神韵艺术团是成立于2006年的中国古典舞与传统音乐艺术团，总部于美国纽约州，由法轮功修炼者创办[1]。2019年有六个团同时在世界各地巡回演出[2]。据其官网介绍，神韵宗旨是复兴五千年神传文化，其“艺术灵感取自儒、释、道学说发源、发展，是中国传统文化的真正精髓”，使命是“复兴中华传统文化，并唤起人们对当今中国法轮功所面临的残酷迫害的关注”。[1][3]2006年获《Billboard》杂志评选为全美七大优秀大型舞台剧[4]，常获世界各地艺术大师的五星级评价[5]。
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《纽约时报》于2010年以〈一夜看尽五千年中华传统音乐与舞蹈〉报导，指神韵每年在全世界逾100个主要城市巡演（至今未能前往中国大陆演出），2010年演出季，观众已超过一百万。每个分团约100人，包括舞蹈家和音乐家，有独立的乐队、编舞、作曲家等，均受过传统的文化培训。[6][7]
2024年在全球至少20个国家、200个城市巡回演出[8]。据神韵官方网站介绍，神韵演出内容拥有多项特点，分别为：
每一团约有60名舞者[9]，演出内容以中国古典舞为主体，辅以中国民族民间舞蹈。
旧金山湾区的旧金山纪事报，基于对神韵艺术团的编舞李维娜（Vinna Lee）的专访，形象地介绍什么是中国古典舞及作为其重要成分的‘韵’。[10]
神韵的节目包含法轮功的内容。2010年的舞蹈节目内容，有宋朝忠诚的将军岳飞、乔装成男子从军的女英雄花木兰、16世纪的中国小说西游记，以及讲述法轮功学员在天安门广场和平示威被捕的现代传奇《震撼》（Astounding Conviction）[11][12]。
神韵艺术团有中西合璧的乐团现场伴奏，以西洋管弦乐器为基础，加上二胡、琵琶、唢呐、笛子、等中国传统乐器。[6][13]
神韵艺术团乐团成员，包括中国国家一级演员、大提琴演奏家、原中国中央乐团交响乐队队长兼指挥陈汝棠[14]。[14]
除了合奏，演出中也穿插器乐家的独奏，比如二胡演奏家美旋、戚晓春的演出。[15]
神韵声乐演员中有男高音歌唱家、中国国家一级演员关贵敏[16][17]，有被认为是全球七大女低音之一的唯一华人（德国籍）杨建生等。[15][18]2007年演出的一支独唱中提及转轮圣王[19]神韵声乐演员中，还有在中国时为外国政要表演的国家一级演员、获奖男高音洪鸣，以及女高音耿浩蓝等等。[20]
演出中，舞蹈演员会依不同的朝代或身份而穿戴不同的服装与使用不同的道具。[6][9]
神韵的舞台背景属于数位动态背景，随着每一出不同的剧情而改变，有蒙古大草原、炊烟袅袅的中国小村庄等。[6][21][22]除了静态背景之外，背景也具有动态效果，能与剧情、演员进行互动，让演员能在天幕与舞台间穿梭，延伸舞台空间效果。[23]
从神韵艺术团于2006年成立以来，持续扩大到7大分团，于北美、亚洲、欧洲、大洋洲、南美洲等地大型城市的剧院演出。
- 神韵纽约艺术团
- 神韵国际艺术团
- 神韵巡回艺术团
- 神韵世界艺术团
- 神韵北美艺术团
- 神韵环球艺术团
- 神韵新纪元艺术团
- 神韵交响乐团
- 2012年于纽约卡内基音乐厅首演，2013年起于美国各大城市之大型音乐厅展开巡演。2016年起，神韵交响乐团包括固定的在美巡演行程，也开始在加拿大、台湾、日本等国家和地区展开国际巡演行程。[来源请求]
神韵艺术团登临的大型戏剧院（表演场地），包括纽约无线电城音乐厅[24][25]、林肯中心[26][27]、华盛顿哥伦比亚特区约翰·肯尼迪表演艺术中心[28]、伦敦皇家节日大厅、巴黎会议与会展中心、加拿大多伦多索尼表演艺术中心[29]、台北国父纪念馆[30]、美国加州好莱坞的杜比剧院（原名柯达剧院）。[31]
一群遭中共迫害的修炼法轮功的华人艺术家，2006年在美国纽约成立神韵艺术团[32][33][34]。法轮功是一种精神修炼，1999年被中国共产党禁止与严重迫害。神韵艺术团的宗旨是保护濒临灭绝的中国文化遗产[35][36][37]。神韵艺术团表示，演出的所有收益都会返回神韵，用于支付演出艺术家的费用，并支持纽约飞天艺术学院的运作。[38]飞天艺术学院，是西方社会第一所教授传统音乐、艺术和中国古典舞的综合性艺术学院，培育出的许多艺术家进入神韵演出。[39][40]
