How to say Chinese traditional dance in English?

China classical dance, which originated in ancient China, has a long history and is profound. It combines many martial arts,

China classical dance

The movements and modeling in Chinese opera pay special attention to the role of eyes in the performance, emphasizing the coordination of breathing, with a sense of rhythm and modeling, and a unique aesthetic feeling of combining rigidity and softness in the East, which is intoxicating. China classical dance mainly includes body rhyme, posture and skills. Body rhyme is the connotation of China classical dance, and each dance has different charm. The charm of two people dancing the same action is different. Body laws refer to dancing and movements. Classical dance, rooted in the fertile soil of China traditional culture, attaches great importance to the charm of "having both form and spirit, integrating body and mind, and integrating inside and outside". Charm is the soul of China classical dance. God is in the middle, form is outside, and the thought and emotion of "leading the form with god and conveying the spirit with form" have created the true connotation of body rhyme.

The music of China classical dance mostly uses the music played by China's unique national musical instruments, such as guzheng, erhu and pipa. China's classical dance costumes are antique and have their own characteristics according to the specific requirements of dance. Most dances in the Han and Tang Dynasties used traditional costumes from China.

1, rhyme element

Such as lifting, sinking, rushing, leaning, holding, being ashamed, moving, lifting sideways, twisting horizontally, etc. , all like the "pronunciation" of body rhyme language-basic symbols;

2. The main movements of body rhyme

For example, "cloud shoulders turn to waist" and "swallows go through the forest" are like "vocabulary" of body rhyme language;

3. Body rhyme image

The image expressed by body rhyme action is just like the "semantics" of body rhyme language;

4. The movement law of body rhyme

Body rhyme follows the movement law of "starting from the opposite side" such as "wanting to be left first", "wanting to be up first" and "wanting to open first", and the route law of "three circles" such as "flat circle, vertical circle and figure-eight circle", just like the grammar of body rhyme language.

These aspects constitute the internal structure of body rhyme language, and the expression of body rhyme "shape, spirit, strength and rhyme" makes China dance have the dance aesthetics with China cultural characteristics.

shape

China's dance emphasizes the curvaceous beauty of "twisting, leaning, winding, bending, leaning, turning and rolling" and the temperament beauty of "vigorous, straight, implicit and flexible". From the unearthed tomb figures and Dunhuang murals, it is not difficult to see that this point has been in the same strain since ancient times and has been constantly developing and evolving. For example, the hip-bending, sleeve-stretching and back-bending of dancers in Qin and Han Dynasties, the three bends in Tang Dynasty, and the meridian, yin and yang, and twisting of folk dances in China all run through the human body's twisting, warping, roundness and bending.

God

Charm is an extremely important concept among the basic movement elements of China's dance rhyme. God refers to connotation, spirit, rhythm and temperament. Any art without charm can be said to have no soul. In the movement of human body in classical dance, verve can be recognized and felt. Moreover, only by grasping the "spirit" can "shape" have vitality and appreciate the true artistic conception contained in dance.

China classical dance

"Heart, mind and spirit" are the embodiment of "verve". In the concept of mind, the connotation of Yun Qi, breath and idea is emphasized. It can be said that without rhyme, there would be no China classical dance. Without the stimulation and drive of inner feelings, the most important brilliance of China classical dance will be lost.

People often say that "the eyes are the window of the soul and the tool to convey the spirit". The "gathering, releasing, condensing, closing and closing" of the eyes does not refer to the movement of the eyeball itself, but the result expressed by the connotation and psychological rhythm, which just shows that verve dominates everything. "The shape has not moved, God leads first, the shape has stopped, and God has not stopped." This formula vividly and accurately expresses the mutual relationship and internal connection between form and god.

force

"Strength" is an internal rhythm given to external actions and a distinct and contrasting strength treatment. The running rhythm of China classical dance is quite different from the regular 2/4, 3/4 and 4/4 music rhythms. It is often carried out at a regular "elastic" rhythm, loose but not slow, tight but not chaotic, static in motion, free and regular in motion.

