I beg you for the detailed characteristics and introduction of Chinese classical dance, as well as novel material, which is urgently needed.
Chinese classical dance (Chinese classical dance) originated in ancient China. It has a long history and is extensive and profound. It integrates many martial arts,
Chinese classical dance
opera The movements and shapes in the performance pay special attention to the role of the eyes in the performance, emphasizing the coordination of breathing, rich in rhythm and modeling, and the unique oriental beauty of hardness and softness is intoxicating. Chinese classical dance mainly includes body rhythm, body technique and technique. Body rhythm is the connotation of Chinese classical dance. Each dance has a different charm. Even if two people dance the same movement, the charm will be different. Body law refers to dance postures and movements. Classical dance, which is rooted in the fertile soil of traditional Chinese culture, places great emphasis on the body and spirit of "both form and spirit, the integration of body and mind, and the unity of inside and outside". Shen Yun is the soul of Chinese classical dance. The spirit is in the middle and the form is outside. The thoughts and emotions of "leading the form with the spirit and conveying the spirit with the form" create the true connotation of Shen Yun.
The music of Chinese classical dance mostly adopts music played by China’s unique national musical instruments, such as guzheng, erhu, pipa, etc. Chinese classical dance costumes are antique and have their own characteristics according to the specific requirements of the dance. Most dances of the Han and Tang Dynasties adopt traditional Hanfu.
1. Elements of body rhyme
Such as lifting, sinking, rushing, relying on, holding, shy, shifting, side mentioning, horizontal twisting, etc., which are like the "voice" of body rhyme language. "──Basic symbols;
2. The main movements of body rhyme
For example: "Cloud shoulders turn waist", "Swallows wear through the forest", etc., which are like the "body rhyme language" Vocabulary";
3. The image of body and rhyme
The image expressed by body and rhyme movements is like the "semantics" of body and rhyme language;
4. Movement rules of Shenyun
Shenyun follows the movement rules of "start from the opposite side" such as "when you want to go left, go right", "when you want to go up, go down first", "when you want to open first, close", etc., which are consistent with the rules of movement. The "three-circle" route rules of "flat circle, vertical circle, and eight-character circle" are like the "grammar" of rhyme language.
These aspects constitute the internal structure of body and rhyme language, coupled with the expression of body and rhyme's "shape, spirit, energy and rhythm", giving Chinese dance a dance aesthetic with Chinese cultural characteristics.
Shape
Chinese dance emphasizes the beauty of the human body’s curves in “twisting, tilting, rounding, bending, tilting, bending, turning, and rolling” and “strong and straight, implicit and flexible” Beautiful temperament. It is not difficult to see from the unearthed tomb figurines and Dunhuang murals that this point has been continuously developed and evolved from ancient times to the present. For example, the Qin and Han Dynasty dance figurines' "slumping waist and kicking hips" and "rolling up sleeves and bending waist", the "three bends" of the Tang Dynasty, the "Ziwu phase", "yin and yang side" and "twisting twist" in opera dance, and the "rolling" of Chinese folk dance. ", twisting, turning, toughness" and so on all run through the beauty of "twisting, tilting, roundness and curve" of the human body.
神
Among the basic movement elements of Chinese dance, Shen Yun is an extremely important concept. God generally refers to connotation, look, rhythm, and temperament. If any art has no charm, it can be said to have no soul. In terms of the movement of the human body in classical dance, the charm can be recognized and felt. And it is precisely by grasping the "spirit" that the "form" has vitality and can we appreciate the true artistic conception contained in dance.
Chinese Classical Dance
"Heart, mind, and energy" are the embodiment of "spirit". In the concept of heart, the inner energy, breath and thoughts are emphasized. It can be said that without rhyme, there would be no Chinese classical dance. Without the stimulation and drive of inner emotions, the most important brilliance of Chinese classical dance will be lost.
People often say that "the eyes are the windows to the soul and the eyes are the tool to express emotions", and the "gathering, releasing, condensing, closing and closing" of the eyes does not refer to the movement of the eyeballs themselves, but rather to the movement of the eyes. The result of the control of connotation and the expression of psychological rhythm shows that Shen Yun controls everything. "The form has not moved, the spirit takes the lead; the form has stopped, the spirit continues." This mantra vividly and accurately expresses the mutual relationship and inner connection between the form and the spirit.
Jin
"Jin" refers to the internal rhythm and layered and contrasting intensity given to external movements. The running rhythm of Chinese classical dance is different from the regular music rhythm of 2/4, 3/4, and 4/4. It is often performed in a free and regular "elastic" rhythm that is comfortable but not slow, tight but not chaotic, with stillness in movement and movement in stillness.