- 《旧金山纪事报》、北加州地区发行量最大报，于2007年至2009年接连三个新年，介绍并赞扬神韵演出。[10][41][42]2008年以《百年难遇》（EPIC PROPORTIONS）所作报导中，提到此演出被称为“海外庆祝中国新年规模最大的活动”，提到演出有约40个独立节目，每一节目表现中国一个历史片段或一个中国新年故事，有皇宫、武士和仙女下凡等场景，也有当代正在发生的故事的舞蹈展现，报导提到演出最主要出发点就是展现中共统治中国以前的中国历史，引用了神韵编舞李维娜的话：“中国新年是家庭团聚的日子，就象是圣诞节。我们的演出不仅仅是娱乐，更是为了回顾历史，复兴中国的文化之本；包括被中共迫害和遗弃的善良、宽容、美丽等原则；不管什么背景观众，会发现很容易理解演出的内涵；不要错过第一个节目，大幕拉开是一幅令人惊叹的画面，将带给你久远历史前的信息。”[41]
- 《芝加哥论坛报》艺术评论家史密斯在2008年观看神韵演出后，以《演出中女士们行云如水》为题作报导，评论证神韵是名副其实、无可争议的“壮观（Spectacular）”，服装“丰富精巧（intricately detailed）”；动态天幕展示“田园诗般（pastoral）的美景”并具备“电影特效的创意（cinematic ingenuity）”；舞蹈演员“技术高超（nimble mastery）”、“动作优雅（delicate）”。[43]
- 《丹佛邮报》，在2008年元月以《在中国新年庆祝中华传统文化》为题进行的报导，作者John Wenzel 表示正在环球巡演的这个演出，在努力展现生动、真实、没有被现代化宣传扭曲的中华艺术；报导谈到北京当局试图阻碍神韵演出，因为视这场演出为对维持其现状的威胁；而在世界各地，几十万观众观看后了解了有5000年悠久文化的中国。该报导表示，鉴于中共对中华传统文化的压制，神韵艺术团旨在挽救中华传统文化，演出透过罕见的特殊服饰和生动活泼的肢体语言，演绎出中国古老神话和传奇故事，吸引了多元文化观众的目光，整场晚会中有中西主持人介绍各节目，帮助观众掌握各节目的精髓。并引用了对神韵艺术团顾问张而平先生的采访：“现今中国境内多数艺术演出虽兼俱中西方形式和乐器，主要为政治服务，因为共产党意识形态被作为舶来品输入中国后，为成功在中国落地生根，要压制中华传统文化形式。中国新年本是家人团聚与庆祝的时刻，可社会上还有人因人权被侵犯、受镇压而无法和亲人团聚。神韵晚会不只是对西方人，对于我们中国人自己，反观历史及思考中国现状，都会大开眼界。观众对晚会形成压倒性的正面反馈，很多中国观众看后都流下眼泪。”报导表示神韵晚会透过轻快、冥想音乐以及基于广泛历史研究的细致动作，明确传达出平和的讯息。[25]
- 《百老汇世界》，这个综合介绍和预报剧院演出的专业网站（broadwayworld.com）于2008年12月8日，刊登专栏作家、音乐剧演员和导演Beau Higgins的文章，极力赞美神韵艺术团的《圣诞奇观》（Holiday Wonders），是全新的音乐、舞蹈大手笔演出，称特别美丽、前所未见，表示演出荟萃了传统的音乐、歌曲、编舞、精美服饰和叹为观止的动态天幕，再现自豪和非凡的悠久中华文化；作者特别提到了神韵领舞演员Michelle Ren饰演传奇女骑士花木兰中的非凡演出。[24]
- 《百老汇世界》2015年11月11日报导，全球数百万人已经看过神韵表演。在顶尖的艺术中心，众人热烈鼓掌欢迎，欧洲贵族也参与，北美门票销售一空，在亚洲场场爆满，这些已经成为神韵演出的一个国际现象。[44]
