, the technique and the physical forms, such as the positions and combinations of movements used in training martial artists. Methods of teaching Chinese dance, Lee says, were rarely written down, but although ways of teaching dance may have changed over time, much of the technique and forms have been passed down from generation to generation through wushu training. "Wushu, or martial arts, used in soft ways is dance, and vice versa," she says. "Martial arts never really changed - it got better, but the style did not change." The yun, however, is a different story. The way a people comport themselves depends on the culture, and China's culture has evolved vastly since the Communist Revolution and the modernization of its society. Some of what makes Chinese yun, Lee says, has been lost in the process. "The modern contraction," she says, tightening her midsection into a curve modern dancer Martha Graham would easily recognize, "is very different from the Chinese curve. It is inhale, exhale - that's a different energy." Without standing up from the cafe table, Lee strikes a subtle but definitely different note, curling and rounding her torso to illustrate what immediately seems - even to an untutored eye - to be a more characteristically Chinese pose, one closer to the graceful statues of goddesses such as Kwan Yin and Ho Hsien-Ku. "Lots of shows claim to be Chinese dance," Lee says. "It's familiar to Western audiences, but they may wonder, why do they do this movement or that movement? Even lots of dancers are confused as to what is real Chinese dance." Lee strikes a pose, covering her face flirtatiously with an imaginary fan. "They may look with the eyes like this," she says, glancing over her fan with a bit of come-hither peekaboo. "But in true Chinese dance, the women are conservative, more shy. They are hiding their faces with the fan," she adds, changing her pose slightly to convey a more delicate sensibility.
SUSAN HODARA. 5,000 Years of Chinese Music and Dance, in One Night （頁面存檔備份，存於互聯網檔案館）. New York Times. 13 August 2010.Those stories include the legends of Yue Fei, the Song dynasty general revered for his loyalty, and Mulan, the heroine who joined the army disguised as a man. There is a retelling of a Buddhist monk’s pilgrimage to India, derived from the 16th-century Chinese novel 「Journey to the West,」 as well as modern tales like 「Astounding Conviction,」 focusing on the spirit of a peaceful demonstrator arrested in Tiananmen Square.
Paula Citron. A dazzling show with a clear message. 環球郵報. 2008-01-22 [2013-01-06]. （原始內容存檔於2013-03-10）. The show contains 20 numbers, five musical and 15 dance. Of these 20, six show support of Falun Gong (Falun Dafa), which followers describe as a self-improvement meditation practice. The spiritual movement is outlawed in China, where, according to human-rights critics, Falun Gong practitioners have been jailed and tortured. ...Four songs in the show have lyrics that exhort the listener to be both better aware of tyranny and make a stand against oppression. The two dance dramas, The Risen Lotus Flower and The Power of Awareness, depict, respectively, three courageous young Falun Gong women being beaten in prison and a group of Falun Gong followers resisting the police in a park. Needless to say, none of the battalion of choreographers and composers listed in the program currently lives in China. This is a show where the artistic team is all expatriates and the performers are ethnic Chinese born mostly in foreign climes. There are a considerable number of Canadian Chinese in the cast. The show is certainly a spectacle. The production values are grand in terms of costumes and scenic effects, and the performers are all very good-looking and meticulously disciplined. The choreography is based on traditional movement from classical Chinese dance, such as little running steps, angled bodies, knee raises, abrupt poses and showy gymnastics. The core of the style is how the 16 or so dancers are put in patterns to get the maximum beauty out of their stage picture. There are folk dances from Tibet and Mongolia for both the female (graceful) and male (athletic) ensembles, a traditional fan dance and long-sleeve dance, drum dances, a Manchu court dance on tiny shoes and dance dramas. In the latter, an ambitious Confucian scholar receives enlightenment from a Taoist (A Vanished Dream), while two modern "gangsta" street youths (one in a Mohawk) are embraced by Buddhist reverence (The Fruits of Goodness). Nymphs of the Sea, where each of the winsome young women holds a fan with a long train of blue silk, got the most enthusiastic audience reaction. When they wave the fans standing closely together, the material actually looks like a rippling waterfall. The lush and tuneful original music is a fusion, layering a Western orchestra with traditional Chinese instruments. This show is performed to tape, but the banks of sound equipment are state-of-the-art, and the Sony Centre has never seemed so full and sweeping to the ear. The four opera singers are very accomplished, as is young pianist Yan Li.