"Jin" not only runs through the process of the movement, but the strength at the end of the movement is very important. Regardless of opera, ballet, or martial arts routines, great emphasis is placed on the instantaneous rhythm processing before the end of the movement. Chinese classical dance is no exception. It has the following typical debut dynamics: "Cun Jin" - body posture, angle, and direction are all prepared. Well, use the strength within an inch to "finish the finishing touch"; "contrast strength" - give a strong reaction force to the body shape that is about to end, thereby strengthening and highlighting the final shape; "magic strength" - everything is done After completion, use your eyes and body to feel the extension, so that "the form has stopped but the spirit continues."
Law
The word "Law" contains two meanings: the rhythm of the movement itself and the laws followed in the movement. It is generally said that movements must be "shun" after action. This "shun" is the "right law" in the law. When the movements are "shun", it seems to flow smoothly and in one go.
The "anti-rhythm" of "going with the flow if it doesn't go well" is also unique to classical dance, which can produce ever-changing, confusing, and ever-changing dynamics of the human body's movements. The movement rules of "when there is a collision, you must rely on it, when you want to move left, when you want to move forward, when you want to open, you must close, when you want to move forward, you must move forward first". It is these special laws that give rise to the special aesthetics of classical dance. Whether it is the smooth flow of things, the reverse fortune of opposites and complementarity, or "starting from the opposite side", they all reflect the beauty of circle, swimming, change and illusion of Chinese classical dance, which is the essence of Chinese "dance rhythm" Mysterious place.
1) Characteristics of rotation
1. The rotation technique in the basic training of Chinese classical dance is mainly characterized by the twisting and tilting dance posture structure. It is still different from the rotation in the basic training of ballet. There are very
Chinese classical dances
very different. The rotations in basic ballet training are all straight, and most of them are three-dimensional composition and image shaping based on the frontal plane. Therefore, the movements are long and stretched, with a strong sense of extension. The driving of the body, the driving of the arms, and the driving of the stride are all very important. Rotation relies on the coordination of the whole body.
The rotation in the basic training of Chinese classical dance, in addition to the straight body rotation, is also characterized by the rotation of the body shape in the twisting and tilting dance posture, especially the balance of "tilt" The rotation of the center of gravity creates a three-dimensional composition based on the meridian phase of the upper and lower body to shape the image. Therefore, the movements show elongation in graceful movements, continuation of rapid movements in the air, and changes in the spiral shape, such as turning with the legs turned behind the back, raising the chest, turning backwards and turning sideways.
2. Due to the characteristics of belt rotation, there are various "methods" for the basic training of Chinese classical dance, and most of them are "methods" during the movement. Such as Dayebuzhuan, sweeping hall and exploring the sea.
3. In the basic training of Chinese classical dance, the folk dance posture turns have a strong "body technique". Some folk dance posture turns can be said to be continuation and exaggeration of the body technique.
4. The fluidity and compounding of folk dance postures are relatively strong, and the spatial changes are large, such as from bottom to top or from top to bottom, and in the process of turning, there are various The complex and flowing characteristics of this kind of dance.
The development of folk dance Zi Zhuan is just the beginning. There is still a lot of room and good prospects.
(2) Characteristics of turning over
Turning over is our unique national skill. Its variety and style and its wonderful changes are unmatched by any country or nation.
Turn over is a unique skill form in the basic training of Chinese classical dance. It is a turning of the body in a horizontal tilt state with the waist as the axis. The movements from beginning to end consist of twisting, raising, leaning down and lifting sideways.
1. Strong national character
The skill form of turning over fully embodies the aesthetic characteristics and dynamic characteristics of classical dance, and it is also the most closely integrated with body techniques. Therefore, it has a strong national character.
2. Strong imageability
Turnover has a distinctive image in space movements, such as "turn over in the sea", "turn over with kicking legs" and other large and slow turns. The line movement is continuous and round, like undulating waves; the "step-by-step turn" is agile and fast, as fast as lightning; the continuous "string turn" is like a rolling wheel, which is very vivid.
3. Strong expressiveness
Turn over using various speeds and rhythms, different connections, and different personalities to produce different artistic sensory effects, so that you can express a variety of different The emotions and sentiments of the dance, such as slow and continuous turning, express a lingering and pathos feeling; fast turning, showing cleanliness or lightness and playfulness; rapid and powerful turning, showing heroic and vigorous...
Chinese classical dance turning over With new developments, structural forms have been enriched, fluidity and complexity have been strengthened, and contrast has been strengthened. In addition to the contrast of hardness and softness, quickness and slowness, size, and speed, as the training content and skills of the basic training of Chinese classical dance, As a means of expression, it can be further developed to better demonstrate the national characteristics of our nation.
(3) Characteristics of bouncing
The bouncing in the basic training of Chinese classical dance requires lightness and gracefulness in the method of force, a combination of tightness and tightness during movement, and the force must be concentrated. , the process should be fast, pay attention to "exerting force at the root, exerting force at the tip", and pay attention to "inch strength".
