Technical key points and expressive power of national water sleeve dance
Water sleeve dance is one of the stunts of Chinese Peking Opera. It contains elements of opera and dance and has a unique beauty. Below I will share with you the key technical points and expressiveness of the national water sleeve dance. I hope it will be helpful to you.
1. The strength of water sleeve technique
The coordination and unity of the fingers, wrists, elbows and shoulders are the key to good water sleeve dance. This is the key to coordinating the "Three Sections" and "Liuhe". The so-called "three joints" are as follows: for arms, the hand is the slight section, the elbow is the middle section, and the shoulder is the root section; for legs, the feet are the slight section, the knee is the middle section, and the hip is the root section; for the entire human body, The head is the slight section, the waist is the middle section, and the feet are the root section. The movement pattern of water sleeves is to start at the slightest section, follow at the middle section, and chase at the root section. The "Three Sections" are not only the procedure for the external movements after the water sleeves are danced, but also the necessary channels for the internal strength to complete each movement of the water sleeves. "Liuhe" is divided into "internal three-in-one" and "outer three-in-one". The "Three External Harmonies" are: the harmony of hands and feet, the harmony of elbows and knees, and the harmony of shoulders and hips; the "Three Internal Harmonies" are: the harmony of heart and mind, the harmony of mind and Qi, and the harmony of Qi and Shen.
In terms of external movements, the first requirement is the mutual symmetry and strength balance of the head (upper), waist (middle), and feet (lower); secondly, the unity and cooperation of the hips, knees, and feet; and then The pursuit and following of shoulders, elbows and wrists. The so-called chasing and following are to distinguish the primary and secondary relationships of movements, the strength of each part, the size of the range of movement, etc. The relationship between the shoulders, elbows, wrists and movement is subtle, both promoting and restricting each other. This is a relationship of internal coordination and unity. The actor himself must be relaxed and coordinated, tight inside and loose outside, upright and subtle, strong and flexible; there is movement in silence, and stillness in movement. Only by dancing can he handle the movement of the sleeves. There is a dotted line in the center line and a line in the dot. The relationship between the external movements and the internal rhythm and contrast of the body. From the perspective of the whole training process, the force method of water sleeve technique follows the teaching rules from simple to complex and step-by-step from rhythm, movements, short sentences to combinations.
(1) Rhythm of movement:
Most of the force used in the water sleeves is "contrary strength". That is to follow the rhythm of "Everything starts from the opposite side". Its characteristics are as follows: when you want to go left, you go right first, when you want to go forward, you must close when you want to go up, and when you want to go up, you go down first. ?Contrasting force? fully embodies the beauty of the circle and movement of Chinese classical dance in the classical dance body and rhythm. ?This opposite and mutually reinforcing reverse momentum can produce ever-changing human body movements and give the audience an unexpected special effect? ??(Tang Mancheng's "Shape, Spirit, Strength and Rhythm of Chinese Classical Dance"). The dynamic rhythm of "contrasting strength" is used in the slenderness of the water sleeves to extend the dynamic and static relationship between the points and lines of the artistic form. More importantly, the key to the force method of water sleeve technology lies in a "contrasting" force.
Mr. Cheng Yanqiu, a Peking Opera performing artist, once said about how to practice water sleeves well? You need to practice your sword externally and your heart internally. Sword dance has the potential of a blue dragon stirring up the sea, and is characterized by the balance of hardness and softness. By using the method of swordsmanship to dance the water sleeves, one can move the sleeves freely, turning like flowing water and falling flowers without leaving a trace. And inside you need to train your mind, which is what we often call “mind strength”. Qi is made solid by movement, and force is made strong by softness. Only smooth breath can reflect the beauty of water sleeves. Practicing the rhythm of movement is a process of training the mind. The key to practicing water sleeves is to bring the Qi to the waist, the waist to the elbows, the elbows to the wrists, and the wrists to the fingers. It can be seen that breath plays a very important role in training. From the pre-movement when taking out the sleeves to the extension after the movement is formed, it is supported by breath.
(2) Action:
That is what we often call "word". The so-called "zi" is a single action or technique. ?Zi? can develop and change; it can be enlarged, made in different directions, and intertwined and combined; but no matter how it changes, the rule is that it never changes away from its origin. When it is gathered back, it is still a single technique, that is, as the matrix of ?Zi? ?.
Due to the difference between dance and opera, water sleeves are no longer limited to the use of large green clothes in the industry, but are used as an extension of the human body lines, the catharsis of strong emotions, mountains, water, wind, and clouds changes and so on. Therefore, although the sleeve movements in dance come from opera, there are differences in opera. They are developed and changed on the basis of opera. Commonly used words in dance are "out", "in", "up", "up", "up", "around", and "out".
1. Taking out the sleeves: Use the Qi belt to bring the waist, the belt to the elbows, the elbows to the wrists, and rely on the strength of the wrists to spread the water sleeves out with the force of swinging and finger brushing. The water sleeves are required to reach the end. That is, the water sleeve is sent from the finger's strength to the tip of the sleeve. When dusting, place your palms downward and your fingers open (respectively, there are front sleeves, side sleeves, diagonal front sleeves, and back sleeves).
