舞蹈创作，是编导通过舞者细腻的身体动作塑造出的独特形象，实现的与观者深层次的交流。其以舞者的身体作为物质载体，但观者并非只为看到身体的姿态而交流，而是要透过身体之形来获取编导想要传递的情感、精神、意识等信息内容。舞蹈创作中“信息思维”的思维方式，就体现为对舞蹈中所存在的情感、精神、意识等“非物质形态”的关注，并且，更需要关注此种“非物质形态”与其物质载体之间关系的对应性。于是，笔者试图在舞蹈本体的基础上，用“信息思维”的思维方式，尝试通过借鉴信息论中对“信息”概念与本质特征的相关理论和研究成果，对部分经典舞蹈作品的创作进行拆解，将其中难以说清的“非物质形态”内容，用可视化的语言进行表述，分析其艺术魅力产生的原因，探明使该作品具有艺术活力的理性因素，并以个人毕业作品作为实践对象，反作用于理论研究成果，以理论与实践的紧密结合，达到更好地认识舞蹈创作及舞蹈艺术之“美”的目的。

本文主要分为四章。第一章，从信息的定义及特性出发，分别对信息及其信息系统的运动流程进行范围界定与概念阐释。并通过引入信息论美学中对艺术信息概念与特征的定义及“信息价值”的观点，剖析信息思维的思维方式下，艺术作品“优美”的原因。第二章，结合舞蹈艺术自身的规律及特性，对舞蹈中信息的概念与特征、舞蹈信息系统的运动流程及相关名词进行阐释，并剖析信息思维的思维方式下，舞蹈作品的“美”的体现。第三章，借鉴前人对于舞蹈中信息的分类方式，分别从“动作性信息”、“结构性信息”和“意蕴性信息”出发，对部分经典舞蹈作品中“美”的体现进行分析，论证上述所得出的观点，并以个人毕业晚会作品的实践成果为例，对研究发现进行再次总结。第四章，在前文的研究基础上，对信息时代下的舞蹈创作现状进行了反思，并针对创作者提出了相应的建议与措施，同时，笔者对信息论应用于舞蹈艺术的研究视角做出了展望，认为“信息思维”的思考方式不仅适用于舞蹈编导、舞蹈演员等主体，还为舞蹈理论、舞蹈实践等的发展方向，都提供了一定程度的新思考。

Dance creation is a unique image created by the choreographer through the delicate body movements of the dancer to achieve deep communication with the audience. The dancer's body is used as the material carrier, but the viewer does not only communicate to see the posture of the body, but to obtain the emotional, spiritual, consciousness and other information content that the choreographer wants to convey through the shape of the body. The thinking mode of "information thinking" in dance creation is reflected in the concern of "non-material forms" such as emotion, spirit and consciousness in dance, and more attention should be paid to the correspondence between this "non-material form" and its material carrier. Therefore, on the basis of dance ontology, the author tries to use the thinking mode of "information thinking", and tries to disassemble the creation of some classical dance works by referring to the relevant theories and research results on the concept and essential characteristics of "information" in information theory, and express the "non-material form" content which is difficult to explain in visual language. This paper analyzes the reasons for its artistic charm, explores the rational factors that make the work have artistic vitality, and takes the work of personal graduation party as the practice object, and counteracts the theoretical research results, so as to achieve the purpose of better understanding the "beauty" of dance creation and dance art through the close combination of theory and practice.

This paper is divided into four chapters. The first chapter, from the definition and characteristics of information, defines the scope and concept of the movement flow of information and information system. Through the introduction of the definition of the concept and characteristics of artistic information and the view of "information value" in information theory aesthetics, it analyzes the reasons for the "beauty" of artistic works under the thinking mode of information thinking. The second chapter, combined with the rules and characteristics of dance art itself, explains the concept and characteristics of information in dance, the movement flow of dance information system and related terms, and analyzes the "beauty" of dance works under the thinking mode of information thinking. Chapter three draws on the predecessors' classification of information in dance, analyzes the embodiment of "beauty" in some classical dance works from the perspectives of "action information", "structural information" and "implication information" respectively, demonstrates the above viewpoints, and summarizes the research findings again by taking the practical results of personal graduation party works as an example. Chapter 4, on the basis of the previous research, reflects on the current situation of dance creation in the information age, and puts forward corresponding suggestions and measures for creators. Meanwhile, the author looks forward to the research perspective of applying information theory to dance art, and believes that the thinking mode of "information thinking" is not only applicable to choreographers, dancers and other subjects. It also provides a certain degree of new thinking for the development direction of dance theory and dance practice.