Classical dance body rhyme in addition to Ti Shen what else?

"Body rhyme" is the general term for "body method" and "rhythm". "Body method" belongs to the external technical category, "rhythm" belongs to the connotation of the art of grace, the organic combination of the two and penetration, in order to truly reflect the style of classical Chinese dance and the essence of aesthetics. In other words, "body rhythm" means "both form and spirit, body and mind, internal and external unity", which is the indispensable symbol of Chinese classical dance and the artistic soul of Chinese classical dance. Body rhyme, although the source of the style is obvious, but it can no longer be named "opera dance" name, its metamorphosis from opera to dance has been basically completed. It has gotten rid of the original opera dance on the role of the line of the thousands of variations, but no matter how to change, and is the same thing, this "one" and this "change" is a rare character of art, but also the aesthetics of an art of the essentials.　A mature folk dancer on the stage to show the action has an aesthetic value and artistic charm, because of the embodiment of the "shape, God, strength, law" of the high degree of integration, which is the important means of expression of the classical Chinese dance body rhyme. As the basic movement elements of body rhythm, "form, spirit, strength and rhythm" highly summarize all the connotations of body rhythm. Shape, i.e., external movement, includes posture and the line of movement connected with its action. God, i.e., the spirit, the mind, is the dominant part of the dominant role. Jin, or force, contains the artistic treatment of the relationship between lightness, weight, slowness, strength, weakness, length, rigidity and flexibility. Law, that is, the law of movement itself. The relationship between these four elements of movement is to achieve the unity of form and spirit, inside and outside, through Jin and Ruling. The law is "the heart and the mind, the mind and the qi, the qi and the force, the force and the form". This is a pithy generalization and distillation. These words are highly unified and harmonized with the elemental movements, constituting the aesthetic theory of dance with Chinese characteristics. I. Form Form refers to the external movement of the body. It is manifested in all kinds of postures, ever-changing movements and connections between movements. All visible forms and processes can be called "form". Shape is the most basic feature of image art, the attachment of classical dance, and the medium to convey the beauty of classical dance.　As we all know, through the analysis of the aesthetic characteristics of traditional art and various typical dance postures, we have come to the conclusion that we must firstly solve the curvilinear beauty of "twisting, tilting, rounding and curving" and the temperament beauty of "robust and upright, implicit and flexible" in "form". "Chinese dance emphasizes the beauty of the human form. Chinese dance emphasizes the curvature beauty of "twisting, tilting, rounding and curving", the curve beauty of "tilting, bending, turning and rolling" and the inner temperament of "robust and upright, implicit and supple" in the form of human body. From the unearthed tomb figurines and Dunhuang murals, it is not difficult to see that this is from ancient times to the present day a lineage and continuous development and evolution. Such as the Qin and Han dance figurines of the "collapse of the waist and hips", the Tang Dynasty "three bays", opera dance "Meridian phase", "yin and yang face ", "twisting twist" of Chinese folk dance "Jiaozhou Yangge", "rolling, twisting, turning, toughness" of "Ocean Yangge", "stopping, twisting, turning, toughness" of "Sea Yangge "stopping, probing, twisting, waves" of "Ocean Yangge" and "Leaning Tower" of "Flower Drum Lantern", "Dragon Ape Steps" and "Bagua" of martial arts. ", "Bagua" and so on, all through the human body, "twisting, tilting, round, curved" beauty. Mastery of the body and the shape of the curve of the beauty also need to have the corresponding quality of ability. Therefore, it is also a technique, the human body's "twisted, tilted, round, curved" is the overall image. From a local point of view, "head, neck, chest, waist, hips", "shoulders, elbows, wrists, arms, palms", "knees, ankles, feet, feet," all have their specific requirements. Second, God This refers to the connotation, grace, rhythm, temperament. If there is no charm in any art, it can be said that there is no soul. In Chinese literature and art criticism, charisma is an exceptionally important concept. Whether talking about poetry, painting, music or calligraphy, the word "charisma" is indispensable. In the movement of the human body in classical dance, Shen Yun can be recognized and felt. And it is by grasping the "Shen" that the "form" has vitality.　