1. Rhythmicity
Penetrating the tangible shell of dance, drilling into it, going in and out, there may be a long, deep, deep staircase, and when you feel that you are approaching the very bottom, you must have already been reduced to nothing. You are also nothing, the long step is also nothing, and only its nothing, seems to be more omnipresent. When you can't find the bottom of the longest step and you can't find yourself at the same time, you both become omnipresent, but you can never explain, can't explain, don't exist to explain, don't explain, the kind of tremor that only originates from and is with the spirituality of human life. It is weak, it is strong, it is soft, it is rigid, it is relaxed, it is open, it is astringent, it is fluid. It is the rhythm.
Rhythm is the soul of dance. From the inside looking out, especially can visualize this true meaning.
Rhythm gives rhythmic order to the primitive restlessness of life, turning it into a mood that can be presented with insight.
Rhythm, at its core, is the pattern of force. The style of rhythmic power is rich in variations, which can directly and significantly show the temperament, sentiment, and rhythm of the dancers.
The mountain people have been trekking for many years, and the elasticity of the rhythmic movement of a stomp and a tremor often constitutes the basic rhythmic movement of their dance. However, the same tremor, the dance on top of the mountain will have a more bold mountain roughness; the dance of the river valley area is showing the flexibility of the water of the elegant; more primitive, sparsely populated tribal dances, often in addition to the bouncing of the knees, highlighting the hips, hips, the active swaying and rolling, with a hint of simple sexual incitement suggesting the potential for the worship of procreation; the more culturally developed state of propriety, the hips, hips, and even the waist, The dynamics of the hips, hips and even the waist and abdomen tend to be more introverted, and are more guided by the conscious will to develop in the direction of the rhythm of beauty.
Habitually head-bearing heavy national, dance rhythm must be some kind of body buffer to maintain the head of the stable balance, such as Sri Lanka and the South Pacific region of some of the dances, crotch have a seemingly due to the upper part of the pressure to be squeezed out of the feeling of walking back and forth alternating between the left and right rhythm, so that it joins the light structure of the mood, constituting the dance of the graceful and elegant style, like a free waves, like the waves of the sea, like the waves of the sea, like the waves of the sea, like the waves of the sea, like the waves of the sea, like the waves of the sea, like the waves of the sea, like the waves of the sea, like the waves of the sea. It is a graceful and graceful dance, just like the free waves of the sea, just like the palms swaying in the breeze.
The wonders of rhythm, in the theater dance, was consciously used by the dancers, and even to extend the development, from the individual dancers until the whole stage of the flow of spatial and temporal imagery. For each piece, the dancers try to find a basic rhythm, which can be used as a motivation to develop, intensify, and derive a section or even a whole dance.
An isolated gesture, no matter how beautiful and meaningful each of them may be in itself, piled on top of each other, no matter how many are assembled, is still not a dance. Only when the style of force responds to the ebb and flow of life's moods, and logically unfolds the living contrasts that feed into these gestures and make them mutually born and organically connected, then they become the image of dance. In some dances, you can't even catch a definite shape, and it's hard to separate the gestures into units.
Rhythm for the soul of the dance, of course, is not to say that other elements such as modeling is irrelevant, dispensable. Rhythmic movement, always under a certain modeling form of rhythm, any rhythm, must be in the modeling gesture. Dance rhythm, no matter when, of course, is someone's tangible body has a form of movement.
Dance can be attributed to the art of modeling as it moves in modeling, and modeling in moving. But its modeling has its own characteristics.
People often say that dance is the sculpture of activity. As a metaphor, there is no need to pick on it. Talking with a dancer one day, he said he would rather the phrase be changed to, "Dance is living sculpture." Live, active, a word difference, flavor is indeed very some gap it! Obviously, as the previous chatter about the rhythm, the dance of the movement, non-generic activities, is the life of the living expressive movement.
When the sculptor in the marble, bronze and other materials, texture, sense of quantity, in the shape of the block volume form, in the rhythm of the texture, in the instantaneous image of the capture on the vomit of blood, dancers are devoted to the dance posture modeling with the inner rhythm of the dependence of the life, so that the space of the thousands of variations of the integration of the rhythm in the time of the force of the type of contrast.
