Personality protection in folk dance teaching
Personality in certain social conditions and educational influences formed under the influence of a person's more fixed characteristics, and folk dance teaching pays great attention to the cultivation of personality, the following I searched for you to organize the protection of the personality of folk dance teaching, welcome to refer to the readings, I hope it will help you! Please see the following information for details. Want to know more related information please continue to pay attention to our fresh graduates training network!
In the art of dance, personality is a human character trait, which is the artistic personality. It is the basic starting point of a dancer and one of the standards for measuring artistic level. It contains the subject consciousness, the ability to understand, the ability to create, the ability to take the initiative consciously, and so on. Dancers in the dance performance shows the personality of the dancers with their own understanding and feelings, the dance works digested after the style of re-creation, is the actor's personality and the fusion of the characteristics of the work of art, different actors have a different understanding of the work and the way of expression. The folk dance we learned, it originated from the folk, in which there is a strong **** characteristics, but geographically different folk dance in the style of rhythm and customary movements, there are great differences. Fifty-six nationalities, each of which has its own unique style of expression, but the style and personality are different, the same dance performed by different people, which is a great difference, this difference reflects the individual personality characteristics.
From many years of dance teaching practice, many teachers pay great attention to cultivate, love and carry forward the student's personality, the country has a lot of excellent, quite personalized dancers, such as Yang Liping, Shen Peiyi, Yu Xiaoxue, Wang Yabin, etc. But it is a pity that there are also some dancers, such as Yang Liping, Shen Peiyi, Yu Xiaoxue, Wang Yabin, and so on. But it is a great pity that there are also teaching in the personality training is not satisfactory, in the formal teaching process pay more attention to universal teaching, that is, *** teaching, ignoring the individuality of the teaching, especially in the folk dance teaching, the problem is more prominent, some students unique personality is suppressed, talent training by the confinement should not have. I think, in the teaching process of personality protection is a very urgent need to solve a problem, understanding and implementation of the student's personality protection, need to clear up several issues:
First, the personality in the **** sex
In the folk dance teaching, the **** sex must be, this is the basis of teaching, is the guarantee, we can not be discarded. We can't discard it. On the basis of the protection of individuality on the basis of ****, that is, the individuality in the ****, in fact, is required to solve the relationship between universality and specificity. Emphasis on individuality is not how you want to dance how to dance, teaching at will can not be called systematic teaching, folk dance teaching must also be standardized, there is no norms on the standard of teaching, it is impossible to measure the results of teaching.
However, folk dance teaching pays great attention to the cultivation of personality, because ultimately personality represents the creation, represents the achievement of performing arts, the so-called high art people bold, bold people high art, that is to say, excellent performers have the courage to perform according to their own understanding, they have a strong desire to perform, and good at combining rationality and feelings. Shen Peiyi, a famous dance performer, once said that during the eight years she studied at the Dance Academy, she systematically learned Chinese folk dance and classical dance. About the third year of secondary school she was a little different from other students, especially in the study always want to try to surpass others, and she also realized that in the dance movements taught by the teacher, there are often some subtle things that can only be understood but can not be conveyed in words, and it is this kind of subtle things are often the finishing touch to the whole movement, and the mastery of this subtlety has to be digested through the experience, and it can not be done by imitation alone. Therefore, in the learning stage since the development of their own learning methods, just at this time by the teacher sensed, on their own moment of thought to give help and support, to help her analyze and solve the problem, not only to open up the idea, but also enriched their own imagination, and told her to accept all the content in addition to the form of skillful mastery, but also to be quiet down in the mind to repeat the recollection of the content, and in this way, through the teacher's inspiration and their own speculation. The teacher's inspiration and his own speculation, the development of the later gradually formed their own unique understanding of the form and expression of the work.
When we implement *** sexual means, do not bury the student's self-confidence, without self-confidence, there is no individuality, there will be no creation. In the folk dance teaching, students mastered a certain folk dance vocabulary and combination of materials based on how to not detach from the national, folk style based on the aesthetics of individuality to show, so that individuality rises to a natural, the individuality of the **** sex, which is a very high level of performance, the success of the YuXiaoXue illustrates the problem, attached to the middle school for six years to four years of college, he seriously accepted all the contents of the teaching down. At the same time of acceptance, Mr. Xu Shuying and Mr. Pan Zhitao told him: "In the long history of the development of dance, the tradition is to be inherited forever, and on this premise, the development is also eternal, if not inherited and developed, the law of the development of our national dance and the logic of the aesthetics will be more and more lose the characteristics of the nation and lose the individuality. Individuality does not exist, just as a concrete person does not exist, leaving its own soil, it loses its artistic life". Therefore, he accepted the ****ness but did not stop there, and put in his own thinking. His works "The Remains of Spring", his attachment to life, "The Big Drum", his innovation of folk dance, and "A Rice-planting Song Twisting Man", which portrayed a vivid old performer, are full of his understanding of human nature. It can be said that his success is the perfect combination of personality and ****ness, a combination of rationality and sensibility of the way of expression, is a kind of artistic sublimation.