- 《纽约时报》文艺活动版2010年8月13日，发表记者SUSAN HODARA以《一夜赏尽五千年乐舞》的文章，介绍了神韵艺术团是一个依靠门票销售和捐赠来运营的非营利组织，其宗旨是复兴中华传统文化，并介绍神韵引人入胜的艺术表现方式。报导谈到，在08年一月至八月，该团在约130个用音乐、舞蹈和舞剧展现跨越五千年的中华文化。报导中表示，每年神韵均会有全新的原创节目，2.5小时演出融合一系列精心编排的节目，从独唱、多人舞蹈到二胡独奏，配以优雅舞台设计、原创乐曲、华丽服饰、独特道具和背景天幕，有美声歌曲、鼓乐和西藏、蒙古等民间舞蹈；现场伴奏乐队用中国乐器如琵琶、古筝和笛子等，也有西方乐器，技术难度高。每一节目配有不同的天幕：宫殿、草原、高山、下雪和云层，一切动画与演员的动作协调配合。[6]文章引述神韵发言人的话：
要成为杰出艺术家，不能只学会精湛的技术，还要有某种生活态度，即必须坚强、保持冷静、有同情心、内心平和。这些品质，无论可见与否，会伴随人，人们会感觉到。
- CNN在2010年以“中华文化在美复兴”为题，对神韵艺术团进行介绍。[45] 福斯国际电视网娱乐记者于2012年1月13日，专访神韵艺术团后，以《神韵幕后》为题播出采访花絮。[46]美国著名售票网站Ticketmaster，数百观众给予神韵的评分平均分为4.4颗星（满分5颗星）[47]。
- 《BROADWAY ACROSS AMERICA PORTLAND》杂志收录了几位名人对于神韵的评价。奥斯卡影后凯特·布兰切特表示，“观赏神韵是一个不凡的经历，除了技巧高超，作品原创性与对故事的叙述令人吃惊；同时也相当精致美丽。”《阿凡达》艺术总监Robert Stromberg表示：“非常美丽，史诗级的演出且具启发性；让我对下一部阿凡达得到一些灵感。”著名百老汇评论家Richard Connema说：“从1942年迄今，我已看过约3,000-4,000个表演，我给神韵顶级的5颗星，我看过的所有表演都无法和今晚的表演相比，用我想到最好的词汇来形容，就是“mind blowing”。”[48]
- 阿根廷第一大日报《号角报》（Clarin）记者Laura Falcoff 2012年12月观看神韵后，在报纸头条发表对神韵艺术团2013年新一季在阿根廷首演的观后感，认为神韵的使命是继承和保持中国真正的正统半神文化，开场的节目非常震撼又充满了神秘，巨大天幕背景中显示从宇宙极限到中国古代的建筑；并表示神韵节目极为丰富多彩：舞蹈、声乐、东西方乐器相结合的现场音乐伴奏，天幕背景无懈可击，演员们从舞台上飞到天上，又从天上飞到舞台。[49][50]
- 加拿大密西沙加新闻网站（mississauga.com），刊登了记者David Paterson观看2012年12月神韵本季度在密市进行的首场演出后，以“壮观演出带你周游中国”为题发表观后感。他提到，神韵既然称要复兴5000中国文化，就应拿出令人赞口不绝的演出。作者提到密市首演场中，神韵把中国广阔土地各个角落的音乐、舞蹈和传奇带给了生活艺术中心内暴满的观众；经历400回服饰变化的约100位舞蹈演员、歌手和音乐家，带观众们周游中国、在各地作短暂停留；节目从佛家创世神话，到和尚英雄，到蒙古碗舞，触及了整个历史。对于团体舞，约15位演员绝对同步，作者认为体现演员间互相间最好的合作。[7]
神韵艺术团在表演中部分内容从评论家与观众处收到了不一的评价。[51]
一些评论家对艺术团节目中这部分内容传达的信息作出了肯定[52][19]，有观众对没有五星红旗、解放军与中共宣传的演出感到赞赏。[53]
但除正面报导以外，神韵艺术团表演亦时有受到负面和混杂不一的评价；特别是对于2008年度的演出，有四个媒体发表过这类评价：《纽约时报》大纽约版2008年2月6日以《一场有人难以看下去的中国文化演出》为题描述一中国移民对因事先不知道演出有他所反感的法轮功相关信息，而对神韵不满，[54]《多伦多星报》2008年元月的一文作者曾对艺术团的表演给出1.5颗星的低分，认为太一般。[55]英国《卫报》2008年2月的一评论中，作者给以2颗星的低分；作者虽夸奖“精美布景前，舞者伴着流水般丝巾与扇子呈现如同书法的舞姿”等，但在文章最后作者认为其中两则节目是“华美与宣传的太奇怪的混合”。[56]英国《每日电讯报》2008年2月一则评论的作者以“寓宣传于娱乐”表示反对；作者谈到，国际特赦组织的证据显示法轮功学员确实在中国受到残酷迫害，但她拒绝认同法轮功的一些观点，例如外星人、同性恋等等（尽管演出中没有这样的内容）；作者观察到尽管大多数中国裔观众为神韵欢呼，但也有部分不是如此。[57]