In theater dance for the eyes, the significance of the dance modeling is undoubtedly greatly enhanced. Like the ink of calligraphy, like a shooting star across the sky, the movement of the power of the inner life mood is seen by our physical eyes, and thus is perceived by our mind's eye! What the audience expects, within the framework of stage time and space, is to see a fully unfolded dynamic image. The richness of the modeling is bound to strengthen and enrich the rhythmic gene.
A fluttering rhythm can be pushed from the upright rotation to the oblique rotation like swallow flying, low back squatting turn, upward air turn, fast bouncing turn, stretching legs tumbling until the running around the circle, the ground roll ......
With the rhythm of the extension into the overall stage imagery of the dynamics of corresponding to the significance of modeling is also The meaning of modeling is also reflected in the overall composition of the stage. Flow on stage is, of course, always flow within a certain picture.
An important work on the Chinese stage in the 80's, "Creek - River - Sea", drew on the technique of "Little Birch" to depict the journey of a trickle of tiny drops into a long stream, until it converges into a huge wave and plunges into the sea. The moral may be plain, but the visualization is delightful. In fact, the core movement of the actors is only the steps of classical Chinese dance (commonly known as running in a circle), and the scenery is all in the overall flow and overall composition.
Modeling, composition, is the blood and flesh of the soul of the rhythm, which is no longer necessary to say. Modeling, composition, live in the overall movement of the dance, but also with its relatively independent ideological role to the dance performance with an indispensable contribution.
Different personalities deserve different rhythmic forms; on the other hand, the same rhythmic form, such as the smooth and tough turn of the Rumba, will give the audience a very different visual impression if it is done by an old man and a child, by a dignified gentleman or by a man who sells milk in a cart.
Full of human meaning of the human body, its modeling gesture difference can not not cause the different meaning of the comprehension. The body stretches forward, always give people a sense of confidence and boldness; body tight backward, always give people a painful and atrophied mood. Though these forms may be supported by different rhythms or agitated by the same ones.
For example, a dance style, after the formation, must be corresponding norms. Ballet is about stretching lines, the posture must be outwardly open, the feet must always be straight, the shape of the cowering inwardly buttoned, here is seen as ugly. And it so happens that in this confrontation with the normative habits, there is often an opportunity to create a new character meaning. Open, taut, straight is already the norm, shaping the abnormal character, such as clowns, fools, freaks, goblins, or to create the realm of the bizarre, the expression of distorted emotions, buckle, shrink, curved, just became the most appropriate form.
For example, in the Chinese folk dance, the dance modeling, composition into words, symbols, to send the desire to avoid evil; or set out the flowers, birds, fish, insects and auspicious scenery, to express the simple interest of folk life. On the stage, although the practice of simple illustration is to be avoided, but the right pattern of symbols will often achieve the effect of a finishing touch.
Dance is rhythm, modeling and composition **** with the condensation. Rhythm, modeling, composition in the interdependent organic integration of their own contribution to their own expressive power, which constitutes the fullness of the dance rhyme.
2. Dynamism
One of the most basic characteristics of dance art is dynamism. The so-called dynamics, refers to the dance to the human body's torso and limbs as the main tool, and through a variety of movements and gestures and modeling to image to reflect the objective things and the spiritual world of the characters, shaping the image of the dance. This kind of human body's rhythmic and embellished movement is not a general action pile and list, but as a kind of figurative dance language presented in front of people's eyes. The image thinking and artistic conception of the dance creators are mainly fully realized through these dynamic languages, and create distinctive and vivid dance images. Therefore, some people also call it the art of movement.
The dynamism of dance art is reflected in the full use and exploration of the beauty of the human body, maximizing the performance of the human body. The beauty of the human body dynamics is the basic elements of the art of dance. The creation of beautiful dance is strictly based on the dynamism of this artistic characteristic, the human body flow of the beauty of the form as the language, shaping the dance image, the performance of the broad social life. Its performance characteristics and artistic charm are irreplaceable by any art form. Numerous creative practices have proved that the art of dance can not only express abstract inner thoughts and feelings, but also melts the philosophy of life into the beautified continuous rhythmic movements. It can fully display the beauty of human feelings and human nature hidden in the depths of the human heart through the beautiful form of the human body, and materialize the abstract feelings into images. Any dance or dance drama, are inseparable from the beautification of rhythmic human movement, and these carefully choreographed movements are aesthetic ideals of the specific reflection, it is not only in the senses to give people the pleasure of beauty, but also in the spirit of giving people the enjoyment of beauty.