In the concept of the heart, the body rhythm emphasizes the inner qi, breath and intention. Emphasis is placed on divinity and inner emotion. In the relationship between form and God, put God in the first place, "to God to lead the form, to the form of God," it is this idea of emotion to create the body rhyme "rhyme". It can be said that without rhyme, there is no classical Chinese dance. Without the excitement and motivation of inner emotion, the most important luster of classical Chinese dance is lost.　"The heart is in harmony with the mind, the mind is in harmony with the qi, the qi is in harmony with the force, and the force is in harmony with the form". The so-called "heart, intention and qi" are the very materialization of "charm". It is often said that the eyes are the windows of the soul", the eyes are the tools to convey the spirit", and the eyes "gather, put, condense, close, close" does not mean the movement of the eyeballs themselves, but precisely by the connotation of the domination and the psychological rhythm of the expression of the results, which is precisely that the charm is dominates everything. "Before the form moves, God leads first; when the form has stopped, God does not stop." This motto graphically and accurately explains the connection and relationship between form and spirit.　 People have long been mystified by the inner rhythm of Chinese classical dance. Although the word "circle" has long been recognized by people, what kind of movement law it is, and what is the trajectory of the body and the arms are, this is a long time puzzling problem for people engaged in classical dance. The creators of Body Rhythm put forward the theory of "three-circle movement". They believed that the body movement process of Chinese classical dance is along three circles in the movement. These are the vertical circle, the horizontal circle, and the figure of eight circle. It is surprising that this long-standing problem has been so easily deciphered. And again, so accurately and concisely. It immediately brings to mind Laban's theory of the motion of spheres. They have very similar ideas, and each explains its own laws. It turns out that the truth is very simple. Science has gone through the process of "from shallow to deep" to "deep and shallow". Simple truth is the result of painstaking search, is the accumulation of a long time, by chance. Third, the strength of the "strength" that is given to the external action of the internal rhythm and hierarchical, contrasting strength processing. For example, the movement of "points in the line" (i.e., "static in motion") or "points in the line" (i.e., "static in motion"), all rely on the "line in the line" (i.e., "static in motion"), which is the result of the hard work of searching. ), all rely on the proper use of "strength" to be able to show. The rhythm of classical Chinese dance is often not the same as the rhythm of regular 2/4, 3/4 and 4/4 music. It is more often in the soothing but not slow, tight but not chaotic, movement in the quiet, quiet in the movement of the free and regular "elastic" rhythm. The "body rhythm" means to cultivate dancers in the movement, the use of strength is not average, but has a light and heavy, slow and sharp, long and short, staccato, symbols, cuts, extensions and other contrasts and differences. These rhythmic symbols are expressed by human movement, which is the true mastery and understanding of the use of "Jin". "Jin" is not only used throughout the process of movement, but also at the end of the movement is very important. Regardless of the opera, ballet, martial arts routines are very important to the action before the end of the instant rhythm processing, Chinese classical dance is no exception, it has the following types of typical debut of the strength: "inch strength" a body posture, angle, orientation are ready to use an inch between the strength of the "finishing touch! The "Inch Strength". "Counterpoint" - giving a strong reaction force to the body modeling that is about to end, so as to strengthen and accentuate the final modeling. "Shen Jin" - everything has been completed, but with the eyes and limbs for the sense of extension, so that "the shape has stopped but the God is more than". In addition, there are also "just in the soft", "tough in the brittle", "urgent in the slow" and other differences in strength. Fourth, the law "law" the word it connotes the movement in its own rhythmic and movement in accordance with the laws of the two meanings. Generally speaking, the movement must be "smooth", and this "smooth" is the "right law" in the law, and the movement through "smooth" seems