In terms of jumping, the characteristics of our nation are becoming more and more obvious, and the difficulty is getting higher and higher.
1. Innovate and enhance the difficulty of the original national skills.
2. Strengthen the "body skills": develop the body movements on the ground into the air. In the process of jumping, there are twisting, tilting, turning, flashing, spreading, soaring and moving.
3. There has been new development in lateral turns in the air, which shows the characteristics and enhanced skill of our national skills.
4. Contrast between high and low, ups and downs, and sharp contrast are another characteristics of Chinese classical dance bounce.
5. Due to the explosive power of bouncing skills, it provides and creates conditions for the development of the complexity of bouncing skills, and there has been a substantial development in the compound skills of bouncing.
6. Changing directions in the air is also a characteristic of classical dance jumping.
7. Combining jumping and martial arts skills.
Countless body movements and techniques are important aspects to absorb in classical dance. But their training purposes are different. The training of martial arts is for the purpose of attack and defense, while the training of dance is for the purpose of shaping the character's image and characterizing the character.
8. Combined with body movements, it forms and strengthens the fluidity, language and style characteristics of classical dance.
Edit the rhythm characteristics of this paragraph
Classical dance also has outstanding rhythm characteristics, which are inseparable from the characteristics of our
national music. National music rarely has the same strong and weak, regular, uniform and pulsating rhythms as Western music. It is generally characterized by elastic rhythm and the combination of dots and lines. It is reflected in the rhythm that it is mostly dotted (stretch - rush) or segmented (hurry - stretch), or it is stretching at both ends and stretching in the middle, or it is stretching at both ends and the middle is stretched, or it is fast and slow, or it is slow and fast, etc. wait. Therefore, the inner rhythm of the movements formed, such as softness, movement and stillness, slowness, relaxation, hesitation, cadence, combination of points and lines, etc., thus produce our specific kinetic characteristics and sense of rhythm.
Edit this paragraph's special abilities
Chinese classical dance has complex postures, high technical difficulty and large range of motion. Therefore, the performer's joints, ligaments and muscles are required to be flexible. Ancient Chinese
Classical Chinese dance
The dance postures of classical dance include opening and closing (opening and closing refer to external rotation and internal rotation). In addition to hooking, stretching, opening and closing, the application of the foot also includes inversion and eversion. The joints need to have multiple abilities so that their flexion and extension, external and internal rotation, abduction and adduction functions can be fully developed. Therefore, as a Chinese classical dance dancer, you need to have a comprehensive soft opening ability.
Dance posture and body technique are the essence of Chinese classical dance. Dance postures are shapes, and body movements are rhythms. The transformations between them can form a variety of postures. The three-dimensional shape of the meridian phase of dance postures is composed of twisting, flexion and extension, pitching, vertical and horizontal shapes, etc. It shows the twists and turns in twisting and tilting. Slenderness, contraction and release in flexion and extension, blending and changes in pitch, vertical and horizontal directions. This change determines the amplitude, speed, and smoothness of the dance. This "three degrees" requires a high degree of flexibility and strength in the middle part of the human body. As for the body technique that connects the dance postures, the waist is used as the axis to drive the whole body. Whether it is lifting, sinking, punching, leaning, or flat circle, vertical circle, figure-8 circle, twisting, and bending...the key lies in the application of the waist. Therefore, the ability to use the waist and the flexion, extension, rotation and side rotation of the spine are the keys to completing dance postures and body techniques.
The dance postures and body movements of classical Chinese dance are inseparable from the law of circles. The feet should be hooked, bent, and stretched at the ankle joint; the calves should be crossed and kicked at the knee joints; the thighs should be circled at the hip joints; the hands should be upper and lower plates at the wrist joints; and the forearms should be at the elbow joints. Shake your hands everywhere; your upper arms should rock at the shoulder joints; your waist, chest, and neck should rotate... all around the word "circle".
Performing Chinese classical dance also requires the ability to jump, turn and flip with explosive skills. For example: many bounces must use explosive and rapid airborne methods to win space, complete various aerial techniques, and reach the level of classical technical beauty. The rotations of classical Chinese dance have different forms due to the different centers of gravity used: for example, the flat rotation belongs to the upright center of gravity, the twisting and tilting type belongs to the spiral center of gravity, while the pitching and tilting rotations belong to the balanced center of gravity. The flipping of "using the waist as the axis and the arms as the wheels" is a special skill of Chinese classical dance.
To sum up, the special abilities that Chinese classical dance performers need can be divided into the following five aspects: the range of joint flexibility; the gyrations and circling of dance postures; the explosive power of jumping; The center of gravity of different dance postures; the horizontal line in turning.