The dynamic nature of dance means that all dance movements should be filled with some kind of full and attractive sentiments, and possess some kind of aesthetic ideals produced by a specific aesthetic consciousness, which become the distinctive symbols of the externalization of inner emotions. The emotional information expressed by this special symbol of externalization has two forms of expression and function: one is the appearance of the form of action; the second is the abstraction of the form of action.
The representational movement mainly expresses the form of things in social life and the concrete external movement. For example, the tea picking movement in the "tea picking dance"; the laundry movement in the "laundry song"; the picking movement in the "fresh lotus root"; the harvest movement in the "harvest song"; and the horseback riding movement in the Mongolian dance ....... Although these movements belonging to external danceability come directly from real life, they are not simply simulated and reproduced, but refined and embellished. This kind of artistic processing of the dance language, not only to show the life of certain action characteristics, but also to express a specific inner feelings. For example, in the dance "Jinshan War Drums", Liang Hongyu beats the drum and is wounded by an arrow; in "Goodbye, Mom", the warrior and his mother make a military salute before saying goodbye and rushes to the enemy; in "Water", the Dai girl shampoos her hair and washes her feet; these are all specific life appearances, but through the dynamics of these external manifestations of the patriotism of the ancient heroine, the warrior's heroism of the motherland and the love of the Dai girl for the good life. love of a good life.
Abstract form movement is induced by the rich and varied emotions of inner excitement, and fully exploits the inner danceability through the beautiful form of human body. It does not express the concrete life scenes and objects, but gives people the idea, association, so that people's emotions condensed, precipitation and sublimation. It is like the inner monologue in a drama or an aria in an opera. Through a large section of well-designed dance movements, focusing on expressing a specific strong emotion. For example, the large dance in the dance "Moonlit Night of Spring River Flowers" does not show specific appearances, but through the dance language, it y reveals the pure, skillful, kind and implicit inner world and character of the ancient maidens in China. In the dance drama "Silk Road Flowers and Rain", the duo dance of Yingniang and Shenpen Zhang in Mogao Cave is to show the love of father and daughter's attachment with abstract form and action. The solo and duo dances in ballet also have this characteristic.
Awareness and mastery of dance and dynamics, is conducive to expanding the field of expression of dance art, with the flow of the human body form process to maximize the development of the artistic beauty of the movement, with a limited number of movements to reflect the incomparable richness of the reality of life and deep feelings.
3. Strong lyricism
Dance is the most concentrated human feelings, the most exciting form of expression. Human body movements can express the most excited state of mind, expressing rich inner feelings. The poet Wen Yiduo said, "Dance is the most direct, poignant, pure and ample expression of the mood of life." We know from ancient artifacts and historical data that the state and form of dance of primitive people were mainly to express their inner passions and manifest the infinite vitality of life. This characteristic of dance fully reflects its strong lyricism.
Some poets and artists, according to the strong lyricism of the dance, called it dynamic image poetry, which is very insightful, because the art of dance to reflect the objective life, and not simply simulation and reproduction of life. It is generally said that it is different from theater and other performing arts, which can be meticulous process, plot, and performance of more complex content. It is with its unique means of expression, with a highly condensed, generalized poem-like dance language to y reflect the rich inner world of man. Dance image is the sublimation and embodiment of life sentiment and spiritual spark. Strong lyricism makes the art of dance have a fascinating charm and strong sense of beauty. The splendor and dignity of Peacock Dance; the beauty and purity of Water; the elegance and purity of Dunhuang Sculpture; the passion and depth of Farewell, Mother; and the poetry of Silk Road Flowers and Rain, Swan Lake, and Romeo and Juliet are just like a short and long lyrical poem, but they are more concrete and figurative than poems. They take people's inner emotions and abstract concepts and concretize them through dynamics. It is generally said that the art of dance is not suitable to show the process of events and illustrative language, it is to narrate through lyricism; and the narration is also for the sake of lyricism. Therefore the subjects, plots and details that serve as dances and choreographies are usually poetic and based on a strong lyricism. The dance images portrayed by dance artists are the high concentration and sublimation of the feelings of typical characters in life, and they are the revelation of the truth, goodness and beauty of the human heart in the language of dynamic poetry. For example, the image of the warrior in "Goodbye, Mom" triggers people's understanding and pursuit of noble sentiments; the image of the dance in the dance drama "Swan Lake" makes people realize the pure goodness and beauty in the poetic mood. This basic characteristic of strong lyricism in dance has opened up a far-reaching frontier for the art of dance.