to have a smooth flow. The action through the "Shun" seems to have a sense of flow, a sense of completion. The "anti-rhythm" is also a very important factor in the rhythm of classical dance, such as the "double shaking hands", when the arm shakes to the left, the body should be pulled to the right, in order to show that the action of the roundness and flavor. "Not smooth is smooth" of the "antilaw", can produce strange peaks stacked up, unexpected effects. The direction of an action and momentum is clearly to the left, a sudden sharp turn to the right, or from forward to backward and so on. This kind of "anti-rhythm" is unique to classical dance, which can produce the dynamic sense of the human body's ever-changing, confusing, and instantaneous movements. From the point of view of each specific action, classical dance also has "everything from the opposite side", that is, "when the punch must rely on, want to the left successively, when the opening must be closed, want to the front successively," the law of movement, and it is these special laws that produce the special aesthetic of classical dance. Whether it is the smoothness of a single breath, the smoothness of a boat, or the reverse of the opposite, or "starting from the opposite side", all of them embody the beauty of the roundness, travel, change and illusion of Chinese classical dance, which is precisely the essence of the Chinese "Dance Rhythm". Features of Body Rhythm Features of Body Rhythm Courses The emergence of Body Rhythm as an important teaching achievement of Classical Chinese Dance has made the training of Classical Chinese Dance move towards the standardization of its own form and dance type. It is not only a complete training system, but also a system of the aesthetic characteristics of classical Chinese dance that unifies training, creation and performance. As far as the current teaching is concerned, it should be said that the understanding of the role and value of classical dance charisma is still in a fuzzy state in terms of conception, and we have not been able to put it in its right position in teaching, let alone infiltrating "body charisma" into the "bone marrow" of the basic training class in every process and every detail of teaching. The teaching of "body rhythm" has not been infiltrated into the "bone marrow" of the basic training course in every process and every detail of teaching, and it is really treated correctly as the "nucleus" of classical dance. Overview of the development of this section Classical Chinese dance, the name of this dance was first proposed by Mr. Ouyang Yuqian in 1950, and then it was recognized by the people in the dance industry and widely circulated, and finally determined. Contemporary Classical Chinese Dance has a blood relationship with ancient Chinese dance, but it is not synonymous with ancient Chinese dance. Contemporary Classical Chinese Dance was founded after the founding of New China by Tang Mancheng, Li Zhengyi and other dancers of Beijing Dance Academy, on the basis of Chinese Opera Dance and Chinese Martial Arts, and in combination with foreign ballet, it was gradually summarized and generalized. The concept of Classical Chinese Dance has its own history, and moreover, it has a stylistic meaning, and it is also a developing concept.　Chinese classical dance has an extremely long history. Its origin can be traced back to the ancient Chinese court dances or the folk dances of more distant times. Starting from the Zhou Dynasty, the court set up specialized music and dance institutions in the Han Dynasty, the Two Jin Dynasties and even the Five Dynasties of the Tang Dynasty to centralize and cultivate professional music and dance personnel, and organized, researched, processed and developed popular folk dances for self-entertainment and religious dances as well as dances of foreign countries to form the court dances. Among them, such as the Zhou Dynasty's "six generations of dance" (including the "Cloud Gate", "salty pool", "Da Shao", "Daxia", "Da Spinach", "Dawu" six music and dance), the Tang Dynasty's "Nine Department of Music", "Ten Department of Music", "sitting in the Department of the伎"，"Le Department of the伎"，"The Great Song" and so on, a variety of different colors, and each leading the way. Chinese court dance, is the successive rulers to enjoy pleasure, singing the praises of an important tool, mainly female music. Because of the court dance to the ruler's aesthetic interests and creation, part of its works inevitably exist in the style of the Chi Chi, the content of the negative; but most of them are still mostly by artists in the Chinese folk dance based on the creation of out, so there is no lack of Chinese traditional art of the exquisite place. After the Song and Yuan