It should be seen, so that students in grasping the emotions, shaping the perspective to achieve the love of dance, unique, this is a very high level, is the ultimate goal of the performing arts, and the purpose of folk dance teaching is to shape the talent, cultivate vitality of the actors, if in the teaching of the links in the combination of the organization, the use of the elements injected into the sense of the times, the folk dance has the pulse of the times, only then, will see the stage on the stage, and only then, will see the stage on the stage. Only then will we see the "streams, rivers, and seas" on the stage.
Two, personality is a display of creativity
"Artistic imagination and creativity is a form of personality, the unique creative personality of the artist, in everyone is not the same, the direct source of creative personality is the artist's experience, cultural background and efforts to the extent of the complex factors formed by the degree of the artist's experience, cultural background and efforts. The direct source of creative personality is the artist's experience, cultural background and efforts, and the degree of complexity of the formation of factors different from the ordinary people's unique feelings and understanding, this unique feelings and understanding of a certain height, it will have aesthetic value of innovation, for the creation of personality paved the way for the performance, which is different from the 'thousands of one-size-fits-all' performance has an intrinsic difference."
Mr. Jia Zuoguang, the famous dance performer, shines with the rhythm of dance everywhere in every performance, full of individuality and beauty. His "Geese Dance" would not have left such a deep impression on the audience without his unique insight into life, the simulation of objective things without giving his own subjective green silk, and without his fire-like enthusiasm and desire for expression that others do not possess. His creation of "Herding Horse Dance", "Ordos Dance", as well as "Ocean Waves", which is full of forward thinking, are all the result of Mr. Jia Zuoguang's unique spirituality with his own, so that his personality can be maximized, which makes him become a leader in the dance world.
Dancers are writing, painting, and chanting poetry with their own bodies, and the different personalities of each person should have created different effects and different characteristics of the work of art. The aesthetic characteristics of the art of dance tell us: "Dancers in the creation and performance of the dance works are both the tools of creation and the performers who perform the dance in accordance with the laws of beauty, so as to enable people to obtain a sense of sense of beauty." A Rice-planting Song Twisting Person", premiered by Yu Xiaoxue, this work from the artistic conception to the design of the dance movement is the choreographer in the long term life, study, research process gradually formed, but the choreographer's conception and design of these ideas and through the human body movements and performances by Yu Xiaoxue, coupled with his personal folk picking, experience, and creation of the final stand out, no matter whether it is the choreographer's original or the actor to create, and finally have the actor in accordance with the laws of beauty to be integrated and processed. Whether it is created by the choreographer or the actor, it is finally expressed by the actor after being integrated and processed according to the laws of beauty. Therefore, for this new dance image, the actor is the creator, and finally, this image, which is conceived by the choreographer first and fused together with the actor's second creation, is actually the result of the actor's artistic creation. Therefore, the dancer is a set of creative tools, creators and creative achievements in one, so that their own personality to get the most out of the play, if this type of choreography and performance of the separation of the situation is not enough to illustrate the significance of individuality, then, Jia Zuoguang will be choreographed and acted in one and other people can not be imitated in the case should be the most typical.
At present, there is a phenomenon worrying, that is, the dance school students on their own lack of confidence in their own lack of awareness of the role of their own initiative, lack of initiative in the creation of art, in the past, the performance of the professional dance on the dance, no dance on the dance, some students also said: "I am moving arms and legs, how the teacher how to teach me how to do it is not good? Guarantee not to go out of shape on it." If you just see yourself as a tool, the disappearance of individuality is a matter of time, that talk about creativity.
The key to solving this problem lies in the cultivation of artistic personality should start from the teaching, and a wealth of knowledge, broad cultural cultivation, solid basic skills, is the basis of creativity, is the catalyst for the formation of artistic personality, which has been caused by the attention of the dance teaching. Why did the Petersburg Ballet School of the former Soviet Union cultivate a large number of world-class dance talents and promote the development of ballet art all over the world? In contrast, their cultural curriculum is superior to our country, can not be regarded as an important factor.
Third, personality needs to be protected
Personality, all people have, in the essential **** sex teaching, can at the same time find, discover, develop the personality of the students, this is the dance teaching must consider the problem, in order to do so, first of all, need to be protected personality.
