Dance is a form of expression used by people to express body language, and it is also one of the basic elements of dance. Chinese traditional dance has strong cultural charm, which requires dancers to show rich, harmonious and strong aesthetic feeling. In order to study the important role of dance in dance movements, this paper, by understanding the characteristics of China's classical dance movements, combines the eyes with the body movements, and requires the generation to show strong appeal and vitality in the process of perfect combination of spirit and body, and give full play to its unique national style.
Keywords: China classical dance energetic dance style
China Library Classification Number: J722.4 Document Identification Number: Part A Number:1008-3359 (2018) 05-0088-02.
First, the body characteristics of China classical dance.
The body features of China classical dance can be summarized by four words: "round, curved, twisted and warped", which is the basic element of China classical dance and an indispensable body shape in dance modeling. China dancers skillfully combine hand, eye, body, method and step with beautiful and changeable dance forms, creating dance performance art with national characteristics, which provides rich dance vocabulary for conveying national feelings and achieving national meaning. But the ever-changing dance is always inseparable from the physical characteristics of "round, curved, twisted and oblique". The following is an analysis of the study and understanding of China classical dance over the years.
(1) circle
"Circle": The figure of "circle" is widely used in China classical dance. It is the movement of the body with the waist as the axis and the circle as the trajectory, forming the dynamic law of "three circles", namely: flat circle, vertical circle and figure-eight circle. The figure of eight-character circle is an inevitable process in various transformations and connections, and it is the connection point of transformation. Aesthetically, it is an arc. The movements are mainly the hooking, bending and stretching of the ankle joint, the bending, straightening and folding of the calf at the knee joint, the swinging of the forearm joint, the rocker arm of the upper arm at the joint, and the waist, chest and neck are all manifestations of "round" dance.
For example, the "cloud hand" movement, which often appears in dance, is "round" with the dancer's waist as the center, swinging a circular "hot wheels" in a figure of eight by relying on the arm, rolling alternately in a circle (figure of eight or snake), taking the waist as the axis and the arm as the auxiliary, and doing the "turning over" of dance posture and technique.
(2) Flexion
Qu is a curve, which is another feature of China classical dance. It pays attention to the curvy beauty of the body and the twists and turns of the movement process, that is, bending the body and limbs into various radians, showing soft lines and curves in dance, which implies implicit meaning. In dancing, avoid sharp edges and corners, and don't walk in a straight line. It pays attention to starting from the opposite side, such as "want to go first, want to turn left first, want to rush first, want to go forward first" and so on. For example, when making a "wind flag", one arm bends slightly, the palm is up, and the other arm is pulled apart, forming a two-way bend. When doing the "gable arm", the arm is bent.
(3) Twist
"Twist": the pillar of the beauty of China classical dance, which means that the lower body is fixed and the upper body (including waist, ribs, shoulders, neck and head) is horizontally twisted to the left or right. "Twist" is widely used in the body rhyme of China classical dance, and its function is very important and prominent. Many dances and techniques are composed of the dynamic law of "twist", which combines with other elements to produce new composite elements. In the posture characteristics of twisting the waist, "transverse twisting" with the waist as the axis is often adopted. Different dances are based on "lateral twist" and combined with back or shoulder to change. One of the main forms of "turning" is "lying on the cloud", "it requires dancers to step to the right, turn their lower body to the left when they gradually squat down, and finally land on their right feet, turn their left legs on their right legs, and raise their right hands behind their backs, giving people a complicated sense of coiling".
(4) inclination
"Tilt": mainly refers to the tilt of the body, which requires the upper body and trunk to bend, stretch and lie in different degrees at the same time, such as exploring the sea, kicking a swallow, spreading eagle wings and so on. Of course, on the basis of tilting, other action elements can be added to form a variety of rich gestures, making the dance more diversified.
