The Importance of Body Rhyme Training in Classical Chinese Dance 15

Classical dance. The body rhyme has the basic elements of punching, forming, leaning, shyness, sinking, containing, moving, and strength. Rushing is the rhythm of "diagonal movement" of the trunk on the basis of "lifting and sinking".

Master the horizontal momentum formed by twisting the drive to the side and forward, reflecting the full, dignified, charming and subtle temperament characteristics of classical dance.

Shape: Chinese dance.

In the human form, it emphasizes the curvaceous beauty of "twisting, tilting, rounding, bending, tilting, tilting, turning, and rolling" and the temperament beauty of "strong and upright, subtle and flexible".

Lean: It is the rhythm of "oblique movement" of the trunk on the basis of "lifting and sinking". Master the horizontal momentum formed by twisting the drive to the side, reflecting the full, dignified, charming and subtle temperament characteristics of classical dance.

Shyness: The process by which the trunk moves forward to form an "open outward" is the forward rhythm of thrust of the ribcage.

Shen: It is the upward and downward rhythm of the torso, which mainly grasps the longitudinal momentum of the torso lifting and sinking and the coordination relationship between breathing.

Contains: The torso moves backward to form the process of "adduction", which is the backward rhythm of the posterior shoulder contraction.

Movement: The "horizontal line" rhythm of the waist and shoulders to move horizontally from side to side.

Energetic: that is, to give the internal rhythm of external actions and the layered and contrasting dynamics processing. It is often carried out in a free and regular "elastic" rhythm that is soothing but not slow, tight but not chaotic, still in motion, and still in motion.

"Strength" is not only throughout the process of the action, but also very important at the end of the action.

Body rhyme. 1. The element of body rhyme.

Such as mentioning, sinking, rushing, leaning, containing, shyness, shifting, side mentioning, horizontal twisting, etc., are like the "phonetic" basic symbols of body rhyme language;

2. The main actions of body rhyme.

For example: "cloud shoulders turn waist", "swallows wear the forest", etc., which are like the "vocabulary" of body rhyme language;

3. The image of body rhyme.

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

4. The rules of movement of body rhyme.

The movement rules of "starting from the opposite side" such as "wanting to be left first and right", "wanting to go up and going down", and "wanting to open and close first" followed by body rhyme, and the "three circles" route rules of "flat circle, vertical circle, and figure-eight circle" are like the "grammar" of body rhyme language.

These aspects constitute the internal structure of the body rhyme language, and the expression of body rhyme "form, spirit, strength and rhythm" makes Chinese dance have the dance aesthetics of Chinese cultural characteristics.

There are 8 basic elements of Chinese dance body rhyme: lifting, sinking, rushing, leaning, containing, shyness, shifting, and leaning.

1. Mention. 1) On the basis of the element of "sinking", it first takes a deep breath and feels the breath from the dantian to the chest.

2) Then use the force of the chest to drive the lumbar spine, and slowly straighten it up from the slightly bent state, and feel the top of the head in a state of emptiness.

3) Pay attention to not holding the breath when it is lifted to the chest, but slowly extend it upwards with the void above the head.

4) Pay attention to the eyelids to slowly look forward with the breathing movement, and when you see straight ahead, let your eyes out.

Second, Shen. 1) This is an up-and-down movement, first in the posture of dancing and sitting, by exhaling to sink the breath, and it feels like sinking the qi into the dantian.

2) Then drive the lumbar spine with Shen Qi, slowly press down from the natural vertical state, and finally slightly contain the chest and bend the body slightly.

3) Pay attention to the eyelids to relax slowly with the breathing movement, and finally look at the position of the belly button.

3. Rush. 1) On the basis of "sinking", rush out the lateral shoulder and pectoralis major muscle in the direction of your 8 or 2 o'clock.

2) At this time, the shoulders and the ground form a horizontal line, pay attention to the upper body do not lean forward, and feel the lumbar muscles are elongated.

3) The head and shoulders are opposite, the shoulders need to rush to the left, and the head needs to be slightly tilted to the right, pay attention to the eyes to follow the direction of the rush.

Fourth, by. 1) On the basis of "sinking", use the back shoulder and back rib side to drive the upper body to the direction of 4 or 6 o'clock, that is, to lean out in the direction of the two back bevels.

2) When you are leaning on the slender and wise, pay attention to tightening the anterior ribs so that the posterior dorsal muscles are elongated. Note that when the shoulders are pulled out, keep them level with the ground.

3) If the body is leaning to the right, the head needs to be slightly turned to the left, and if you are leaning to the left, turn slightly to the right. Pay attention to keep your eyes level and your head and neck slightly downward.

5. Including. 1) Its process is the same as "sinking", you need to strengthen the chest cavity to adduct inward, and close your shoulders inward, like a punch in the chest, in an empty chest.