When people talk about lyricism, they tend to understand it as a soft, slow, lingering emotional attribute. In terms of the formality of dance, it is also believed that only a slow rhythm and soft movements can be considered lyrical. In fact, the meaning of the word lyricism is wide. The Lotus Dance, Peacock Dance, Water, Death of a Swan and other dances are lyrical; but the rugged and robust Ansai Waist Drums, Spirit of the Yellow River, The March of the Sword, Farewell, Mother and other dances are also lyrical in their inner feelings. Therefore, lyricism is a broad generalization for the art of dance, which is famous for its lyricism. If the art of dance leaves the lyricism of strong inner feelings, it will lead to the external simulation of life. Numerous experiences have proved that: without strong lyricism of dance and dance theater works are bound to lack of poetry and picturesque, and are bound to weaken the expressive ability of the art of dance.
Strong lyricism plays a decisive role in the success or failure of dance works.
4. Virtual and symbolic
Another difference between dance and other performing arts is virtual and symbolic.
From the opera, which embraces the classical dance of Han Chinese, its dance movements such as riding a horse, rowing a boat, sitting in a sedan chair, embroidering, raising a whip and so on, are virtual and symbolic. As a matter of fact, the horses, boats, sedan chairs, needles and so on in the dance are all virtual, only a horse whip, a boat oar and so on are used for symbolic gestures, but such hypothetical dance movements are recognized and accepted by the audience. In the performance of the environment, neither the model of the mountain, nor the river set, but the hands gesture to climb, to the high leg gesture to climb the mountain, but make people believe that this is in the mountain; the audience is convinced that a series of big jumps, spinning and tumbling action is in the performance of the battle, convinced that this is the battlefield is full of smoke.
The dance "Harvest Song" symbolizes the tumbling of rice waves with the dance of yellow yarn and silk; Liang Hongyu of "Jinshan War Drums" leaps up to the drums and spins around them, and in the midst of a fierce battle, she tumbles continuously on the drums. This is incredible in actual combat. But people did not doubt this virtual, symbolic feature, not to mention that no one would consider it a loss of the identity and temperament of a famous historical general. On the contrary, people were thrilled by these dance movements and heeded the intensity of the battle and the heroine's valor. The dance "Silent Song" uses a red flower on Zhang Zhixin's lapel to symbolize that her throat has been cut, which people not only understand, but also have many associations. The peacock in life has not been shown wringing and soothing limb by limb, but in the dance "The Spirit of the Sparrow," this feature is used to symbolize and embody a purified mind and noble and innocent sentiments.
In the modern dance "Listen to Your Mother Tell a Story," performed by Ms. Jiang Jing in China, neither the mother appeared in the dance nor any other actor. But from the movements, one feels that the mother is narrating a moving story for her daughter; through some ground sitting, lying and other physical postures, the daughter's psychological activities touched by the story are vividly expressed. In recent years, China's dance artists, guided by new concepts and making full use of the laws and characteristics of dance ontology, have created some dances that express grand philosophical ideological themes, such as Rope Wave, Hope, Destiny, Ode to the Yellow River, etc., which all give play to the virtual and symbolic features of dance and have achieved great success. Various graphic changes of the rope are used to symbolize the nourishment, development and rupture of love between a man and a woman. In the flowing lines, dancing and modeling of the human body we see the virtual Yellow River and associate it with the disaster experience of the Chinese people and their rise and take-off today.
The virtual and symbolic nature of dance art is based on life, and according to the unique strengths of dance to reflect the essence of life in a figurative and generalized way. It opens up an extremely broad way of expression for the art of dance. Through the virtual and symbolic dance images, people can create associations, and obtain spiritual sensation and purification from the artistic enjoyment of beauty. Therefore, virtual, symbolic is also one of the important characteristics of dance art.
5. Modeling
Dance movement is not a simulation of the natural form of life, but the basic unit of dance language which is refined, processed and beautified according to the law of dance art. The dance combination composed of dance movements - dance language in front of people's eyes in an instant, if the audience can not leave an impression, it is impossible to play the charm and function of the art of dance. The stylization of dance is to make the dance movements give people a clear sense of beauty in the process of continuous flow, and to present the inner meaning and flavor of the dance in a moment of pause and stillness.
