What are the basic skills of classical dance?

What are the basic skills of classical dance? Mr. Li Zhengyi once said that the six directions are perfect, the three knots are natural, the hands and eyes follow each other, and they are generous and stretched. These sixteen words are very vivid. Everything that should be paid attention to in the body and rhythm of classical dance is reflected. This is the most important basic skill of classical dance. Aixueyi will share with you how to do these sixteen-character basic skills. Below are the basic skills of classical dance that I have compiled for your reference. I hope it can help friends in need.

What are the basic skills of classical dance?

Six directions of perfection

The six directions refer to the six directions, namely: up, down, left, right, front and back. direction. However, I think perfection can be understood separately or together. To put it together, it requires dancers to maximize the rhythm and rhythm of the movements in these six directions when performing movements, so as to support the music. It is necessary to fully reflect the form of each movement in the dance music. The separate explanations reflect and highlight the basic characteristics of Chinese classical dance: circle. Classical dance pays attention to the "circle", which also reveals the difference between classical dance and ballet. It is deeply penetrated by Confucian culture and formed the "circle" dance style with Chinese characteristics.

A circle is a trend, a dance movement route, and it is also a concept. The movements of classical dance cannot be completed simply by imitation, but on the basis of completing the movements, the unique "qi" and "rhythm" of classical dance are added. If the body and rhyme are the main purpose of classical dance, then the round shape requires It is the foundation of the spirit of Chinese classical dance.

Three sections are natural

We all know that the three sections in ballet refer to: hips, knees, and ankles. In classical dance, the three major sections refer to: shoulders, elbows, and wrists. In the basic classical dance class of our junior year, we learned about water sleeves. In the process of learning water sleeves, we made good use of the coordination of the shoulders, elbows and wrists. The sleeves are almost all moved in and out using the shoulders, elbows and wrists, so the three sections are natural. I would like to explain the characteristics of shoulders, elbows and wrists from the direction of water sleeves.

The coordination and unity of the wrists, elbows, shoulders and fingertips are the key to a good water sleeve dance. This requires coordination; three sections. In terms of arms, there are three sections: the hand is the slight section, the elbow is the middle section, and the shoulder is the root section; in terms of the legs, the feet are the slight section, the knee is the middle section, and the hip is the root section; the three sections are not only the water sleeves after dancing, The most important thing about the program of external movement is that it is the necessary channel for internal strength to complete each water sleeve performance movement.

In terms of external movements, the first requirement is the mutual symmetry and balance of strength of the head, waist, and feet; secondly, the unity and cooperation of the hips, knees, and feet; and then the pursuit and follow-up of the shoulders, elbows, and wrists. . The so-called chasing and following are to distinguish the primary and secondary relationships of movements, the strength of each part, the size of the range of movement, etc. The relationship between the shoulders, elbows, wrists and movement is subtle, both promoting and restricting each other. This is the relationship of coordination and unity. It must be relaxed and harmonious, tight inside and loose outside, straight and subtle, strong and flexible; there is movement in the stillness, and stillness in the movement. Only by dancing can the water sleeves in motion be handled; there are points in the line. ,; There is a contrasting relationship between the external movements of the lines in the dots and the inner rhythm of the body. From the perspective of the whole process of the force method of the water sleeve technique, it follows the teaching rules from simple to complex and step by step from rhythm, movements, short sentences to combinations.

Hands and eyes follow each other

Dance itself has the function of conveying emotions, and classical dance is more vivid in this aspect. In classical dance body and rhythm classes, teachers always mention it ; Essence, Qi, Shen. After all, dance is a performance and comes from life. In fact, the training of Chinese classical dance body and rhythm has long been summarized in detail: the key points of essence, energy, spirit, hands, eyes, body, method, and steps. The coordination of hands and eyes is a characteristic of classical body style, but it is also an aspect that is often overlooked.

As the saying goes: Wherever the hands go, the legs follow; where the feelings go, the heart follows; where the heart goes, the feelings follow; where the feelings go, the taste follows.

People also often say that the eyes are the windows to the soul, and the eyes are tools to express emotions, and the gathering, releasing, condensing, retracting and merging of the eyes do not refer to the movement of the eyeballs themselves, but rather to the connotation. The result expressed by the control and psychological rhythm, this just shows that the physical rhythm controls everything. "The form has not moved, the spirit takes the lead, the form has stopped, the spirit continues" This mantra vividly and accurately explains the connection and relationship between the form and the spirit. Only by comprehensively applying the artistic skills of the body and rhyme in these dances can the stage be produced. The emotional communication and artistic interaction on and off the stage allow the radial shape formed by the dance to form a dialogue with the audience, producing a shocking artistic effect.

