Basic movements are:
Shape.
Chinese dance emphasizes the beauty of curves of "twisting, tilting, rounding, curving, tilting, bending, flipping, curling" and the beauty of temperament of "robust and upright, subtle and flexible" in the form of human body. From the unearthed tomb figurines and Dunhuang murals, it is not difficult to see that this is a lineage from ancient times to the present and the continuous development and evolution.
Such as the Qin and Han dance figurines of the "collapsed waist and hips", "sleeve folding", the Tang Dynasty's "three curves", the opera dance "Ziwu phase", "yin and yang", and the "three curves", the "three curves", "yin and yang". ", "yin and yang" and "twisting twist" in opera dance, and "rolling, twisting, turning and toughness" in Chinese folk dance, all of which are characterized by the body's The beauty of "twisting, tilting, rounding and curving" runs through all the Chinese folk dances, including the "twisting, twisting, turning and toughness" of the human body.
God.
In the basic movement elements of Chinese dance body rhyme, Shen Yun is an exceptionally important concept. Shen refers to connotation, grace, rhythm and temperament. Any art can be said to be soulless if it has no charm. In the movement of the human body in classical dance, the charm can be recognized and felt. And it is precisely by grasping the "God" that the "form" has vitality and the true meaning of the dance can be savored.
The "heart, mind, and energy" is the materialization of "divinity". In the concept of the heart, the inner qi, breath and intention are emphasized. 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.
It is often said that "the eyes are the windows of the soul, the eyes are the tools of the spirit", and the eyes of the "gathering, release, condensation, closing, closing" does not mean that the eyeballs of their own 'movement, but precisely by the connotation of the domination of the psychological rhythms of the results, which is precisely that the charm is the domination of all things, the rhythm is the result. This is precisely to show that the divine rhythm is the domination of everything. "Before the form moves, God leads first; when the form has stopped, God does not stop." This mnemonic expresses the interrelationship and inner connection between form and spirit in a graphic and accurate way.
Strength.
"Strength" means the inner rhythm and the layered, contrasting strength of the external movements. The running rhythm of classical Chinese dance is not quite the same as the rhythm of regular 2/4, 3/4, and 4/4 style music. It is 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.
Law.
"Law" the word it connotes the movement of its own rhythm and movement in accordance with the law 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. "It seems to have a sense of flowing water, a sense of completion. The "anti-law" of "not smooth" is also unique to classical dance, which can produce a dynamic sense of human movement that is ever-changing, confusing, and instantaneous.
The laws of movement of "to be in charge, to be in order, to be in order, to be open, to be in order, to be in order" are the very special laws that produce the special aesthetic of classical dance. Whether it is a one-two punch, the downward trend of pushing the boat with the water, or the reverse trend of the opposite, or "starting from the opposite side", all of them embody the beauty of the Chinese classical dance's roundness, travel, change and illusion, which is precisely the essence of the Chinese "dance law".