About "twisting" in classical dance
Classical dance refers to the traditional folk dance, which has been refined, sorted, processed and created by professional workers of all ages, and has been through comparative analysis. After a long period of artistic practice, the dances that have been handed down are considered to have certain exemplary significance and classical style characteristics. Below is the "twist" in classical dance that I searched and compiled for you. I hope you like it!
"Twist" is a basic training element of Chinese classical dance movements. It means that the lower limbs are fixed and the upper body is turned to the left. Or make a horizontal twisting action to the right. In human anatomy, "twisting" is a type of dynamic restraint on the spine caused by the dynamic restraint work of the external and internal oblique muscles of the abdomen, and the transverse process muscles and iliac rib muscles of the back. Maximum rotation; it is an exercise that can train the human body's abdominal and back muscle capabilities and enrich the upper limbs and trunk. In addition to the effects stated in anatomy, "twisting" in dance art contains richer and more diverse contents and forms. For Chinese classical dance, "twisting" is regarded as one of the basic training elements of its movements, which is mainly reflected in the dance form and movement connection process of Chinese classical dance. "Twist" is regarded as one of the aesthetic norms of its movements. Looking at its roots, it can be said that it is the portrayal and epitome of our national cultural psychology, and it plays a very important role in embodying the style and characteristics of this dance.
The "twist" of Chinese classical dance can be divided into single twist and compound twist. The so-called single twist can be called "horizontal twist", which is a static twist. Many dance styles in Chinese classical dance are composed of the rhythm of "twist". For example, Chinese classical dance is the most typical and the most The basic standing "meridian phase" is to use the waist and neck axes to control the sequential body rotation dislocations in the same direction on the three sides of the head, chest and abdomen through horizontal twisting, forming a dynamic pattern of "static twisting". This is a dance shape with a specific classical charm formed by "twisting" and "looking" the human body in an upright state to match the direction of the body and the head. Since the single horizontal twisting rhythm itself has a spiraling upward momentum, it is easy to make the movement feel upright. When it comes to composite twisting, it is combined with other elements on the basis of a single horizontal twist. Such as sideways twisting, upward twisting, forward leaning twisting, etc. These composite elements are all based on horizontal twisting, and they are also an indispensable part of classical dance and folk dance.
1. The feeling of "twisting"
Chinese classical dance has its own national style characteristics, and its form embodies our nation's "circular flow" movement time and space view. Regarding the training of "twisting", we should not only focus on the external movement requirements, but also emphasize the momentum of the twist, that is, the requirement that "the shape has stopped, but the spirit has not stopped" the movement continues. At the same time, we must integrate Chinese classical dance The occurrence of "reverse start" and the operation of "arc trajectory" in the movement mode are integrated into teaching and learning. Only in this way can the essence of classical dance be reflected, so that students can not only learn the rhythmic element of "twisting", but also During the training, you will gradually master the movement rules of Chinese classical dance and appreciate the historical and cultural spirit deposited in the form of Chinese classical dance.
Chinese classical dance already has its own effective training system. For Chinese folk dance dramas, the training of dancers has our own national skills and unique "body" as the main components of training. The training content included here has shown a high professional level both in the compilation of theoretical teaching materials and in practical teaching. The ultimate goal of our training is not only to solve the basic abilities that students can achieve, but also to pursue the integration of technical skills and physical expression, that is, the transformation from technical to artistic. The training of Chinese classical dance aims at pursuing all-round development while exploring students' individual characteristics and strengths. The element of "twisting" runs through the entire training of Chinese classical dance, so it must be particularly emphasized in the training.
Especially in college, whether it is upper-hand training or lower-hand control, rotation, jumping and other training, many of them appear in the form of a combination of training, performance and style. Dance postures such as twisting, pirouettes, and tilting are often used as the main body. Through the transformation of the center of gravity and the coordination of the upper body rhythm and arm movements, the movement characteristics of the body's up and down, yin and yang interlaced staying and walking, retracting and releasing are formed. Here, the rhythm of twisting is always present. There are many technical skills with national style, which are also completed on the basis of twisting. For example, the big tie step is a national dance turn based on the big tie step. The big tie step itself is a typical horizontal twisting dance posture. Therefore, the big tie step is to exert force through the horizontal twist to form a "big tie step". "Go up, stay down" movement, and coordinate with the movements of your upper limbs to complete it. Another example is the Big Shooting Swallow Jump, which is done by quickly twisting the upper body sideways and bursting into style at the moment of flying into the air. They are also an important part of dance postures and technical skills with Chinese classical charm. These are single-element or multi-element modeling features with twisting as the core in the dance structure.
2. The "twisting" of national aesthetics
Chinese classical dance emphasizes the curves of "twisting, leaning, rounding, and bending" and "raising, bending, turning, and silk" in the human body shape. Beauty and the inner temperament of "strong and straight, subtle and flexible".