In Chinese classical dance, there is a saying that the drama of the whole body is in the face, and the drama of the face is in the eyes. Chinese classical dancers pay great attention to the expressiveness and connotation of the eyes. They turn ordinary people's vision into art, express their emotions through their eyes, and show the audience the inner world of the characters. If there is no content in the eyes, no matter how beautiful the dance movement is, it will be as pale as paper and difficult to attract the audience.

Generous stretch

Chinese classical dance was developed from the combination of opera, martial arts, ballet and dance of the Han and Tang Dynasties. It is a dance that integrates multiple art forms. category. Therefore, many movements in classical dance contain the characteristics of opera, martial arts, ballet, and Han and Tang dances, but they are also very different. The movements of classical dance pay attention to generous stretching. We can understand the so-called generous stretching literally: it refers to the movements of classical dance. The movements of classical dance should be grand and stretched, not tacky, and unrestrained. The movements should show that they are suitable for the entire dance. To release the body, the movements should be grand and unconventional so that the whole body can be expanded to the maximum extent.

Dance martial arts is not only instantaneous, but because its shape is different from the dance shapes of other disciplines, its position in the air of the human body is peculiar, so the visual impression it leaves on people is thrilling. . Dance is an art that pays attention to beauty. This is the difference between dance and martial arts. However, we must also emphasize the unity of dance skills and classical dance aesthetics, that is, the aesthetic issue of dance. Just as opera is very particular about its techniques: fast, compact, graceful and slippery, but lacks stretch and generosity, classical dance is very particular about its techniques: lightness, stretch and grandeur.

Therefore, the stage performance techniques and skill teaching and training are very different from other martial arts training. In addition, in dance skill training, the use of large ranges, long lines, elegant shapes, and emphasis on softness, opening, jumping, straightness, and highlighting the beauty of curves are all consistent with the aesthetic concept of dance. Only in this way can the characteristics of classical dance be more prominent, the visual impression it leaves on people in an instant more profound, and the characters it creates more typical and beautiful; even the opera art that specializes in martial arts has become more popular in recent years. Since then, I have been absorbing the beauty of classical dance in my martial arts body expression techniques and daily training, and I have also been pursuing stretch and line beauty. In ordinary study, work, and life, everyone must have come into contact with some commonly used slogans. Slogans have very obvious characteristics of the times and industry characteristics. So what kind of slogan is more contagious? The following are the safety operating standards slogans I compiled. I hope they will be helpful to everyone. In ordinary study, work, and life, everyone must have come into contact with some commonly used slogans. Slogans have very obvious characteristics of the times and industry characteristics. So what kind of slogan is more contagious? The following are the safety operating standards slogans I compiled. I hope they will be helpful to everyone. In ordinary study, work, and life, everyone must have come into contact with some commonly used slogans. Slogans have very obvious characteristics of the times and industry characteristics. So what kind of slogan is more contagious? The following are the safety operating standards slogans I compiled. I hope they will be helpful to everyone.

Extended information:

Classical dance dance forms

Many countries and nations in the world have their own unique styles of classical dance. , around the world, various countries have gradually accumulated and formed traditional dances with exemplary significance and unique styles in the long history of their own nation's development.

Classical dance mainly falls into the following categories by region:

1. Chinese style

Chinese classical dance was once called "opera dance" by some people. It itself is a mixture between opera and dance. Most of the dance movements passed down are preserved in opera dance; some dance postures and shapes are preserved in Chinese cave murals, sculptures, portrait stones, portrait bricks, pottery figurines, and In the paintings and patterns of dance images on various unearthed cultural relics; Chinese cultural and historical materials also contain a large number of specific descriptions of dance images in the past.