美国芝加哥每日先驱报2011年4月19日刊登了Scott C. Morgan的评论《尽管有未曾期待的节目，神韵光彩夺目》，作者首先介绍神韵是总部设在纽约的非营利机构，神韵有三个艺术团在作全球巡演，旨在保护、并且透过亮丽服饰和演出以展现中国古典舞的特征和文化。因此，许多源自于中国神话传说和文学的故事，透过民族民间舞或幽默的形式，在神韵舞台上闪耀生辉。作者谈到在某些歌剧演唱充满了中国宗教色彩的歌词，神韵使用其表演艺术的平台为法轮功学员传播信仰。还谈到，在所有欢快节目中，夹杂有数则批评中国在国际上备受谴责的宗教自由和人权记录的节目，称这些节目达不到其他节目的艺术水准，编排夸张简单。作者称尽管如此，神韵演出确实是一个壮丽的奇观，给人留下深刻印象；作者肯定了精心编排的中国古典舞、女高音耿浩然等歌手们的美声唱法及钢琴伴奏家的杰出才能、非凡的东西方合璧乐队、颇具代表性的为宗教信仰自由辩护的方式。作者称唯一意见是“对于在耀目的舞蹈节目中，会出现大胆信仰规劝内容，希望在演出的广告中能更早说明”。[58]
神韵的节目当中，有反映中共当局迫害法轮功的内容。[59]美国《圣安东尼奥新闻快报》2012年5月9日在其官网上刊登一则评论，作者Jasmina Wellinghoff认为神韵“带有信仰规劝”信息；“大多数节目是有趣的，但是政治、宗教方面稍微有点浓厚。神韵报幕员在舞台上谈论法轮功，而部分舞蹈也涉及这一话题，都直接了当”。[60]
对于为何在演出介绍资料中没有突出法轮功，一名神韵艺术团的制作经理解释说，法轮功只是该展现中国传统价值观的演出的许多方面中一个方面，如在介绍中加以突出，显得比较偏颇。该经理还表示，艺术团的大部分表演不涉及法轮功所遭受的政治迫害，但不少节目蕴含法轮功所颂扬的“真、善、忍”这一中国古老传统价值观的组成部分。温尼伯法轮功协会成员 Maria Cheung 回应称，将这个演出打上宣传标签，是由于不了解中国古代价值观，而且是受中国共产党对法轮功妖魔化的宣传所误导。[61]
非营利文化机构Folkloric Productions Dance Co. Inc的执行董事Cathy Skora女士批评一则负面评论，表示该评论者弄错了神韵演出的意义和主题。[62]Skora认为，神韵舞者完美无瑕，无一例外显然高度受训于舞蹈和戏剧；她表示，艺术家的工作是传递思想和主意，在这方面神韵做得非常好，无论个人节目还是团体节目均传达了普适的主题；神韵演出并非宗教宣传，而是以法轮功的“真善忍”建立的极佳文化舞蹈...Skora在评论最后表示：作为全球公民，世界通过互相连接提供给了我们前所未有的机会，我们应接受、欢迎、学习和成长；在纽约州水牛城我们是何其幸运，能经历世界向我们展现的象Shea's水牛城艺术中心表演的神韵这样的世界级文化艺术的丰富多彩。[62]
神韵艺术团的宗旨是保护濒临灭绝的中国文化遗产。神韵的大部分节目，都是呈现中国古典音乐与舞蹈，另有一些关于法轮功的芭蕾舞剧，其中一台芭蕾舞剧演绎了法轮功修炼者在中国受迫害的遭遇。[35]网络论坛有些讨论的留言表示对神韵表演感到失望，The Hill刊文指出，有些声音批评舞蹈作品中的宗教或政治信息，此类言论往往源自于中国共产党政府对该剧的强烈和诽谤性谴责，近年来，中国共产党对神韵的言论已渗透到西方的批评中。中方一直利用其经济和外交影响力向世界各地的剧院和政府部门施压，并扰乱神韵演出。2016年，中共驻韩国大使馆威胁要对首尔一家主办剧院进行经济报复，迫使演出在开演前几天取消。2024年，神韵遭到恐吓、骚扰、团员巴士车辆的轮胎被割伤等仇恨犯罪事件[63][64]。2024年3月，美国联邦调查局FBI对一系列针对纽约神韵艺术团，以中文做出的炸弹、大规模枪击威胁进行调查。美国国务院表示，谴责任何国家实施的任何形式的跨国镇压行为[65]。
| 此章节之 中立性有争议。其内容、语调可能 带有明显的个人观点或地方色彩。 (2024年9月30日) |