To sum up, it is not difficult to see that these physical characteristics of classical dance are all changes in the upper body, which contains the temperament beauty of "vigorous and straight, subtle and clever". Through the understanding of the physical characteristics of classical dance, we know that the circle, curve, twist and inclination in dance are interlinked, and there are laws such as big circle covering small circle, circle with curve, curve with circle and "ten twists and nine inclinations". Can better grasp the characteristics of China classical dance, and freely use it, so that dance plays the role of the finishing touch in the dance.
Second, the point-and-line coordination of China classical dance.
(1) meaning
Points and lines are frequently mentioned technical terms, and their meanings are varied. Its point is the shape of dance, and the line is the process of dance. From the external form of action, "point" refers to the strong beat that suddenly stops or highlights in the dance action, and "line" refers to the route of the dance action; From the perspective of charm, "point" usually refers to the dancer's instantaneous breath holding, including the strength of the dancer's movements and the role and transformation of eyes, while "line" refers to the sense of movement, music and rhythm in the process of movement.
rhythm
It is very important to use "points" and "lines" to express the external movement track of dance movements and the strength and speed of rhythm processing. The rhythm of China's classical dance is not uniform, but it is carried out with a free and regular rhythm of "slow and continuous, fast and not chaotic, static in motion and dynamic in static". In addition, there are differences in the strength of movements, such as light, heavy, slow, urgent, strong, weak, fast and slow, which are all manifested through body movements. The perfect combination of point and line, body and mind, external rhythm and internal rhythm makes the dance of China classical dance have the unique characteristics of "both form and spirit, both form and spirit, and internal and external unity".
Thirdly, the application of China classical dance in techniques.
One of the essences of China classical dance is posture and dance. The dancing skills of China classical dance are mainly characterized by twisted posture structure, which is quite different from the technical skills of ballet. Applying dance to rotation, turning over and jumping can not only enrich the character, but also add points and colors to the dance.
(1) rotation
The rotation of China classical dance can be divided into small dance and big dance. Its skills are mainly twisting posture. It is emphasized here that it is different from the rotation in the basic training of ballet. In the requirement of rotation in basic ballet training, the movements are required to be straight, long, stretched and have a sense of extension. Rotation depends on the coordination of the whole body. Dance moves from the body to the arms and spans, and then from the arms to the fingertips, making the dance look long, stretched and full of vitality. The rotation in the basic training of China classical dance is not only a straight rotation, but also a twisting rotation in body shape.
National dance requires high complexity and fluidity, which requires dancers to reflect large spatial changes through bottom-up rotation and reflect the complex fluidity of national dance through rotation. Taking the whip turn and the flat turn in the basic training of China classical dance as an example, the whip turn is an upright turn, which draws lessons from ballet, and adds the dance changes of the upper body and arms while retaining the rotation foundation of the lower body, making the dance turn more complicated and ethnic. For example, adding palm-holding turn, palm-pressing turn and hand-piercing turn in whip turn not only makes posture better used in dance turn, but also strengthens the difficulty. Although horizontal rotation also belongs to vertical rotation, it has strong fluidity and great spatial change. Whether it is a straight body or a round body, in the process of exercise, the original single movement can be more vital by adding the previous step of dancing legs and hugging knees or top-down dancing and turning.
(2) Turn over
Turning over is a unique skill form in the basic training of China classical dance. It skillfully combines posture and dancing, with the arm as the auxiliary and the waist as the axis, so that dancers can make various turns in an inclined state, and it is required to keep the harmony between bending and turning in the process of turning over. Because different dancers have different personalities, the artistic effects produced in the process of turning over are also different. Some will show a continuous feeling, while others will convey a clean artistic effect. In addition to rhythm processing and expressive force, its image is also very distinct in spatial movement. For example, "Exploring the Sea and Turning Over" requires dancers to convey endless emotions when doing spatial arc movements, while "Turning the String" can make the movements present choppy visual effects.