"Strength" not only runs through the process of action, but also is very important at the end of the action. No matter China traditional opera, ballet or martial arts routines, they all attach great importance to the instantaneous rhythm treatment before the end of the action, and China classical dance is no exception. It has the following typical appearance strength: "inch strength"-posture, angle and orientation are ready, and the strength between one inch is used to "make the finishing point"; "Contrast"-give a strong reaction to the posture modeling that is about to end, so as to strengthen and contrast the final modeling; "God's power"-everything has been completed, and the sense of extension of eyes and limbs makes it "the shape has stopped but God has not stopped".

law

The word "law" contains two meanings: the rhythm of oneself in action and the law followed in movement. Generally speaking, after the action, it must be "smooth", which is the "positive law" in the law, and the action seems to have a feeling of flowing through "smooth". The "anti-law" of "drifting with the current" is also unique to classical dance, which can produce ever-changing, confusing and ever-changing dynamics of human movements. It is these special laws that produce the special aesthetics of classical dance, that is, the movement law of "relying on each rush, thinking left in turn, meeting each opening, thinking forward in turn". Whether it's smooth sailing at one stroke, facing fortune or "starting from the opposite side", it embodies the beauty of China classical dance, which is the essence of China's "dancing method".

1) features of rotation

1. The spinning skills in the basic training of China classical dance are mainly characterized by twisting structure, which is very similar to the spinning in the basic training of ballet.

China classical dance

Very different. The rotation in ballet basic training is linear, and most of them are three-dimensional composition on the basis of forehead to shape the image. So the action is long and stretched, and the sense of extension is very strong. The drive of the body, the drive of the arm and the drive of the span are all very important, and the rotation depends on the coordination of the whole body.

The rotation in the basic training of China classical dance, besides the straight rotation, is characterized by the figure rotation in the twisting and tilting dances, especially the balance center of gravity rotation in the tilting dance, which is shaped by the vertical composition of the upper and lower parts. Therefore, the movements are slender in dexterity, continuous in rapid flight, and morphological changes in the rotating spiral, such as turning the legs back to the chest and then turning sideways.

2. The characteristics of waist-driven rotation lead to various "tricks" in the basic training of China classical dance, most of which are played out in the movement process. Such as striding, sweeping the hall and exploring the sea.

3. In the basic training of China classical dance, the national dance has a strong "posture", and some national dances turn around, which can be said to be the continuation and exaggeration of posture.

4. The movements of national dances are relatively fluid and complex, with great spatial changes, such as bottom-up or top-down movements, and the characteristics of combination and flow of various dances in the process of turning.

The development of national dance turn is only the beginning, and there is still a lot of room and a good prospect.

(B) the characteristics of turning over

Turning over is our unique national skill. Its variety, variety and wonderful changes are incomparable to any country or nation.

Turning over is a unique skill form in the basic training of China classical dance. It is the rotation of the body with the waist as the axis and the horizontal line inclined. The action runs through the form of twisting, leaning, leaning and lifting from beginning to end.

1, with strong nationality.

This skill form of turning over fully embodies the aesthetic and dynamic characteristics of classical dance, and is also the most closely combined with posture. So its nationality is very strong.

2. Strong image

The image of turning over in space movement is distinct, such as "turning over in the sea" and "turning over with webbed legs", and the arc movement in space is continuous and round, like waves; "Step by step" is agile and quick, and it is as urgent as lightning; The continuous "rollover" is as vivid as the wheel rolling.

3. Strong expressive force

Turning the page with different speed and rhythm, different connections and different personalities can produce different artistic sensory effects, which can show different feelings and emotional appeal, such as turning the page slowly and continuously, showing a sad feeling; Flip quickly to show neatness or lightness; Agility and strength mean courage and vitality. ...

China classical dance has made new development, with rich structural forms, enhanced fluidity and complexity, and enhanced contrast. In addition to the comparison of rigidity, swiftness, size and speed, it can be further developed into the training content and expression means of skills in the basic training of China classical dance, which can better show the national characteristics of our nation.

(C) the characteristics of bouncing

In the basic training of China classical dance, bouncing requires light floating in the method of exertion, elastic combination in the process of action, concentrated exertion, fast process, and emphasis on "strength at the root, strength at the tip" and "inch strength".