Modeling is characterized by movement in silence, silence in movement, movement in order, and both are beautiful. It can fully display the beauty of human body lines and movements, and focus on reflecting the inner look. A strong emotional color and character traits can be revealed in the shape of the dance. A soft and clear dance posture gives people a sense of elegance and quietness; a rough and robust movement gives people a strong and heroic impression. This is like the speech of the rhythm and tone of voice, the weight of the tone, the purpose is to better enable the other party to hear each word and each sentence, so that the speaker's true meaning can be correctly conveyed.
Where excellent dance works, every movement, every dance combination, as well as between movement and action, combination and combination, are very clean and clear, with ups and downs, with movement and static. If the dance movement lacks modeling, it will inevitably form a series of fuzzy, not easy to see the dynamics, which destroys the sense of beauty, not to mention the lyricism and rhythm. China's classical and folk dance attaches great importance to modeling. Whether it is dancing long silk, handkerchiefs, fans, or the expression of abstract ideas and emotions, are in the continuous flow of action reflects the characteristics of modeling, in a moment of pause when the stillness of the artistic expression of modeling. Foreign ballet also attaches equal importance to and embodies the modeling of dance. Whether it is a combination of slow, fast movements, or big jumps, rotations, all modelling is clear, in the flow and still present a rich emotional color.
The modeling of dance can better express its inner rhythm and rhyme, and enhance the beauty of dance movement.
Summary, dynamic, rhythmic, strong lyricism, virtual, symbolic and stylized and other basic characteristics of the dance art constitutes a unique means and methods of expression different from other arts, so as to play its unique artistic function.
The means of expression of dance art
Dance uses the human body's torso and limbs as a tool, and through the coordinated activities of the head, eyes, neck, hands, wrists, elbows, arms, shoulders, body, hips, knees, feet, and other parts of the body, it constitutes rhythmic dance movements, gestures, and modeling, which directly expresses people's inner activities and reflects the social life. The performing art of dance, on the other hand, uses dance movements, dance movement combinations, modeling, gestures, facial expressions, compositions, mime and other means of expression to shape a typical dance image, express the thoughts and feelings of the characters, and reflect the beauty of the complete content and the beauty of the form.
1. Dance movement
Dance movement includes the dance posture of the upper body and the dance steps of the lower body, which is the most basic unit for creating any dance.
Dance movement comes from the practice of life, the earliest primitive dance movement, most of which simulates the external form of life, through the imitation of birds and beasts and the reproduction of farming and hunting movements, expresses people's various inner passions. Folk dance and classical dance have a long history, and many of the dance movements come from life, such as butterfly, fishing, pushing carts, shooting geese, double flying swallows and other movements, but the difference is only after artistic processing, exaggeration, deformation and beautification. This is also common in excellent dance works, such as "picking grapes" in the tasting; "chasing fish" in the fish swimming; dance drama "Silk Road Flowers and Rain" in the embroidery dance; "Swan Lake" in the swan wings and so on. Although these movements have been embellished and deformed, they still reveal their life forms, so they are also called figurative dance movements.
In the dance movement, there are many movements only express the inner emotions of people, it does not have specific actual content and life basis, but a simple emotional expression, such as the expression of the joy of the rapid rotation and red silk flying; a variety of big jump techniques and combinations; "Swan Lake" in the second act of the duo dance in a number of movements and group dance movements. This lyrical movement is rich in symbols, so it is also called abstract dance movement.
The art of dance mainly utilizes these two types of movements as basic means. They are like words which, when combined, become the language of dance.
Generally speaking, dance movements are made by the upper body posture and the lower body steps*** together. But some movements only upper body dance or lower body dance steps, such as the dance "water" in the Dai girl sitting and lying down in the river upper body dance; dance "Jinshan War Drums" in the Liang Hongyu wounded after the oath to the sky of the upper body movements; India, Cambodia and other Southeast Asian countries, such as kneeling in the dance. Dance "Laundry Song" in the Tibetan girls in the waist to feet on the clothes of a section of the dance is only the lower body movements; Britain, the United States and other countries of the tap dance is also the same.