2024年8月，《纽约时报》报导称，前表演者指控神韵艺术团存在虐待行为，声称是被修炼法轮功的家人强迫到飞天上学，演员身体不适时，不鼓励其就医，并通过“情感虐待和操纵”他们服从艰苦的排练和巡演安排，通常每天工作15小时，工资低；如果离开会面临危险，失去（法轮功的）保护等[66]。
法轮功旗下报刊《大纪元时报》发表了多篇文章反驳《纽约时报》的报道的多个观点。文章声称他们的离职原因多是违反规定或艺术上未达标准，记者提问的方式似乎旨在诱导对神韵给予负面评论。《大纪元时报》访问的演员均表示其中许多人都曾受伤并接受治疗，没有人提到因担心受批评而不敢看医生。有几位演员将神韵非常低的受伤率归功于定期检查身体状况和正确的技术；医生表示定期提供医疗服务、包括中医。飞天大学的管理规定，与其它精英寄宿学校的政策并无二致[67]。另一篇文章批评《纽约时报》混淆了神韵职业演员和学生见习演员，学生需要申请才可能参加神韵巡演，作为实习的一部分；纽时所称的“薪水”，其实是“见习学生”巡回演出期间，学校提供的津贴；此外，学校负担学生入学后一切的学费、生活费、服装费、食宿费、而且每个月提供补助[68]。神韵艺术团也在2024年8月17日的声明谴责《纽约时报》的报道[69]。同年8月21日神韵艺术团表示收到一则威胁讯息，要求立即删除神韵对《纽时》报导的批评（例如神韵官方声明），否则员工及家人可能遭遇车祸、火灾、黑帮袭击[70]。
神韵艺术团致欧洲议会感谢信. zh-tw.shenyunperformingarts.org. [2024-07-09]. （原始内容存档于2024-06-09） （中文（繁体））. 關於神韻 - 神韻藝術團. zh-tw.shenyunperformingarts.org. [2018-01-30]. （原始内容存档于2021-01-22） （中文（繁体））. 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 （页面存档备份，存于互联网档案馆）. 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. 环球邮报. 2008-01-22 [2013-01-06]. （原始内容存档于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.
神韵艺术团. 神韻音樂. [2012-12-26]. （原始内容存档于2020-09-25） （中文（繁体））. 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]. （原始内容存档于2019-11-30） （英语）. Sid Smith. Women flow like water in spectacle. Chicago tribune. 2008-01-28 [2012-12-29]. （原始内容存档于2013-12-13） （英语）. 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]. （原始内容存档于2016-03-05）. Mackrell, Judith. Dance review: Shen Yun Royal Festival Hall, London. The Guardian. 25 February 2008-02-25 [2013-01-06]. （原始内容存档于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]. （原始内容存档于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]. （原始内容存档于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]. （原始内容存档于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]. （原始内容存档于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]. （原始内容存档于2014-12-09） （中文（繁体））.