In terms of bouncing, the characteristics of our nation are becoming more and more obvious and the difficulty is getting bigger and bigger.

1. Innovate the original national technology and strengthen the difficulty.

2. Strengthen "posture": develop posture movements on the ground into the air. In the process of jumping, it presents twisting, tilting, rotating, flashing, spreading, soaring and moving.

3. New progress has been made in the air side turn, which embodies the characteristics and strengthening of our national skills.

4. High-low contrast, ups and downs and sharp contrast are another feature of China classical dance bouncing.

5. Due to the explosive power of bouncing technology, it provides and creates conditions for the complex development of bouncing technology, and the compound technology of bouncing has been greatly developed.

6. Changing direction in the air is also a feature of classical dance jumping.

7. The combination of jumping and martial arts skills.

Numerous postures and techniques are important aspects that need to be absorbed in classical dance. But their training purposes are different. Martial arts training is to attack and defend, and dance training is to shape images and portray characters.

8. Combined with posture, it forms and strengthens the fluidity, language and style characteristics of classical dance.

Edit the rhythm features of this paragraph.

The characteristics of classical dance in rhythm are also outstanding, which is related to us.

The characteristics of national music are inseparable. Our national music rarely has the same dynamic, regular, even and pulsating rhythm as western music, and is generally characterized by the combination of elastic rhythm and dotted line. The rhythm is mostly attached (rushed) or syncopated (rushed) or pushed at both ends in the middle, or pushed at both ends in the middle, or slowly pressed, or slowly pressed, and so on. Therefore, the internal rhythm of movement, such as softness, movement, urgency, release, throughput ... cadence, combination of point, line and surface, etc. , produce our specific dynamic characteristics and sense of rhythm.

The special ability to edit this paragraph

China's classical dance movements are complex, technically difficult and with large movements, so the performers are required to have strong flexibility in joints, ligaments and muscles. China valley

China classical dance

The dance movements of classical dance are both on and off (on and off refer to external rotation and internal rotation). Besides hooking, stretching and opening and closing, feet are also used for eversion and eversion. Joints should have a variety of abilities, so that the functions of flexion and extension, external rotation and internal rotation, abduction and adduction of joints can be fully developed. Therefore, as a dancer of China classical dance, she needs to have comprehensive soft opening ability.

Dance and posture are the essence of China classical dance. Dance is modeling, posture is rhythm, and the transformation between them can form various forms. The three-dimensional modeling of meridians in dance consists of twisting, flexion and extension, pitching, vertical and horizontal modeling, etc. , showing the wanzhuan and slender in torsion, the convergence and release in flexion and extension, the blending and change of pitch and vertical and horizontal. This change determines the range, speed and fluency of dance. This "three degrees" requires high flexibility and strength in the middle of the human body. As for the posture of the dance, the waist is the axis that drives the whole body. Whether it's lifting, sinking, rushing, leaning, flat circle, vertical circle, figure-eight circle, twisting … the key is the use of the waist. Therefore, the application ability of the waist and the flexion, extension, rotation and lateral rotation of the spine are the keys to complete the dance posture and posture.

The dance posture and posture of China classical dance are inseparable from the law of circle. It is enough to hook, skim and stretch at the ankle joint; The calves should be crossed and the knees should be webbed; The thigh moves in circles at the hip joint; Hands do the upper and lower plates at the wrist joint; The forearm should shake at the elbow joint; The upper arm should be a rocker arm at the shoulder joint; The waist, chest and neck should rotate around a "circle".

Performing China classical dance also requires explosive skills such as jumping, turning and twisting. For example, many bounces need explosive force and fast flight to win space, complete various aerial skills and reach the level of classical technical beauty. The rotation of China classical dance has different forms due to different centers of gravity: for example, horizontal rotation belongs to vertical center of gravity, torsional rotation belongs to spiral center of gravity, and prone rotation and supine rotation belong to balance center of gravity. The somersault of "waist as axis and arm as wheel" is a major feature of China classical dance.

To sum up, the special abilities that China classical dancers need can be divided into the following five aspects: the range of joint flexibility; Rotation and circulation of dance posture; The explosive power of jumping; The focus of the three different dances is in turn; Over the line.