The unique aesthetic norms of Chinese classical dance. In the Chinese classical dance textbooks, starting from the basic shape of the body, the aesthetic characteristics of our nation can be highlighted, which are the beautiful characteristics of twisting and tilting circles and crisscrossing curves based on the basic shape. This aesthetic feature should be implemented throughout the vertical development of the entire teaching material. Chinese classical dance has unique rhythmic body language and aesthetic characteristics. China's traditional concept of "harmony is the most important" is also reflected in dance. "Twist" is a unique national style and aesthetic symbol of Chinese classical dance. To master the correct and standardized posture of "twist" and the perfection of the shape, when we return to the upright "horizontal twist" posture, it requires pulling up the waist, pushing the back, Loosen the ribs and exert force on the back. If there is no thrust from the back, it will lead to protruding ribs and a stiff posture. It can be seen that many of the styles and technical skills of Chinese classical dance are based on the opposite relationship between the upper and lower bodies. They are formed in a movement pattern of leaving the upper body and walking up, or leaving the upper body and walking the lower body. The most obvious one is the movement pattern of leaving the upper body and walking up. This kind of dynamic posture, if there is no correct back thrust before the horizontal twisting, the aesthetic mark of twisting cannot be achieved. It can be seen that in Chinese classical dance, some elements of body rhythm training run through it from beginning to end. Based on summarizing the movement rules of traditional arts such as opera and martial arts, body rhythm has determined that the "waist" is the core , emphasizing the importance of mid-section training. In the element of "twisting", you can better master the method and essentials of single horizontal twisting elements, as well as simple compound elements, and master the skills of waist rhythm, flat circles, and figure-eight circles movement routes, which embody the rhythm of Chinese classical dance. It is the most comprehensive movement with the beauty of "twisting, tilting, rounding and bending".
In short, Chinese classical dance postures deposit the image of "dragon culture" with its body characteristics of twisting, tilting, rounding and bending. "Twist" in Chinese classical dance not only reflects the formal beauty of movements, but also forms the aesthetic characteristics and artistic style of Chinese classical dance. Its superficial external form is unified with its connotative aesthetic principles, which provides a good foundation for the physical training of Chinese classical dance. Broadens prospects. It can be seen that the status and role of screw in Chinese classical dance cannot be underestimated. We must use a scientific attitude to analyze it, improve it, and develop it to make Chinese classical dance more glorious and vital.
As one of the basic training elements of movements, "twisting" is closely related to the dance form and momentum of Chinese classical dance, and plays an extremely important role in specific teaching and training. History and practice tell people that in the process of forming a training system, it must be widely learned. The principle of multi-element absorption must be implemented. This is also the only way to form a Chinese classical dance training system. Chinese classical dance absorbs the unique Chinese methods and means of expressing life, shaping characters, and expressing emotions in opera dance, including the "waist as the axis" theory of the source of movement and the "starting from the opposite side" movement momentum. Discuss the dialectics of movement such as circle, curve, curvature, contraction, urgency, hardness and softness, tightness, virtuality and reality, opening and closing, etc.
"Twist" is regarded as one of the aesthetic norms of Chinese classical dance movements. Investigating its roots, it can be said that it is the portrayal and epitome of our national cultural psychology, and it has considerable significance in the embodiment of the style and characteristics of this dance. effect. Currently, facing the dual challenges of protecting traditional cultural resources of Chinese dance and reinterpreting history with the development of the times, Chinese classical dance education, teaching ideas and theories will continue to make great strides forward. This is a Chinese classical dancer with an open mind, further learning from history, learning from traditional culture, and learning from sister arts. It is a Chinese classical dancer who is based on the cultural matrix of the Chinese nation, and in an inclusive academic concept, will Body movement, style and language, teaching theory and practice, and creation are integrated to promote and promote the development of Chinese classical dance. This article explores the epitome of "twisting" in order to accumulate what I have learned and felt. As a Chinese classical dancer, I carry a sense of responsibility and mission. I firmly believe that with the support of the long history and civilization, with the support of classical dance predecessors, Under the guidance of , we will continue to carry forward the cause of Chinese classical dance.
Extended reading:
Introduction to classical dance
As a category of Chinese dance art, Chinese classical dance is based on the traditional folk dance. Professional workers of all ages have refined, sorted, processed, and created dances with certain exemplary significance and classical style characteristics that have been passed down through the test of artistic practice over a long period of time. Classical dance was founded in the 1950s and was once called "opera dance" by some people. It itself is a mixture between opera and dance, that is to say, it has not completely transformed from opera. If we call it opera, it has removed the most important singing and chanting in opera. If we call it dance, it also A lot of the original state of the opera is maintained. The songs and dances in opera serve to tell the story. Even a martial arts drama without singing or white acting is still a drama, and the dance's dependence on the character's profession is also very clear.