神韻藝術團. 神韻音樂. [2012-12-26]. （原始內容存檔於2020-09-25） （中文（繁體））. Higgins, Beau. 'Holiday Wonders' Chinese Meets West Extravaganza. Broadway World. 15 November 2007 [5 September 2009]. HOLIDAY WONDERS, A GLORIOUS BLEND OF CHINESE AND WESTERN PERFORMANCES, TO HIGHLIGHT HOLIDAY SEASON...In a magnificent landscape of music, song, dance and acrobatics that has for centuries inspired the proud and extraordinary culture of the Chinese people, HOLIDAY WONDERS, an extravagantly beautiful production will for the first time be seen in South Florida in a limited two performance schedule, Thursday and Friday, December 27 and 28, at 8 P.M. at the Broward Center for the Performing Arts. Presented by Divine Performing Arts, the family-oriented production will be arriving with an international company of sixty plus whose lavish production numbers, colorful sets, dazzling costumes, brilliant choreography, and booming Tang dynasty drums will reveal the fascinating lifestyle and legendary elegance of the traditional China of yesterday coupled with the contemporary influence of today's Western world. HOLIDAY WONDERS carries with it several internationally acclaimed choreographers whose individual contributions are visualized in large scale dance sequences using dozens of dancers in stunning hand-designed costumes as they perform their dramas of ancient China, its epic tales, myths and legends against exquisite digitally projected backdrops. Among them is the story of the legendary woman warrior, "Mulan," who became the subject of a popular Disney movie. The role will be danced by Michelle Ren, winner of the International Chinese Traditional Dance Competition, and the company's leading dancer. Productions of HOLIDAY WONDERS as well as the internationally famed NTDTV CHINESE NEW YEAR SPECTACULAR, recently seen at New York's Radio City Music Hall, are presented throughout the world including North America, Canada, and countries in Asia-Pacific, and Europe. HOLIDAY WONDERS will be presented, Thursday and Friday, December 27 and 28, at the Au Rene Theater. Broward Center for the Performing Arts.
Reyhan Harmanci. EPIC PROPORTIONS. San Francisco Chronicle. 2008-01-24 [2013-01-08]. （原始內容存檔於2019-11-30） （英語）. Sid Smith. Women flow like water in spectacle. Chicago tribune. 2008-01-28 [2012-12-29]. （原始內容存檔於2013-12-13） （英語）. In many respects, the Chinese New Year Spectacular resoundingly lives up to its name. The term "spectacular" may whiff of self-promotion, but the show, which played Arie Crown Theater over the weekend, is indisputably a spectacle. Dozens of dancers and musicians flood the stage in a parade of brightly colored, intricately detailed silken costumes, while the instrumentation ranges from traditional drums to bunches of chopsticks.
Shen Yun. ticketmaster. [7 January 2013]. （原始內容存檔於2016-03-05）. Mackrell, Judith. Dance review: Shen Yun Royal Festival Hall, London. The Guardian. 25 February 2008-02-25 [2013-01-06]. （原始內容存檔於2013-01-10）. There are some authentic pleasures to be seen on stage: fierce demonstrations of drumming; a haunting Chinese violin solo; choreographed set pieces in which the sinuous calligraphy of the dancers' bodies is elaborated with rippling silks and fans. But too much of it goes against the troupe's stated commitment to preserve the heritage of classical China. One tableau - Descent of the Celestial Kings - includes a pair of improbably western-looking angels with tinsel halos and wings. Another - The Risen Lotus Flower - shows Falun Gong prisoners being tortured but who are illuminated by a spiritual light that pirouettes around them like a digital Tinkerbell. It is all too weird a mix of propaganda and bling.
Crompton, Sue. Shen Yun: Propaganda as entertainment. The Daily Telegraph. 2008-02-25 [2013-01-06]. （原始內容存檔於2020-12-25）. Now it does seem, from Amnesty International evidence, that followers of this group have suffered brutal persecution; on the other hand, I am reluctant to welcome the teachings of a man who believes that aliens live among us and that homosexuality and mixed-raced marriages are degenerate. This seems a long way from the "truthfulness, compassion and forbearance" presented as the group's principles on stage. But what I really object to is that such a politically motivated performance is being smuggled on to stages around Europe in the name of family entertainment. And at the group's first performance in Britain on Friday at the Festival Hall, I was not alone. While many of the audience - the majority of Chinese origin - applauded, others were appalled. In such a context, any judgment of the piece's artistic merit seems beside the point, but it is a horribly Disneyfied version of the traditional Chinese culture it seeks to celebrate.