Dynasties, due to frequent wars and cultural destruction, the development of dance was also affected, and many famous dances of the Han and Tang Dynasties were lost. In the Song Dynasty dance formed on the basis of traditional dance, the formation and development of opera gradually replaced the art of song and dance. In the Yuan Dynasty, the combination of court music and dance with folk songs and dances, and even "white opera", "burlesque", and "corner theater" gradually formed the art form of opera. The art of opera requires a combination of singing, reciting, acting and playing, and has various factors such as dance, music, fine arts, acrobatics, literature and speech, etc. It is a comprehensive art form. Dance in opera contains the essence of traditional Chinese dance, which absorbs certain life movements according to the needs of the characters' plots and transforms them to strengthen and enrich the expressive power of dance. After the Yuan, Ming and Qing dynasties, social conflicts were relatively complicated, and the complex social life provided a lot of materials for the further development of dance.　 After the founding of New China, in the early fifties, in order to develop and innovate the art of national dance, dancers extracted dance materials from the rich Chinese opera performances, drew on the Chinese martial arts to research, organize and refine, and referred to the ballet training methods and so on, to establish a set of teaching materials for Chinese classical dance. At the same time, it choreographed and performed a series of dance dramas and dances in the style of Chinese classical dance, such as "The Po Lin Lantern", "The Little Dagger Club" and "Moonlit Night of Spring River". Along with the open policy in the 1980s, Chinese classical dance has been undergoing constant changes, and has begun to expand into new spaces from appearance to content. On the one hand, the dancers broke through the scope limited to the study of opera dance, and got involved in the ancient cave murals and various excavated artifacts in the dance image of the data, so as to collate and create a lot of unique classical dance and classical dance drama, such as the "Silk Road Flowers and Rain", "Chimes and Dance", "Imitation of Tang Music and Dance", "Copper Sparrow Kabuki", etc., and these vintage music and dance highlights the gracefulness and generosity, precision and rigor, These vintage music and dances are characterized by elegance, precision, rigor, and clarity of style. On the other hand, it is the innovation, creation and practice of the theory of classical Chinese dance body rhyme by dance educators Tang Mancheng and Li Zhengyi. Prof. Tang Mancheng said, "'Body Rhythm' starts from getting rid of the lines and routines of opera, and explores the aesthetic laws of 'form, spirit, strength, rhythm, qi, and meaning' from the great cultural traditions of China, including calligraphy and martial arts, and refines its elements to summarize the movement characteristics of classical dance. elements, and summarize the routes, laws, and connotations of masculinity, femininity, and rhythm of classical dance movement, so that it no longer bears the traces of dramatization, similitude, and lineage, and moves towards the abstract function of the subjective consciousness of the dance and the symbolization of movement." They refined and summarized the movement rules in previous classical dances into a number of basic movements centered on the waist and performing circular movements, greatly expanding the movement space of Chinese classical dance. As a result, they practiced and produced a large number of excellent dance works represented by "The Yellow River", "The Water of the River", "Mulan Returns", "Liang Zhu" and so on. In "The Yellow River", Chinese classical dance, which was born out of opera dance, breaks through the limitations of opera routines, and is no longer a replica of opera lines. Instead, it renovates classical dance into a human language that can freely express thoughts and passions by means of large-scale body movements, "thus making Chinese classical dance find not only the spirit of the Chinese tradition of Wendai from the appearance but also from the inner charisma". Thus the Chinese classical dance finds not only the appearance but also the inner charm to be consistent with the spirit of traditional Chinese literature, thus making the Chinese classical dance form the aesthetic characteristics of delicate and mellow, rigidity and flexibility, scenario blending, skill combination, as well as the perfect combination and high degree of unity of the essence, qi, and spirit, and hand, eye, body, method, and footwork." The success of "Yellow River" marks the development of Chinese classical dance to a new level.