Basic hand positions for classical dance:
(1) Orchid Palm: The thumb and middle finger knuckles are slightly attached, so that the tiger's mouth naturally closes with the palm, forming a middle finger as the main point of force. , causing the fingertips of the other three fingers to turn upward.
(2) Orchid Finger: The thumb and middle finger are loosely connected to form an O shape. At the same time, the index finger is extended and upward, and the other two fingers are loosely joined together with the middle finger to form a beautiful finger shape. Fingers for orchids.
(3) Fist shape: The thumb and index finger touch each other, and the index finger and the other three fingers clasp each other in sequence to form a fist shape.
(4) Palm pressing: Use orchid palms to place your arms between the chest and abdomen, forming an arc shape and sinking your elbows. This is palm pressing.
(5) Palm support: In the shape of an orchid palm, straighten your arms into an arc and place them in front of the forehead to form a palm support. Prevent wrist folding when forming movements.
(6) Raising the lapel: Women use a fist shape, with their arms in an arc shape, and place them diagonally in front of the body. The position is roughly in line with the crotch of the body, which is a lapel raising.
(7) Mountain arms: Use an orchid palm shape to lift your arms to your side in a circular arc. The position is slightly lower than the shoulders, which is the mountain arms.
Basic foot positions of Chinese classical dance:
(1) Forestep position: Feet together, toes pointing directly in front, body slightly forward.
(2) Small figure eight step: Based on the forward position, the toes are slightly apart.
(3) T-step: Stand in a T-step with your toes at 8 o'clock and 2 o'clock respectively, and the front and rear heels close to the back foot sockets.
(4) Stepping: Step with the toes of the back foot behind, and the back knee leans against the front knee socket.
(5) Click step: The center of gravity is behind, and the front foot clicks diagonally in front of the back foot.
(6) Big step: bend the front foot, straighten the back foot and touch the ground with the instep.
Basic hand positions of Chinese classical dance:
(1) Single Shanbang: (Use the right hand as a row, the same as below), take small steps, face one point, look eight Get ready with your hands on your hips. During the movement, lift your right hand down along the hip and along the side of the body to the front and top of the head, then cover the palm or cut the palm to the chest, slightly clasp the wrist and pull it to the right until the upper arm is at the same level as the shoulder, with the body facing two points. Turn your head to eight o'clock;
(2) Arms: Dingzi steps or small steps, face one point, look at eight o'clock, put your hands on your hips and prepare. During the movement, the eyes follow the right hand to form a single arm, and then the eyes follow the left hand to form a double arm, with the eyes above the two points;
(3) Downwind Flag: Take small steps, pull the arm with the left hand at the same time, Lift your right hand directly upward to the palm-holding position, with your eyes following the right hand above the eight bloods;
(4) Double palm-holding: T-shaped step or small step, hands on hips to prepare. During the movement, raise your hands to the head by the side of the body, cross the palms in front of the chest, spread the palms downward and then raise the palms to the palm support position, with the eyes following the right hand below the eight o'clock;
(5) Support massage Palms: T-step or small step, hands on hips ready. The action is to alternately shake the hands of the right and left hands in front of the chest, into the right palm-holding position and the left palm-pressing position. The body faces the two o'clock eyes and appears diagonally above the eight o'clock; Palms, but the final posture is to press the palms on the right shoulder and the left;
(7) Holding the palms diagonally: T-shaped step or small step, hands on hips to prepare. During the movement, lift your hands in front of the body to the downwind flag position, palms upward, and the upper arms in a raised palm position;
(8) Palm punch: T-step, hands on hips to prepare. During the movement, swing your hands from bottom to right in a circle around the right hip, with the palm of your right hand facing the palm of your left hand, then lift your right elbow back and push your left palm toward eight o'clock, with your eyes following the direction of your left hand;
(9) Raising the lapel: T-step, hands on hips ready. During the movement, the right arm is lowered and the fist is raised beside the right hip. At the same time, the left shoulder is slightly forward and the eyes are looking at the right hand. Then the left arm is lowered, and the hand is clenched beside the left hip. At the same time, the right shoulder is slightly forward, the upper body is slightly twisted to the left, the wrist is slightly turned in, the tiger's mouth is diagonally facing the hip in front of the body, and the head is turned towards the eight positions.
(10) Yunshou: Keep your arms rounded when crossing your hands in front of your chest, and hold your chest to lift your breath. The feeling of working together with both hands should be like stroking a ball on the chest. To complete the process of cloud hand, the body should also lift, raise, hold, and sink in the process. The eyes should first follow the upper hand, and then the lower hand. , must have a strong connotation and temperament. Rhythm processing is basically the same as "Cloud shoulder turns waist". First do a continuous slow speed, and then give "points" processing in the slow speed to emphasize the rhythm changes of priority.
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