Chinese dancers have been researching, collating, reproducing and developing Chinese classical dance since the 1950s, and have made great achievements. They have established a set of Chinese classical dance teaching materials. Created a large number of dance and dance drama works in the Chinese classical dance style, forming a delicate and round, hard and soft balance, a blend of scenes, a combination of skills, and a perfect harmony and high degree of unity of essence, energy, spirit, hands, eyes, body, method and steps. Aesthetic characteristics

2. European style

European classical dance generally refers to ballet. Ballet is the transliteration of French Ballet. Classical dance dramas from various European countries are collectively called ballet. It is a dance variety that uses European classical dance as the main means of expression and integrates music, drama, stage art and other art forms. Because an important feature of its performance technique is that the actress wears special pointe shoes and dances on pointe, it is commonly known as "pointe dance". According to legend, ballet first originated in Italy, was formed in France, and was introduced to Russia in the 18th century. It became an independent and complete art form at the end of the 18th century and the beginning of the 19th century. Pointe dance techniques were created, various jumping and rotating techniques were developed, and a complete set of training methods was produced, which gradually formed There are Italian school, French school and Russian school with different styles and characteristics. The modern ballet school emerged after the 1920s, and many ballet schools were gradually derived and became popular in Europe and the United States.

3. Indian style

It consists of six traditional dance systems: Bharatanatyam, Kathak, Kadakali, Manipuri, Odissi and Kuchipudi. Its main artistic features are dance movements with distinctive rhythm and rhythm, strong modeling, colorful dance mute gestures and delicate facial expressions with rich connotations.

Classical dance style characteristics

"Shen Yun" is the general term for "body technique" and "rhythm". "Shenfa" belongs to the external technical category, while "rhythm" belongs to the inner spirit of art. Only the organic combination and penetration of the two can truly reflect the style and aesthetic essence of Chinese classical dance. In other words, "body and rhyme" means "both form and spirit, using both body and mind, and unifying the inside and outside." This is an indispensable symbol of Chinese classical dance and the artistic soul of Chinese classical dance. Although the style source of Shenyun is obvious, it can no longer be called "opera and dance". Its transformation from opera to dance has been basically completed. It has gotten rid of the ever-changing role of the original opera and dance. However, no matter how it changes, it remains the same. This "one" and this "change" are both rare characteristics of an art, and they are also the aesthetics of an art. Essentials.

The movements performed by a mature folk dancer on the stage have aesthetic value and artistic charm because they embody a high degree of integration of "form, spirit, energy, and law". This is exactly what Chinese classical dance has to offer. An important means of expression of dance body rhythm. "Shape, spirit, energy, and rhythm" as the basic movement elements of body rhythm highly summarize the entire connotation of body rhythm. Shape, that is, external action, includes posture and the movement lines connected by its actions. Shen, that is, charm and mind, is the dominant and controlling part. Jin is force, which includes the artistic processing of relationships such as weight, urgency, strength, length, hardness and softness. Law, that is, the law of movement of the action itself. The relationship between these four major movement elements is achieved through strength and law to achieve both form and spirit, as well as internal and external unity. The law is "the heart and the mind are in harmony, the mind and the energy are in harmony, the energy and the force are in harmony, and the force and the shape are in harmony." These are all incisive summaries and refinements. These words are highly unified and harmonious with the elemental movements, forming a dance aesthetic theory with Chinese characteristics.

The body rhyme follows the movement rules of "start from the opposite side" such as "if you want to go left, go right first", "if you want to go up, go down first", "if you want to open first, close first", etc., they are consistent with "flat circle, vertical circle, The "three-circle" route rules of "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.

Basic elements of classical dance

1. Form

Form refers to the external movements of the body. It manifests itself in various body postures, ever-changing movements and the connections between movements. All visible forms and processes can be called "forms". Shape is the most basic feature of figurative art. It is the attachment of the charm of classical dance and the medium for conveying the beauty of classical dance.

Chinese dance emphasizes the curvaceous beauty of "twisting, tilting, rounding, and bending", leaning up, bending, turning, and rolling in the human body shape and the inner temperament of "strong and straight, implicit and flexible". From the unearthed tomb It is not difficult to see in the figurines and Dunhuang murals that this point has been continuously developed and evolved from ancient times to the present, such as the "slumping waist and kicking the hips" of the Qin and Han Dynasty dance figurines, the "Sandaowan" in the Tang Dynasty, and the "Ziwu Xiang" in opera dance. "Yin and Yang Noodles" and "Twist Twist", the "rolling, twisting, turning, and toughness" of the Chinese folk dance "Jiaozhou Yangge", the "blocking, probing, twisting, and wave" of "Haiyang Yangge" and the "slanting" of "Huagu Leng" "Tower", "dragon-shaped ape steps" and "bagua" in martial arts all run through the beauty of the human body's "twisting, tilting, rounding and bending". Mastering the curvaceous beauty of the body and shape also requires corresponding qualities and abilities .

