Advantages and disadvantages of basic training of classical dance (urgent)

China classical dance, as an independent dance, extracted the essence from China traditional opera dance and martial arts posture, combined with China ancient dance aesthetics and contemporary aesthetic viewpoints and principles, and formed its own development path in the process of continuous exploration and progress. In view of the soul function of the essence of China classical dance, this paper makes a preliminary discussion and understanding from four aspects: its artistic characteristics, its "shape, spirit, strength and rhyme", its artistic atmosphere and its influence on the development of China classical dance.

Keywords China classical dance; Body rhyme; Breathe; Artistic feature

China classical dance is the artistic crystallization of China's national culture, which occupies an extremely important position in the history of China dance and can be called the artistic model of China dance. China classical dance embodies the essence of China's dance art and national aesthetic style. It is neither an ancient dance nor a traditional opera dance. But it contains the charm of traditional dance for thousands of years, which has evolved from traditional opera dance to a unique artistic language that keeps pace with the times. The birth and development of China classical dance embodies people's respect for ancient dance culture and shows the unique charm of Chinese traditional dance art.

On the basis of inheriting traditional dance, China classical dance extracts the essence from traditional opera dance and martial arts posture, and combines the viewpoints and principles of China ancient dance aesthetics and contemporary aesthetics, and forms its own development path in the process of continuous exploration and progress. Through creative theoretical and practical discussions, Professor Tang Mancheng and Professor Li Zhengyi of Beijing Dance Academy founded Body Rhyme, which completely freed classical dance from the shackles of classical opera and thus became an independent dance type. Body rhyme constitutes the basis of the style and form of contemporary China classical dance, which has written a brand-new page in the history of China dance. Based on the soul of China's classical dance-"body rhyme", this paper makes a preliminary discussion and understanding of it:

First, the artistic characteristics of body rhyme

The so-called "body rhyme", as the name implies, refers to the external expression of China classical dance; "Rhyme" refers to the inner charm of China classical dance. The appearance of body rhyme made classical dance get rid of its dependence on classical opera dance, and formed its own dance mode and characteristics, which directly influenced and standardized the artistic creation of classical dance.

The main artistic feature of body rhyme is that the requirements for body movements are mainly spiritual, thus breaking through the stylized action mode in traditional opera and dance. The combination of posture and rhythm focuses on "changing its shape and promoting its spirit", thus breaking through the stylized action mode of "doing and beating" in traditional opera and dance, and forming its own unique artistic characteristics of driving the body with charm. At a higher cultural level, it embodies the aesthetic characteristics of the Chinese nation's equal emphasis on spirit and form. According to the characteristics of dance itself, the element movements are refined, and on a new basis, the unique effect of both form and spirit is achieved. In the element movement of body rhyme, "twisting, warping, rounding and curving" highlights the curvaceous beauty of human body and the temperament beauty of performers who are vigorous, upright, subtle and flexible. Body rhyme requires the performer's movements to follow the "three circles" trajectory and the aesthetic principles of "movement, quietness", "point and line", which embodies the national artistic characteristics of the unity of "shape" and "spirit" in classical dance.

It embodies China's dance cultural spirit and national aesthetic charm, and becomes the foundation of China's classical dance and the main symbol of its artistic characteristics. It even becomes synonymous with China's classical dance with its rich and varied dance movements, rich national style and strong expressive force.

Second, the "form, spirit, strength and method" of body rhyme

Any kind of training is subordinate to the needs of a certain dance form, and any dance form must also have its own training system. Body rhyme is the training system of classical dance. Body rhyme provides the most core and essential "element" for classical dance, which combines the training of body posture with the cultivation of charm, and takes "shape, spirit, strength and rhyme" as the action element of classical dance, and integrates them into one. Body rhyme has its own systematic and training requirements, requiring dancers to "lead the shape with the spirit and convey the spirit with the shape", which has high artistic appreciation value. Therefore, body rhyme has become the essence and organic part of the whole China classical dance training and performance.

Body rhyme contains "form, spirit, strength and rhyme" which are four different and inseparable aspects. The so-called "shape" includes intuitive dynamics, the connection between actions and the route between gestures. The "shape" of body rhyme first requires solving the curvaceous beauty of "twisting, warping, rounding and curving" and the temperament beauty of "strength, straightness, concealment and softness". Secondly, we should grasp the trajectory of "flat circle, vertical circle and figure-eight circle", especially pay attention to the dynamic law principle of "rising, sinking, rushing, leaning, containing, lifting and moving" with waist movement as the core. The so-called "God" is what Mr. Qian called "Form Three, Strength Six, Meaning Eight and Invisible Ten". The so-called "invisible ten" means that dance is perfect without mechanical norms and rigid procedures. The so-called "strength" refers to the strength to contrast external actions in rhythm and level. The so-called "law" includes its own rhythm and the laws it follows. The perfect combination of the four is the highest requirement of China classical dance.

The action elements in body rhyme are "lifting, sinking, rushing, leaning, containing, rushing, moving and lifting sideways". These elements summarize the movement law of "body rhyme" and deeply explore the expressive force of dancers' upper limbs. The trajectory in Tiyun is mostly circular, which is closely related to our nation's view of the universe and aesthetics for thousands of years. Taoist taiji diagram, circular outlook on life and circular structure of classical architecture fully embody our nation's pursuit of circular aesthetics. The embodiment of this aesthetic tendency in "body rhyme" is flat circle, vertical circle and figure-eight circle. Grasping this movement law, on this basis, increasing or decreasing the original rhythm track can break the original dynamic trend, give different strength and rhythm to the action, and change the original solidified action character.

