Introduction
Classical dance is on the basis of folk traditional dance, through successive generations of professional workers to refine, collate, process, create, and after a longer period of artistic practice of the test, passed down is considered to have a certain exemplary significance and classical style characteristics of the dance. Generally speaking, classical dances have rigorous programs, standardized movements and superior skills. Many countries and nationalities in the world have their own unique styles of classical dance.
The origin of classical dance
The original dance is ballet, after the "processing" of the emergence of modern dance, ballet and modern dance, the only difference is that: ballet to lengthen, upward feeling is given priority to, while the modern dance is just the opposite, it is to exaggerate the earth's attraction, the center of gravity is given priority to downward; and after the "processing" of the transformation. After the "processing" of the transformation of classical dance, the feeling of classical dance and ballet is similar to the feeling of lengthening upward, the only difference is: ballet is a little hard, and classical dance advocate soft.
The artistic characteristics of classical dance
China's Han classical dance, the dance movements handed down, most of which are preserved in the opera dance; some dance gestures and modeling, preserved in China's extremely rich grottoes mural, sculpture, portrait of stone, portrait of bricks, terracotta figurines, as well as a variety of unearthed artifacts of the paintings, decorations, the dance image of the modeling; China's rich literary and historical materials also have a large number of specific descriptions of the past dance image. The rich literary and historical materials in China also have a large number of specific descriptions of dance images in the past. China's dancers have made great achievements in researching, organizing, reproducing and developing Chinese classical dance since the 1950s, establishing a set of teaching materials for Chinese classical dance, creating a large number of dances and dance dramas in the style of Chinese classical dance, and forming the aesthetics of delicate and roundedness, rigidity and softness, scenario blending, combination of skills, and perfect harmony and high degree of unity of essence, vitality, spirit, and hand, eye, body, method and step. The aesthetics of the works are characterized by a high degree of harmonization and unity.
1. Shape
Shape refers to the external movement of the body. It is manifested in the shape of the body, a thousand variations of the action and the connection between the action. All visible forms and processes can be called "shape". Shape is the most basic feature of image art, and it is the attachment of the charm 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 in terms of "form", we must first solve the curvilinear beauty of "twisting, tilting, rounding and curving" and "robustness, uprightness, implicit flexibility" in the body posture. It is concluded that in terms of "form", we must first address the curvilinear beauty of "twisting, tilting, rounding and curving" and the temperament beauty of "robustness, uprightness and subtle flexibility". Chinese dance emphasizes the curvilinear beauty of "twisting, tilting, rounding and curving", the curvilinear beauty of "tilting, bending, turning and rolling" and the inner temperament of "robustness and uprightness, implicit flexibility" 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" have their specific requirements.
2, God
This refers to the connotation, grace, rhythm and 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 precisely by grasping the "spirit" that the "form" has vitality.
In the concept of heart, 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 drive 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, mind and qi" is the 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 mnemonic explains the connection and relationship between form and spirit in a graphic and accurate way.
People have long been mystified by the inherent rhythm of classical Chinese dance. Although the word "circle" has long been recognized, what kind of movement law it is, and what is the trajectory of the body and the arm, this is a long-standing perplexing 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". The simple truth is the result of painstaking search, is the accumulation of a long time, by chance.
3. Strength
"Strength" means the inner rhythm and the layered, contrasting strength of the external movements. For example, the movement of the "point in the line" (i.e., "static in motion") or "point in the line" (i.e., "static in motion"), are all based on the "line in the line" (i.e., "static in motion"), are all based on the "line in the line" (i.e., "static in motion"). ), 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 the contrast and difference between light and heavy, slow and sharp, long and short, staccato, points, syncopations, extensions, etc. These rhythmic symbols are used by the human body movement, which is not the same as the rhythmic symbols. 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.
4, the law
"Law" the word it connotes the movement of 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 the "smooth" is the "right law". 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 a one-two punch, the downward momentum, or the opposite of the reverse momentum, or "start from the opposite side", are embodied in the Chinese classical dance of the round, swim, change, illusion of beauty, which is the Chinese "dance law" of the mystery.