2. Spirit

This refers to connotation, charm, rhythm, and temperament. If there is no charm, it can be said that there is no soul. It is an extremely important concept. Whether talking about poetry, painting, music, or calligraphy, it is inseparable from the word charm. In terms of the movement of the human body in classical dance, charm can be understood and grasped. Without "spirit", "form" has vitality.

In the concept of heart, body and rhythm emphasize the inner energy, breath and thoughts, emphasizing the relationship between form and spirit. In the dance, the spirit is put in the first place, and "the spirit leads the form, and the form conveys the spirit." It is this idea and emotion that creates the "rhyme" of the body. It can be said that without the rhyme, there will be no inner heart in Chinese classical dance. Emotional stimulation and stimulation will lose the most important glory of Chinese classical dance.

The so-called "heart and mind are combined, mind and energy are combined, energy and force are combined, and force and form are combined." ", meaning, Qi" is the embodiment of "Charm". People often say that the eyes are the windows to the soul, and the eyes are tools to express the spirit. However, the "gathering, releasing, condensing, closing and closing" of the eyes does not refer to the eyeballs. Its own movement is precisely the result of being controlled by connotation and expressed by the rhythm of psychology. This shows that Shen Yun dominates everything. "This formula vividly and accurately explains the connection and relationship between form and spirit.

3. Jin

"The running rhythm of Chinese classical dance is often consistent with regular 2/ The music rhythms of 4, 3/4 and 4/4 are quite different. It is more 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. "Physical Rhythm" means to train dancers to use strength not evenly during movements, but with contrast and distinction in weight, urgency, length, pauses, punctuation, segmentation, extension, etc. These rhythmic symbols are expressed using human body movements. This is the true mastery and understanding of how to use "jin". "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, all attach great importance to 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" - the body posture, angle, and direction are all prepared. Well, use an inch of energy to "put the finishing touch". "Reverse force" - gives a strong reaction force to the body shape that is about to end, thereby strengthening and highlighting the final shape.

"Shenjin" - everything has been completed, and the eyes and body are used to feel the extension, so that "the form has stopped but the spirit continues". In addition, there are also differences in strength such as "softness within hardness", "brittleness within toughness", and "slowness within urgency".

4. Rhythm

"Anti-rhythm" is unique to classical dance, which can produce ever-changing, confusing, and ever-changing dynamics of human body movements. Judging from each specific movement, classical dance also has the saying that "everything starts from the opposite side", that is, "every conflict must rely on, want to go left first, every time open must close, want to go forward first", it is these special movement rules The laws of classical dance give rise to the special aesthetics of classical dance. Whether it is smooth sailing, going with the flow, or reverse fortunes that are opposite and complementary, or "starting from the opposite side", they all embody the beauty of circle, swimming, change and illusion of Chinese classical dance, which is the essence of Chinese "dance rhythm" Mysterious place.

Essentials of classical dance movements

1. Rotation

The rotation technique in the basic training of Chinese classical dance is mainly characterized by the twisting and tilting dance posture structure, which is consistent with The rotation in basic ballet training is still 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 dance posture of twisting and tilting, especially the rotation of the center of balance of the "tilt". The three-dimensional composition is used to shape the image based on the meridian phase of the upper and lower bodies. Therefore, the movements show graceful elongation, a continuation of the rapid flight into the air, and changes in the spiral shape, such as tucking the legs behind the back and turning with the chest raised, turning backwards and turning sideways.

Due to the characteristics of the belt's 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.

In the basic training of Chinese classical dance, the folk dance posture turns have a strong "body method". Some folk dance posture turns can be said to be continuation and exaggeration of the body method.

The ethnic dance postures are relatively fluid and complex, with large spatial changes, such as bottom-up turns or top-down turns, as well as various dance postures during the turns. The compound and flowing characteristics.

2. Turning over

Turning 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.

Strong national character

Strong image

Strong expressiveness

3. Bounce

Chinese classical dance The bouncing in basic training requires lightness and grace in the method of exertion. It requires a combination of tightness and tightness during the movement. The force must be concentrated and the speed of the process must be fast. It pays attention to "the force is exerted at the root and the force is at the tip" and "inch strength" is required. ". In terms of jumping, the characteristics of our nation are becoming more and more obvious and the difficulty is getting higher and higher. [5]

4. Rhythm

Classical dance also has outstanding rhythm characteristics, which is inseparable from the characteristics of our national music. Our national music is rarely like Western music. Music has a regular, uniform, pulsating rhythm of equal strength and weakness, which is generally characterized by elastic rhythm and a 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. ;