Scott C, Morgan. Shen Yun sparkles,despite unexpected agenda. Daily Herald. 2011-04-19 [2013-02-28]. （原始內容存檔於2019-12-02）. The New York-based nonprofit organization has three companies touring the world, each dedicated to preserving and presenting aspects of classical Chinese dance and culture via lavishly costumed revues. Hence the many geometrically sparkly sequences celebrating ethnic folk dances or humorous story vignettes drawn from Chinese legends and literature in a Shen Yun performance. But mixed in with all the cheerily choreographed numbers are a few pantomimed numbers that are highly critical of China's internationally condemned record on religious freedom and human rights. These protest numbers, along with operatically sung Chinese songs filled with religiously tinged lyrics, quickly make it apparent that Shen Yun also uses its performing arts platform to preach on behalf of followers of Falun Dafa (also known as Falun Gong)...These wordless protest numbers are also melodramatically simplistic (which could do with Shen Yun's need to easily advocate to an international audience)...But aside from these quibbles about foisted religiosity and strained humorous narration, Shen Yun Performing Arts does put on quite an impressive spectacle when it sticks to the elaborately choreographed classical Chinese dance numbers. And befitting the opera house setting, Shen Yun also features classically trained singers (soprano Haolan Geng particularly stood out) with grand piano accompaniment.The blended live orchestra featuring Asian and European instruments is definitely a luxury. It's also very symbolic of how Shen Yun Performing Arts is reaching out to a global audience to advocate on its behalf for religious freedom. My only wish is that Shen Yun would be more upfront in its advertising about its unabashed proselytizing amid all the dazzling dance performances.
Jasmina, Wellinghoff. Review: Shen Yun fun mixed with proselytizing. San Antonio Express-News. 2012-05-09 [2013-02-28]. （原始內容存檔於2019-11-30）. A lot of it is fun, but the politico-religious aspect is a bit heavy-handed. For those unfamiliar with the movement, Falun Gong — also known as Falun Dafa — is a spiritual practice founded in China in 1992 and later suppressed by the government. The Shen Yun narrators talk about it from the stage and the dance segments dealing with this subject are quite straightforward.
Skora, Cathy. Shen Yun a Universal Theme (a reader responds). buffalo rising. 2010-05-28 [2013-01-06]. （原始內容存檔於2012年3月11日）. I am puzzled how the reviewer of Shen Yun Dance Company for the Buffalo News' Gusto on Friday May 28, 2010 missed the entire point and theme of this performance. The evening was rich with Chinese dance, music, and culture. The dancers were flawless and without exception obviously superbly trained in dance and theater. The choreography was an interesting array of organic patterns, using multi levels, highlighting soloists, reflecting theme and music, and offered a visual utopia in costume design and the use of fabric and other props with movement. A basic tenant of art from the beginning of time has been to communicate about the world around us. This is a not an artistic downfall. It is the job of an artist to communicate thoughts and ideas.This was done very well by Shen Yun with a universal theme of potential both individually and collectively. The performance by Shen Yun Dance Company was not religious propaganda. It was a lovely evening of cultural dance at its finest, using a theme of Falun Dafa's principles of "Truthfulness, Benevolence, and Forbearance". This theme was performed elegantly and flawlessly by well trained dancers. The costuming was oriental, not "over costumed" as stated in the review. If we approach art as open minded consumers we appreciate and learn from it making connections and leaps of thought that assist us in connecting new and different ideas and viewpoints to our own world. In order to fully understand something we need to look at it in context. This performance was a Chinese cultural expression that had a universal theme we can all relate to. That is not propaganda...that is art. And yes, performing groups do market themselves with merchandise, programs, and public relations personnel. And yes, this marketing will be pertinent within the cultural context of the performing group. This should not come as a surprise to a reviewer. As global citizens [it] is our job to accept, welcome, learn ,and grow through the interconnecting opportunities available to us as never before in the global arena that is our world. How lucky we are [that] right here in Buffalo, New York [we are] able to experience the richness of what the world has to offer by our neighbors and by being exposed to world class cultural arts as presented by Shen Yun at Shea's.
王曼娜. 港拒簽美藝術團入境 法院撤銷. 中央社. 2010-03-09 [2012-12-27]. （原始內容存檔於2014-12-09） （中文（繁體））.
