How to improve the body rhyme of classical dance

Body rhyme is the general term of body posture and rhythm. "Body posture" belongs to the external technique category, while "rhythm" belongs to the artistic connotation. Only by combining and infiltrating them organically can the style and aesthetic essence of China classical dance be truly reflected. In other words, "body rhyme" means "having both form and spirit, combining body and mind, and unifying inside and outside", which is an indispensable symbol of China classical dance and the artistic soul of China classical dance. Love to learn art and share with you how to improve the body rhyme of classical dance.

Sit cross-legged. This posture helps to eliminate the interference of muscles in other parts of the body during practice.

Adjust the sitting posture, stand upright, with the waist up, the center of the head up hard, and sink the shoulders. Imagine that there is a rope tied to the top of the head and try to pull up and straighten the whole body.

1. Sinking, starting from the coccyx, the spine sinks and relaxes from bottom to top. Finally, I will bury my head. In the end, imagine yourself sitting cross-legged and passed out, and you don't need any strength at all.

2. Lift, starting from the coccygeal vertebra, the spine is lifted straight from bottom to top, one section at a time, and finally it returns to the position where the top of the head is pushed hard and shoulders are sunk, and the top of the head is as high as possible.

No matter whether lifting or sinking, the whole process should be smooth and gentle like hitting Tai Ji Chuan, with no pause or sharp edges. In the words of modern physics, it means doing uniform, uniform acceleration or uniform deceleration. The mode of movement is transitive.

The more segments the body is divided into, the better. Finally, imagine that your spine is a rope or a snake. The whole transmission process is very smooth, with no corner breaks.

Practice slowly first, then practice quickly, and then alternate slowly and freely (the movement feels like pulling a muscle, sticky, elastic and slow)

After proficiency, add breath, exhale gradually when sinking, inhale gradually when lifting, exhale like spinning silk, inhale like smelling flowers.

Breath should be completely consistent with the movement rhythm, and when it sinks to the bottom, it will be exhausted. When it comes to full breath at the top (if there is a follow-up pause, it should be reserved a little), and it should also be very smooth at a constant speed, even acceleration or even deceleration.

Finally, it is very smooth to add expression, which generally shows the process of waking from a dream, the process of being attracted to an expression, from death to life, etc. Sinking is often used to show the process of waking to a dream, people dying and relaxing.

the basic elements of classical dance

shape

shape refers to the movements outside the body. It is manifested in various postures, ever-changing movements and the connection between them. All visible forms and processes can be called "shape". Form is the most basic feature of image art, the attachment of the charm of classical dance and the communication medium of the beauty of classical dance.

China dance emphasizes "twisting, leaning, rounding and curving", the curvaceous beauty of leaning, leaning, turning and curling, and the inherent temperament of "vigorous and upright, 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 figures in the Qin and Han Dynasties, the Sandaowan in the Tang Dynasty, the meridian phase, the yin and yang side and the twist in the opera dance, the rolling, twisting, turning and toughening in the China folk dance Jiaozhou Yangko and the blocking, probing, twisting and toughening in Haiyang Yangko. Mastering the curvy beauty of posture and modeling also requires corresponding quality and ability.

spirit

This refers to connotation, spirit, rhythm and temperament. Any art without charm can be said to have no soul. Charm is an extremely important concept in China's literary criticism. No matter talking about poetry, painting, music and calligraphy, it is inseparable from the word verve. In the movement of human body in classical dance, verve can be recognized and felt. Moreover, it is only by grasping the "God" that "shape" has vitality.

In the concept of mind, body rhyme emphasizes the connotation of qi, breath and thoughts. Emphasize verve and inner feelings. In the relationship between form and god, god is put in the first place, and it is this idea and emotion that "leads the form with god and conveys the spirit with form" that creates the rhyme of body rhyme. 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.

"the harmony between mind and mind, mind and qi, qi and force, force and form". The so-called "heart, mind and spirit" is the embodiment of "verve". People often say that the eyes are the windows of the soul, and the eyes are vivid tools, but the "gathering, releasing, condensing, closing and closing" of the eyes does not refer to the movement of the eyeball itself, but is 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 does not stop." This formula vividly and accurately explains the connection and relationship between form and god.

Jin

"The running rhythm of China classical dance is often different from that of regular 2/4, 3/4 and 4/4 music. More often, it is carried out in a regular "elastic" rhythm, which is relaxed but not slow, tight but not chaotic, and static in motion, free and dynamic in static. "Body rhyme" means to train dancers to use strength not evenly, but to have the contrast and difference of weight, urgency, length, frustration, symbol point, segmentation and extension. These rhythm symbols are expressed by human movements, which is to truly master and understand the use of "strength." "Strength" not only runs through the process of action, but also is very important at the end of action. No matter traditional Chinese opera, ballet or martial arts routines, they all attach great importance to the instantaneous rhythm before the end of the action, and China classical dance is no exception. It has the following typical appearance strengths: "Inch strength"-the posture, angle and orientation are all ready, and the strength between one inch is used to "make the finishing point". "Contrast strength"-gives a strong reaction to the posture modeling that is about to end, thus strengthening and contrasting the final modeling. "God's strength"-everything has been completed, and the sense of extension with eyes and limbs makes it "the shape has stopped but the god is not stopped". In addition, there are differences in strength such as "softness in rigidity", "brittleness in toughness" and "slowness in urgency".

Rhythm

"Anti-Rhythm" is unique to classical dance, which can produce ever-changing, confusing and ever-changing movement of human body. From every specific movement, there is also the saying that "everything starts from the opposite side", that is, the movement laws of "everything must be done on the left, everything must be done on the left, everything must be done on the opening, and everything must be done before", and it is these special laws that produce the special aesthetics of classical dance. Whether it's the one-stop and smooth sailing, or the opposite fortune, or "starting from the opposite side", it embodies the beauty of China's classical dance, which is the essence of China's "dance law".