2) At this time, you can lower your head and bow your back, and you can use your hands to hold your shoulders to find a feeling. The Eight Elements of Classical Dance.

6. Shyness. 1) It is the opposite of the "containing" action, which requires the shoulders to be broken back on the basis of "lifting".

2) Then lean your chest forward as far as you can, tilt your head slightly upward, and fully open your shoulders and chest.

7. Shift. 1) On the basis of "lifting" and then sinking, first sit down cross-legged and use the waist to exert force.

2) Push the waist to the other side during the sinking process, and move the waist horizontally in the direction of 3 or 7 o'clock to the maximum limit, the head is opposite to the shoulders, and you need to lean in the opposite direction.

3) Pay attention to the shoulders need to be parallel to the ground to keep the pelvis stable.

4) Finally, sink the shoulders and feel the lumbar muscles are stretched and the spine is lengthened.

8. Yang. 1) On the basis of "mentioning", be ready to sit cross-legged.

2) First of all, open your hands and open the slag chest.

3) Feel the chest upward, then lift the head and limbs upward, and look up the eyes.

Hello dear, happy to answer your questions. From my own experience of learning dance, I hope that from the study of the old classical body rhyme, I feel that I have a further understanding of the classical body rhyme, not only the pursuit of its beauty on the cavity of the circle, but gradually to understand its inner charm, when I gradually began to fully appreciate it, I found that my sense of dance has improved, this is my experience in recent times. I hope you find this helpful.

"Body rhyme" is a general term for the "body method" and "rhythm" of classical Chinese dance. As the core language of classical Chinese dance, body rhyme is practiced in the elements of specific rhyme, including the eight basic rhythmic elements of "lifting, sinking, rushing, leaning, containing, shyness, horizontal movement, and side mention".

Body rhyme is the combination of form and spirit, the combination of body and mind, and the unity of inside and outside. The rhythm of the body and spirit is the basic element of body rhyme. Form refers to the external action, including the route connected by posture and action, and God is the charm of the mind and plays a dominant role.

Strength refers to the artistic treatment of the relationship between priority and urgency, strength and weakness, strength and shortness, rigidity and softness. The law is the law of operation of the action itself.

The relationship between the four elements, through strength and law, achieves both god and form, and is unified inside and outside. The law is that the heart and the mind are combined, the intention is combined with the qi, the qi is combined with the force, and the force is combined with the form.

The "" method in classical dance rhythm training refers to the external expression techniques of classical Chinese dance; "Rhyme" refers to the inner rhyme of classical Chinese dance. When a dancer enters classical dance training, there are many things to be trained. Such as:

Physical training, quality training, technical skills training, artistic expression training, until the stage image shaping training and so on.

The so-called elements, including basic techniques, methods, verve, breathing, shape, posture, points, lines and many other core factors, when dancers in classical dance training, should be based on "starting from the elements, from the rhythm" to "cloud shoulders to the waist", "wind wheels", "swallows through the forest" as examples, "cloud shoulders to waist" is both the element is the rhythm, there is rhythm in the elements, and the rhythm is expressed through the elements. The "wind wheel" is a 36-degree circular movement of the waist in the training of Ji Heng Hui's original skills, in which all twisting, tilting, and circles are in it, and it has a strong life, and then it is reproduced, which has both training value and practical value, and can be sent out for other actions. This is just as Professor Tang Mancheng said

Refining the elements, developing the elements, and transporting the elements are effective ways to solve the problem of rhyme training.

The importance of body rhyme in classical dance.

The production of body rhyme is not a simple literal change from "body figure" to "body rhyme", but a qualitative leap. It is the transformation and sublimation of the figure in the opera; It is to inherit and study the traditional body style from the perspective of aesthetics; 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. The body rhyme breaks through the original "body" action formula, and replaces it with an infinitely changeable and expressive artistic way, which is the refinement of the elements, the derivation of the action and the translocation of the action character.

The emergence of body rhyme solves the contradiction between stylized dance and functional spine training that existed in classical Chinese dance when it was born from opera, and changes the dilemma between opera and ballet. With its colorful movement forms, ancient and modern applicable styles of the times, and the combination of dance and national aesthetic characteristics, it enriches and develops the function of physical performance in exploring the expressiveness of the human body. It does not stick to the range of expression of human movements that have been used in classical dance in the past, but focuses on the artistic language of the middle part of the human body with the waist as the axis, showing distinctive national characteristics and profound artistic charm.

The potential expressiveness of the human body has been fully exerted, and a new artistic means has been given to the creation of vivid and vivid dance images.

The formation of body rhyme and its introduction into the mechanism of dance creation have brought about a great turning point in the development of classical Chinese dance. As a new dance vocabulary of Chinese classical dance, the body rhyme has won the eyes of many young Chinese dance choreographers and actors, and fully applied it to the creation, making a great breakthrough in the creation of Chinese classical dance.