Folk dance "is a kind of both strong ethnicity, regional dance form, but also a kind of self-indulgence personality strong art." Why does the original folk dance have personality? Because folk dance is self-indulgent in nature, this kind of self-talk with personality flashes, is "crazy before people", the more people can not restrain themselves. Northeast rice-planting songs, if you go to the folk to see, although it is important to step on the point, twisted to the heel, but everyone is twisted differently, it has a different flash point, hot and warm atmosphere of different personalities infected people watching, exudes a `unique charm. Folk dance teaching should be to teach students why to dance, teach students to improvise dance, I think the folk dance teaching to some extent by the ballet program influence is too deep, to the point of being trapped in the hands and feet. Folk dance language should have its own structure, and standardization is a means and should not be an end in itself. In addition to standardizing the unified part of our teaching, can we seize its original characteristics to give reasonable play, so that individuality and *** sex **** exist.
We have inherited the heritage of the older generation, which may be branded with the brand of that era, but this brand also contains the personality of their era. If the element of individuality is neglected in the inheritance, the integration will seem worthless, the same "ghost leg pulling", attached to the middle school, the university are jumping, what is the criterion for differentiation? Rhythm, specifications are the same, but students should be very different in the performance of personality, a relationship that is both connected and different, it is worth considering.
There are many small dance star, in the absence of a dance academy to study before, the body does have their own artistic characteristics, you, such as letting him (her) to perform a section of the performance, will be full of their own performance, fear that you can not find his dance talent, the naivety and simplicity of that, very touching. But when he (she) into the dream of the temple, they learned something new, by the norms, but as time goes by, you let him (her) alone to a section, will find that they do not seem to be able to dance, people not only can not find the shadow of the naivety of the first time, the image of the present and the former small dance star is simply a different person. There are both positive and worrisome parts of this, the teaching materials they learn are all ready-made prepared by their teachers. Students like Shen Peiyi and Yu Xiaoxue are after all a minority. Wouldn't it be great if we could find a way to keep their acting natures alive at the same time as we standardize our teaching?
Admittedly, the university stage seems to be better, after four years of systematic and standardized study in professional colleges and universities, mastered a certain amount of Chinese folk vocabulary and the necessary knowledge of dance theory, and at the same time learned a lot of dance culture outside of the dance, and dance closely related to theoretical knowledge, through the various types of dance masterpieces in China and abroad, and other art masterpieces of the observatory is the students to broaden their horizons, the aesthetic sensibility, the art standard has also been significantly improved! The connotation of the artwork also has a certain understanding of the understanding of the formation of artistic personality is not without benefit, although this is the case, there are some teaching precisely in the means of teaching buried in the spirit of self-creativity, the means as the end, the dogma hinders the creation, tied hands and feet, blocking the development of the vision, is our folk dance teaching the lack of new things, in this case, the protection of individuality has been set aside. And the direct beneficiaries of the students is to appear thin and powerless, so it is not conducive to the development of our teaching, not conducive to the emergence of talent. Therefore, the protection of individuality in folk dance teaching is crucial, how to protect it? I think that from the aspect of a single teaching:
1. Require students to master the style of material on the basis of boldly play their imagination, in accordance with their own understanding of the creation of a specific situation in the dynamic image, such a dynamic image will undoubtedly have their own unique "body rhyme", to some extent, this is to show A skill that can be trained through "improvisation" is recommended.
2. Enhance students' emotional experience of a certain folk dance. Forging the corresponding emotional quality, it is recommended that you can "observe", "picking the wind" practical activities to cultivate this part of the quality, and constantly in the new, high, true artistic level to reflect on their own weaknesses, so that students can be in the continuous realization and understanding of the acquisition of "The first step is to make sure that the students have a good understanding of the subject and that they have a good grasp of the subject.
Teaching is the growth of each other, "teaching" in the protection of the personality of the ultimate goal is to encourage and protect the personality of the students by the teacher to support, and then the good external causes must also play a role through the internal cause, which is irrefutable fact. In the folk dance teaching, teachers should always pay attention to the students' keen observation, creativity training, should do:
1. In the students' physical conditions are prepared and fully aware of the basis, to avoid the shortcomings, exercise suitable for their own "body" language, for example, the smart people in the play of their own flexibility on the work, the tough people always forget to train their hands and hands. The people always forget to train the hands and feet of the thick and steady.
2. Improve their own cultural qualities, personality is ultimately created by a person's independent character, this independent character encompasses the individual's unique feelings and understanding of the world, of life, the richness of feelings, understanding of the profound, undoubtedly, is the personality of the chapter. Like this kind of understanding and feeling, I think that it should be rounded off by improving one's own cultural quality. And dancers should be scholarly, not simple-minded, limb-developed tools. The above are the principles that I implement in my teaching, and perhaps with time the concept of personality preservation will be deeper and fuller.
I feel that the tendency to leave individuality unprotected in the teaching of folk dance will not be conducive to the cultivation of educational and performing talents and the development of folk dance. Therefore, how to find, protect and encourage individuality should be placed on the important position of folk dance teaching, and folk dance teaching on the protection of individuality should not only be carried out in the university teaching, but also in secondary school teaching to find a certain position.
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