(3) Rebound
The main characteristics of China classical dance bounce are to keep the combination of strength and light floating in the process of bounce, to ensure "inch strength" through concentrated and rapid strength, and to pay attention to "power at the root and power at the tip". In addition, in recent years, China's national dance has become increasingly demanding on bouncing.
In the process of jumping, different dances are added to the big, middle and small jumps, which can better show the characteristics of "twisting, tilting, turning, flashing, dispersing, soaring and moving", which not only shows the posture rhythm in the dance, but also strengthens the difficulty on the original basis. At the same time of its continuous development, the ground posture movement is developed into the air, and the direction change training can be carried out in the air, so that the dance bounces, fluctuates and contrasts sharply. Because classical dance requires high jumping skills, it is emphasized to have certain jumping skills, which is also an important prerequisite for dancers to better express their dancing skills. In addition, the combination with carpet techniques also enhances the difficulty of dancing and adds highlights to the repertoire.
Fourthly, the refinement and development of China classical dance.
When it comes to the development and refinement of dance, the author thinks it should be "from life, higher than life". For today's China classical dance creation, dance is by no means an empty creation, but a change on the basis of inheritance. With the changes of the times, people's aesthetic standards have also changed. The practice here is to "transform its shape and promote its spirit", and it pays attention to the coherent charm, rather than the usual fragmented teaching.
Verb (abbreviation of verb) conclusion
China's classical dance has initially formed its own training system, while China's classical dance steps have inherited the main features of national dance, presented aesthetic features with the support of China's traditional martial arts and China's quintessence opera, and absorbed the essence of foreign ballet steps in the process of development, and gradually formed after a long-term evolution. By fully understanding the characteristics of China classical dance, dancers can better combine the posture characteristics of China classical dance with the dynamic rhythm of posture, and cooperate with hands, eyes, body, methods and steps to create colorful dances and create dance performance art with national characteristics.
References:
[1] Tang Mancheng, Jin Hao. China classical dance body rhyme teaching method [M]. Shanghai: Shanghai Music Publishing House, 2004.
[2] Shen Yuanmin. China classical dance basic training teaching method [M]. Shanghai: Shanghai Music Publishing House, 2004.
[3] golden autumn. Dance appreciation [M]. Beijing: Higher Education Press, 2003. China classical dance has a long history, which is the revival of thousands of years' dance tradition in China. China classical dance is neither imported nor derivative, but, like China's fine arts, calligraphy and other traditional arts, it is a historical witness of the continuous inheritance and development of China's traditional culture over time. Learning China's classical dance will help modern people to understand the ancient artistic expressions of China, and also contribute to the inheritance and development of China's classical dance, so that it can be carried forward. This is not only our precious historical and cultural heritage, but also the world historical and cultural heritage. It is these artistic heritages that have survived thousands of years of history that enrich people's spiritual and cultural life now. Through the study of the classical dance butterfly lovers, this paper analyzes the expression of the dancers' body, eyes and other emotions when performing the classical dance, analyzes the performance characteristics of the classical dance emotions, and extracts the life feelings of "people-oriented, harmony between man and nature" in the classical dance. So as to show more the beauty of China classical dance and experience the unique charm of China classical dance. By studying the emotional importance of China classical dance, we can better inherit and develop China classical dance.
China classical dance has a long history, extensive and profound, which combines the action characteristics of martial arts and traditional Chinese opera, emphasizes the coordination of breathing, has a sense of rhythm and modeling, and has a unique oriental aesthetic feeling of combining rigidity with softness, which is intoxicating; China's classical dance is unique in emotional expression, emphasizing "the combination of form and spirit, the integration of body and mind, and the integration of inside and outside", creating the real connotation of body rhyme, emphasizing "the emotion moves in the middle, the shape is outside", the unity of form and spirit, the consistency of inside and outside, and pursuing emotional and physical movements in performance actions, thus realizing the resonance and sublimation of emotion and behavior.