Third, the artistic atmosphere in the rhyme.

Body rhyme begins with action elements and finds its origin from breathing. Every movement of body rhyme is driven by inhalation, which plays a very important role in regulating respiratory and circulatory functions. Breathing, as the only internal force directly controlled by human beings, is the main power source of human movement. The elements such as "lifting, sinking, rushing, leaning, containing, being afraid and moving" are inseparable from breathing. On the surface, breathing belongs to the chest movement, which can form the external movements of limbs, but through the cultivation of muscle breathing, the stretching feeling of arms and the inner flexion and extension feeling of legs can be trained. Breathing plays a very important role in any dance movement, which is integrated with dance. Therefore, in the training of body rhyme, "breathing" is the key throughout. For example, in the initial "lifting" training, it is necessary to start combining breathing training.

The up-and-down movement of the middle part of the body and the head driven by lifting is the first step in the coordination of breathing and external movements, and then it is coordinated with different rhythms and different body orientations. We can gradually realize and understand the relationship between breathing and body, master the method of combining breathing with external forms, give vitality to movements, and form the unique charm of classical dance. The training of "lifting and sinking" is the simplest and most direct way to bring breathing into action. When students sit on the floor and take a deep breath with the music, it is the beginning of art "breathing". Because this exaggerated deep breathing causes the body and head to move up and down, this movement is driven by qi, so it is the first step of gas combination. The function of music is that it gives people association. When "lifting" is accompanied by music, the function of music will strongly stimulate the inner world of trainees, thus producing a special emotion. This kind of emotion, rather than concrete, is arranged according to the artistic conception of music, the size and rhythm of one's own breathing. Thus, the second step of the initial combination of qi, shape and emotion was formed. The ultimate goal of "lifting" training should be the continuous stage of "lifting". In essence, this is the cultivation of "consciousness" and the initial unity of form, spirit, force and law. It is also the third step towards internal and external synergy. Through the conscious training of breathing "up and down", I realized and understood the relationship between "Qi" and body, and began to consciously use "Meaning" to control the effect of breathing on body movement. While doing the movements such as leaning, lifting, leveling and figure-eight, the qi is transported into the body and runs through the limbs, which drives various movements of the body and waist, thus forming a sense of rhythm and charm with the traditional aesthetic characteristics of China.

Fourthly, the influence of body rhyme on the development of China classical dance.

The appearance of body rhyme is not a simple literal change from "shape" to "body rhyme", but a qualitative leap. It is the transformation and sublimation of characters in traditional Chinese opera; It is to inherit and study the traditional posture from the aesthetic point of view; It is the result of the development and evolution of dance according to its own characteristics and the requirements of the spirit of the times. Body rhyme breaks through the original action formula of "characters" and is replaced by an ever-changing and expressive artistic way. The performance of this way in Tiyun is the refinement of elements, the derivation of actions and the transferability of action personality.

The appearance of body rhyme solved the contradiction between stylized dance and functional training when China classical dance emerged from traditional opera, and changed the dilemma between traditional opera and ballet. It enriches and develops the function of body performance in exploring human expressive force with colorful action forms, modern and contemporary styles and the combination of dance and national aesthetic characteristics. The artistic language of the middle part of the human body with the waist as the axis is not limited to the expression range of human movements in the past classical dance, but shows distinctive national characteristics and profound artistic charm. It gives full play to the potential expressive force of human body, endows new artistic means and creates vivid and vivid dance images.

The formation of body rhyme and the introduction of dance creation mechanism have brought a great turning point to the development of China classical dance. As a new dance vocabulary of China classical dance, it has won the admiration of many young choreographers and actors in China, and has been fully applied to the creation, making a great breakthrough in the creation of China classical dance. For example, the dance drama "Yellow River" uses the expression of human back in body rhyme, which has set off a shocking momentum from the strength of twisting and the image of water clouds. Both ground movements and aerial skills fully show the excavated performance area and show people's struggle with nature and famine. Hejiang takes sleeves as the means of expression. However, what we see is not a few feet of long sleeves, nor is it a complicated sleeve method. What we see is a human body full of infinite emotions, which is manifested by groaning on the back, crying and wailing on the back, and the sleeves are covered with emotions, which are integrated with people and have strong artistic appeal. Excellent works created by using body rhyme dance vocabulary include Mulan Gui, Great Wall, Liangzhu and so on. These works are magnificent, exquisite in image and smooth in dance, with strong national characteristics and brand-new fashion of the times. Their creation makes classical dance really get rid of the specific character form and move towards an emotional language. Professor Tang Mancheng once said humorously: "Body rhyme training is profitable." The dance circles in China are also impressed by this, and they find that this is a continuation of the unique charm of Chinese traditional dance. Professor Lu Yisheng said: "This is the contemporary China classical dance in my heart!"

Verb (abbreviation of verb) conclusion

"Body rhyme" is not the end point, but a source point of development. It embodies the style and aesthetic essence of China classical dance, and becomes the core and main symbol of China classical dance with its rich and varied dance movements, rich national style and strong expressive force. It is the soul of China classical dance art!

refer to

Liu. China dance art [M]. Shanghai: Shanghai Music Publishing House, 2002

[2] Yuanhe. China dance. Shanghai: Shanghai Foreign Language Education Press, 1999.

[3] Zi Huajun. On the position of classical dance in China's meta-culture [A]. Zihuajun. On Dance-Dance Research [C]. Beijing: Culture and Art Press, 2006.