The dance steps are made of the human body's lower limb dynamics such as walking, running, jumping, twisting, swinging, flipping, rolling, etc., which are refined and embellished through rhythmic movement, and are based on the emotional needs and character traits of the characters in the dance as well as the provisions of specific environments. The dance steps are varied and have rich expressive power. The soft, slow and smooth steps show the stable and quiet mood; the fast and jumping steps express the joyful and excited mood; the exciting and rugged jumps show the specific thoughts and character; the continuous tumbling and small jumps show the unstable mental activities and the rushing of feelings. Going up the mountain, going down the mountain, wading through the water, crossing the river, going up the stairs, going down the stairs, show a specific geographical environment; the round step of Han dance, the crane step of Korean folk dance, the horse step of Mongolian dance, the small jumps and cat steps in ballet, and the kicking step of the Tibetans ......, figuratively show a variety of styles and personalities.
With the development of the plot of the work and changes in the feelings of the characters, the dance movements are bound to expand from their original position moving in all directions. The role of various dance steps, in addition to playing a mobile position, change of direction, more mainly with the upper body dance posture to strengthen the emotional color and sense of beauty. The various forms of the dance steps expand the expressive power of space, so that the upper body dance posture not only develops to the higher level of space, but also closely matches the lower level of the horizon. Chinese Han dances, generally have the technique of moving positions, rarely appearing to leap into the air and upward lifting movements, but also rarely with the ground for a long time contact and lying down and rolling dance steps and techniques. In China, many kinds of big jumps and lifts, most of which are borrowed and absorbed from ballet steps and expressions, while many kinds of lying movements on the ground are mostly derived from Western modern dance. Artistic exchanges among countries have enriched the dance postures and steps and strengthened the expressive power. For example, the dance drama "Silk Road Flowers and Rain" in the big jump technique and lifting action, dance "Flower Drum" in the jumping action, these dance steps and the content of the work, the mood of the work, and therefore achieved good results.
2. Modeling
Modeling is one of the expressive means of dance. It appears in the flow of dance movements or dance combination at the end of the moment of pause, people also call it a static and static appearance in motion. The existence and change of the dance modeling, so that the dance shows a static in motion, static and dynamic contrast with the law of beauty in order. The static modeling in the flow of dance makes a dance action in the process of movement presents its clear form of beauty; the appearance of the pause modeling, not only to focus on the expression of the inner feelings, it also plays a role in the articulation between the dance combination of the beginning and the end.
The modeling is the external form of the dancer who starts from the law of life movement, refines and processes according to the law of dance, and reflects the character's feelings, temperament and demeanor. Therefore, it is not simply a beautiful dynamic, but a fusion of both God and form with inner meaning. The countless dance flows in motion and intentional appearances in silence constitute a unique flavor and style, displaying the character traits and shaping the flesh and blood of the dance image. For example, when Liang Hongyu appeared in the dance "Jinshan War Drums", she used the styling of point-step turning and turning appearance, which expressed the heroine's will to fight in the movement and presented the heroic and majestic female generalship in the stillness. In the dance section of "Drumming for Battle", between the combinations of dances such as looking, drumming and retreating from the enemy, the distinctive form and momentum and rich modeling changes cleanly express the plot and the mood of the characters, reflecting Liang Hongyu's conviction of victory. In the dance drama "Silk Road Flowers and Rain", the dance movement combination of Yingniang's rebounding pipa, as each flowing dance posture clearly presents the beauty of modeling in the process of the moment, and there is a very godly appearance between each dance combination, the S-shaped characteristics of Dunhuang dance and the innocent and simple character traits of Yingniang will be displayed in front of the eyes of the people at a glance. If the means of expression of modeling were not used in this wonderful dance, not only would Yingniang's mood and character not be easy to express, but also the distinctive Dunhuang dance charm could not be expressed so fully and accurately. Excellent dance choreographers attach great importance to the dance movements, in terms of strength, angle, amplitude, length, should be carefully scrutinized, in order to accurately and clearly allow the audience to see the beauty of its form and charm. Similarly, when dealing with the appearance of static modeling, it is also necessary to start from the inner emotions of the characters and deliberately seek new ways to display the image with a thousand stops and starts of dance. The correct use of modeling can give the dance works add eye-catching color.
