The newly created work "Living among Flowers" by Guangdong Song and Dance Theater focuses on the silver haired generation and is the first dance drama in China to focus on the theme of Alzheimer's disease. The drama is set in the "Flower City" of Guangzhou, and uses a unique humanistic perspective to address real-life issues, telling the story of a mother who gradually loses her memory and the deep emotional bond between her son. Its delicate and sincere expression, coupled with a stage presentation full of Lingnan flavor, brings a refreshing viewing experience to the audience. Compared to the public's understanding of the pathological aspects of Alzheimer's disease, 'Living Among Flowers' provides a more aesthetic perspective, guiding viewers to think about how individuals face the process of memory loss and the passing of life. The work depicts the experience of an elderly mother gradually losing her memory, and unfolds a deep gaze towards family, memories, and time through concrete and tangible daily moments. On stage, the mother's memory is no longer just a psychological experience within the character, but is externalized through the progression of spatial displacement, physical actions, and stage imagery. Memory returns in the form of "flowers", remains in the form of "paintings", and illuminates the gaps of forgetfulness through the flashback of images, allowing the audience to truly feel the "lost but not lost" love that is always present. The silence, misidentification, and loss of the mother, although constituting a long, slow, and secretive 'exit', have never truly left. Amidst the flowing light and dance steps, the audience not only confronts the unspoken and inseparable emotional bonds between themselves and their loved ones, but also re experiences their understanding and appreciation of life. Who lives among the flowers with the rolled pearl curtain. ”In this work, the Lingnan regional scenery is not only a decoration for the stage background, but also a spiritual support for promoting narrative and carrying emotions. From the hustle and bustle of the Guangzhou flower market to the Danjia fishing fires at the confluence of the Pearl River and Pearl River, the creators have created a southern daily life that is both lively and poetic, with highly recognizable regional imagery. The street and alley flower house on stage not only reproduces the life ritual of "no flowers, no spring" of Guangzhou people, but also serves as a starting point for memories, connecting the deep emotional clues between mother and son. Centered around the consistent theme of "flowers", the dance drama constructs a layered and progressive emotional structure through multiple symbol transformations between reality and mental imagery, physical space and spiritual memory, integrating Lingnan scenery, family memories, and the flow of life. On the whiteboard hanging from the stage, the outline of the Lingnan arcade is blurred with light ink, which is the image of my mother's memory gradually fading over time; The double-sided semi transparent device cleverly separates illusion and reality through the changes of light and shadow, and allows the two to permeate each other, creating a multidimensional space that can be seen and felt on stage, becoming a visual channel for the audience to enter the character's inner world. The most touching scene occurred when the son was flipping through his mother's album: the tender brushstrokes of the sticky notes were projected into frames of blooming flowers, swimming whales, and loving mothers, layer by layer forming an emotional puzzle about love and memory. At this moment, not only did it evoke memories of the son, but it also made the audience feel as if they had touched the warm fingertips of the mother, and felt the deep love that had never gone far away. As a "non typified" dance drama, "Living Among Flowers" does not have strong dramatic conflicts or rely on complex narrative rhythms. Instead, in extremely restrained and gentle artistic expression, it evokes the collective memories of loved ones, cities, time, and love deep in the hearts of the audience in a calm and gentle manner. The realistic aesthetic of "walking close to the ground" presented in the work makes the Lingnan temperament more introverted on stage and has a more penetrating empathetic power. Fei Bo, the chief director of the Central Ballet, serves as the overall director of this drama. He has always observed the social texture from a gentle and delicate perspective, extracting moving spiritual textures from ordinary life. In this drama, he and his team jointly constructed a set of dance vocabulary that combines locality and symbolism, especially in group dance segments such as "Danjia Women", "Mermaid Country", and "White Republic of China". The creative team extracted folk body language and abstracted it, allowing the realistic texture and symbolic meaning of Lingnan style to coexist on stage. The dance style integrates various elements such as ballet, modern dance, classical dance, and folk dance, showcasing a highly open cross-cultural creative perspective. The formation of this aesthetic direction is closely related to the years of overseas artistic practice of the main creative team, and also endows this drama with a modern characteristic that is rooted in the local area and oriented towards the world. The emotional climax of the entire play occurs in the second half of the mother's solo dance. The dancer completed an emotional transformation from reality to illusion through continuous and flowing body movements, ultimately transforming into a "flower". This solo dance is no longer a mournful song about illness, but a revival of emotions and a resurgence of life. Every flower is waiting to be seen again, just as every mother is waiting to be truly understood. When mothers bloom like flowers in dance, what the audience sees is not the sadness of memory decline, but the gaze of life dignity and the long-lasting echo of love. In recent years, the creation of Guangdong dance dramas has shown a significant trend of expanding themes and diversifying styles, with a number of representative works such as "Memories of Shawan", "Wing Chun", "Awakening Lion", and "Flag" emerging with distinct ideas and diverse styles. From the inheritance of skills to regional memory, from youth struggle to national narrative, these works together constitute a rich map of Guangdong dance drama creation in recent years, and also present the practical path of Guangdong dancers constantly seeking a balance between theme selection, artistic expression, and cultural confidence. In recent years, the creation of Guangdong Song and Dance Theater has paid more attention to the specific position of "people" in society, the perception of vitality in culture, and the emotional density contained in daily life. This creative experience also opens up more possibilities for the future of Chinese dance dramas. The success of 'Living Among Flowers' represents not only a high-quality work, but also the emergence of a new narrative direction: it inspires us to re understand the standards of' good stories', and reminds us that the reason why dance dramas are moving is not because they are grand, but because they are sincere, affectionate, and close to life itself. (New Society)