Classical dance is characterized by its sense of shape, strong and soft movements, strong culture and art, and full charm.

"Shenyun" is the general term for "shenfa" 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 integrating the inside and outside." This is an indispensable symbol of Chinese classical dance and the artistic soul of Chinese classical dance.

Shenyun, although its style source is obvious, it can no longer be named "opera and dance". Its transformation from opera to dance has been basically completed.

It has got rid of the ever-changing role of the original opera and dance. However, no matter how it changes, it never leaves the same origin. This "one" and this "change" are both a rare character of art. It is also the essence of the aesthetics of an art.

Extended information:

Basic elements of classical dance

1. Shape

Shape 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 It is not difficult to see in the tomb figurines and Dunhuang murals that this point has been continuously developed and evolved from ancient times to the present.

For example, the "slumped waist and hip kick" of the Qin and Han Dynasty dance figurines, the "Sandaowan" of the Tang Dynasty, The "Ziwu Phase", "Yin Yang Side" and "Twist Twist" in opera dance, and the "rolling, twisting, turning and toughness" of the Chinese folk dance "Jiaozhou Yangge"

The "blocking, twisting" of "Ocean Yangge". The "leaning tower" of "Exploring, Twisting, Waves" and "Flower Drum Lamp", the "dragon-shaped ape steps" and "Bagua" in martial arts all run through the beauty of the human body's "twisting, tilting, roundness and curves". Mastering the beauty of body and shape also requires corresponding qualities and abilities.

2. Spirit

This generally refers to the connotation, expression, rhythm and temperament of any art. It can be said that there is no soul. In Chinese literary criticism, charm is an extremely important concept, whether discussing poetry, painting, music, or calligraphy, it is inseparable from the word charm.

In classical dance. In terms of the movement of the human body, the charm can be understood and felt. And it is only by grasping the "spirit" that the "shape" has vitality.

In the concept of heart, the body's charm emphasizes the connotation. The energy, breath and thoughts are emphasized.

In the relationship between form and spirit, the spirit is put in the first place. This is the principle of "leading the form with the spirit and conveying the spirit with the form". This idea and emotion creates the "rhythm" of the body. It can be said that without the rhyme, Chinese classical dance will lose its most important brilliance.

"Heart and mind are combined, mind and Qi are combined, Qi and force are combined, and force and form are combined." The so-called "heart, mind, and Qi" are the embodiment of "spirit". People often say that the eyes are the soul. "Window", the eyes are a tool for conveying emotion", and the "gathering, releasing, condensing, closing and closing" of the eyes does not refer to the movement of the eyeballs themselves.

It is precisely controlled by the connotation and the rhythm of the psychology. The result expressed is that the spirit dominates everything. "When the form has not moved, the spirit takes the lead; when the form stops, the spirit continues." "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.

"Body Rhythm" means to train dancers to use strength not evenly when moving, but with contrast and contrast in weight, urgency, length, pauses, punctuation, segmentation, extension, etc. the difference.

These rhythmic symbols are expressed with 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.

Both opera, ballet, and martial arts routines all attach great importance to the instantaneous rhythm processing before the end of the movement, and Chinese classical dance is no exception. It has the following typical debut dynamics: "inch Jin" - body posture , angles and directions are all ready, use the energy within an inch to "put the finishing touch".

"Contrast 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 limbs 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 "hardness with softness", "toughness with brittleness", "hurry with slowness", etc.

4. Rhythm

"Anti-rhythm" is unique to classical dance and can produce ever-changing, confusing, and ever-changing dynamics of human body movements.

From the perspective of each specific movement, classical dance also has the saying that "everything starts from the opposite side", that is, "when you are in conflict, you must rely on it, when you want to go left, you must go first, when you open, you must close, and when you want to go forward, you must go first." The laws of movement, it is these special laws that produce the special aesthetics of classical dance.

Whether it is the smooth flow of the situation, the opposite and complementary reverse fortune, or "starting from the opposite side", they all reflect the beauty of circle, swimming, change and illusion of Chinese classical dance. This is exactly what it means. The essence of Chinese "dance rhythm".

Baidu Encyclopedia-Classical Dance