3. Gesture
Gesture is an essential and important means of expression in dance. In life, a gesture can often directly illustrate a simple meaning, such as natural stretching gestures to express "please sit" or "please this way", "come over"; upward gestures can express "goodbye", "goodbye", "goodbye", "goodbye", "goodbye", "goodbye", "goodbye", "goodbye", "goodbye", "goodbye" and "goodbye". The upward gesture can express the meaning of "goodbye", "go forward" and so on. Gestures play the role of language in daily life. And as the human body beautiful movement to reflect the social life of the art of dance, it is even more inseparable from the correct use of gestures. Dance gestures include fingers, palms, wrists and arm parts of the coordination and movement. It not only has inherent meaning, but also has a strong national character. There are many variations in the movement patterns of the orchid hand, fingers and palm in the Han dance of China, which are not only very different from those of the fingers and palm in Western ballet gestures, but also very different from those of Japan, India and other near-neighboring countries. Indian hand gestures can express almost all the ideas and feelings, it is like a language that can indicate "I like you", "I hate you", "how good the moon is", "You are very cute" and dozens of other meanings. These dance gestures from life have been beautified to convey the inner activities, show the style characteristics have a great role.
4. Dance expression
Dance expression is reflected by all the movements of the dance, including the whole body and mind dynamics. It is through the facial expression, the arm of the emotion, the carcass of the pendulum twist, foot movement to unify the expression of the inner emotion. It plays an important role in revealing the inner psychological activities of the characters and showing the changes of many kinds of emotions.
China's Han dance is very concerned about expression. First of all, there is a whole set of training methods for the use of eyes. Such as the swim with the fish to practice the eyes, with the lighted incense and candles to train the eyes of the glory, and divided into happy eyes, angry eyes, eyes of resentment, love eyes, angry eyes, sad eyes and many other expressions. In performing dances and choreographies, special emphasis is placed on the application of the eyes, which are required to reveal the specific psychological state of the moment through the eyes. The second is the use of hands and arms, requiring that the movement is emotional and the static is intentional. The swinging of the torso and the movement of the feet are also required to be full of persistent emotion. The expression of the dance is not only reflected by a certain dynamic part, but also by the movement of the hand alone, without the cooperation of other parts of the body, it is very difficult to correctly express the richness of inner feelings. Similarly, if the parts of the body are not compatible, it will also lead to the distortion of the external form and slackening, which will destroy the dynamic beauty of the dance. Therefore, what we call dance expression is the harmonization of the whole body and mind to accurately reflect the specific beauty of the charm through the external dynamic and skillful movements that are full of emotion. The power of expression is full of artistic charm, and when every dance movement is full of expression, the expressive power of the whole dance is realized. What the audience sees is not a single movement or technique, but the inner potentiality it contains. People are driven by the power of this inner expression to make associations and enter into the artistic realm of beauty.
Where the excellent choreographer, in the design of each dance movement and dance movement combination, are especially pay attention to their inner and outer emotional unity of the embodiment, even if it is a hand, a foot and a look, must not be ignored their expression of factors, and let go of their artistic charm. As a good dancer, as China's great theater artist Mei Lanfang said: "to make the audience attracted to us, applaud us, we must start from every small movement, every word, every eye, so that people feel very beautiful, and beautiful with content. Dance movements, in particular, should be more elaborate, and should be made to look beautiful and expressive from all aspects and angles." (From the transcript of Mei Lanfang's speech at the Dance Department of the Central Academy of Drama.)
5. Dance Composition
Dance composition includes dance picture and dance formation, which are the means to express the content of the dance and to express a particular mood. Dance picture and formation is not to change for the sake of change, they are based on the content of the work and the mood of the need to change and change. For example, the dance picture and dance formation of the swan group in the second act of the dance "Swan Lake", they move and change with the emotional development of the white swan and the prince. The two horizontal rows and the double diagonal rows show and emphasize the innocence of love and the goodness of the white swan. The changes in the formation of the four little swans and the straight forward and horizontal jumps of the double swans and the three big swans show their joyful emotions and strengthen the pleasant atmosphere. In the fourth scene of the dance drama "Silk Road Flowers and Rain", in the section of "Fantasy", the formation changes of all the Kabuki gods constitute a beautiful fairyland and elegant atmosphere, which expresses the inner thoughts of Shenpen Zhang and his longing for a better life.
Dance "Goodbye, Mom" in the double picture and stage position changes, is based on the character of the ups and downs of thought and emotion and design, the warrior love mother, love the motherland of the sincere feelings expressed very fully and delicately. Dance "Jinshan War Drums", on the other hand, through the cross formation of three people, three people