2. Tuck in the sleeves: With your palms facing down, open the tiger's mouth and align it with the sleeve seam, lift your shoulders and elbows, and lift the sleeves. When the sleeves float to 90 degrees, retract the elbows. The hand shape changes from palm down to palm external rotation, with the thumb facing up and opening the tiger's mouth, so that all the water sleeves are collected into the tiger's mouth (respectively, straight sleeves, diagonal sleeves, upward sleeves, and reverse sleeves).
3. Raised sleeves: raised sleeves, flat sleeves and rear raised sleeves. When raising the sleeves, the elbows are on the wrists, and the strength of the wrists should be stronger. The sleeves can be raised high and straight. When the tip of the sleeve reaches the end, lower the elbow so that the water sleeve goes straight up and down. The upper and lower sleeves should look like a vertical silver belt. The same applies to raising the sleeves back and forth, but when lowering the sleeves, the elbows are not sinking but the arms are sinking.
4. Wrap the sleeves: First raise the sleeves (flat to 90°, upward to 180°, downward to 45° or perpendicular to the body), then wrap the sleeves with your fingers, Wrap your wrists around your elbows and wrap the sleeves around (inward and outward rotation) so that the sleeves wind into a spiral shape. Pay attention to shoulders, elbows, and body. The sleeve wrapping movement can clearly reflect the pattern of starting from the root (shoulder), going along the middle (elbow), reaching the tip (hand), and finally forming the shape of the sleeve (respectively, they are upper sleeve wrapping, lower sleeve wrapping, and flat sleeve wrapping). , back-wrapped sleeves, diagonally wrapped sleeves).
5. Skimming: pinch the sleeve when the water sleeve is reduced to a square shape, mainly relying on the strength of the wrist: when covering it inwards, use the strength of the wrist to make a quick turn from the outside to the inside; When tilting outward, do a quick wrist twist from the inside out. The flowers on the inside and outside should make the sleeves float. There are many forms of handkerchief flowers, which are very similar to the handkerchief flowers in Han nationality dance. Many of the flower-skimming movements of water sleeves are developed from handkerchief flowers (respectively, here and outside, left and right, up and down).
6. Sleeve flushing: This is the strongest contrasting movement. Emphasis is placed on using Qi to bring the waist, the waist to the elbows, and the elbows to the wrists, and finally use the fingers to push out the sleeves. When returning the sleeves, raise your shoulders, retract your elbows and quickly grab the sleeves. Make the water sleeves look as hard and straight as swords (respectively, forward sleeves, back sleeves, side sleeves, upward sleeves and horizontal sleeves).
7. Sleeve-building: It is mainly used for dance modeling and is the movement most closely related to the human body. Whether it is upper and lower sleeves, left or right sleeves, front or back sleeves, shoulder sleeves, arm sleeves, or back sleeves, it is a direct relationship between the human body and the sleeves. The method of holding up the sleeves is to hold the wrists with the elbows, then hold the fingers with the wrists, and finally use the strength of the fingers to throw up the sleeves, and then hold them on a certain part of the body. Tie sleeves mainly emphasize the word "throw".
The above is the most basic and specific method, and it is the basic force method in the primary stage. Each word training is done with one hand, then with both hands, and then with the hands crossed.
The water sleeves of Chinese classical dance are directly derived from opera dance. But opera dance is subordinate. It is based on singing and chanting and serves "singing and chanting"; and due to the limitations of the profession, its range of movements is relatively small and inclusive. To draw lessons from dance, it must be enlarged and expanded. The first step in amplification is to increase the range of movements so that the water sleeves become part of the body and not just a decorative movement. How can we increase the range? Dance is a physical art, so the art should be fully used and developed. The professional characteristics that the body must have? The ability to loosen, tighten, stretch, shrink, jump, rotate, soar, soft and control, etc., so that the sleeves can be extended, closed, raised, rushed, laid, turned, and wound in harmony with the entire body. The feet have roots but are not dead, flexible but not chaotic. The Qi is used to support the waist, the elbows, the elbows are connected to the wrists, and the wrists are connected to the fingers. In addition, after the movement is completed, the sense of extension makes the body stop and the mind stop. In this way, water sleeves become a part of the unique performance of physical art, which not only increases the range of movements, but also enhances the expressive power of the body.
(3) Short sentence:
Simply put, a short action sentence is a complete sentence in dance language. It is larger than a single action but smaller than a combination. It is too long or too short to become a short sentence. It is usually two to four eight beats. A complete short sentence is composed of lines and points, fast and slow, high and low, movement and stillness, soft and hard, and the dynamics of light, heavy, slow and fast.
The short sentences in the early stage of Shuixiu are generally changed and developed from "zi". They can be made from any single "zi"; the so-called "zi" short sentences use a single "zi". The word ? decomposes doing or develops and changes doing. For example, when wrapping a sleeve, you can wrap it inward first, then wrap it outward; make one first, and then wrap two in a row; then you can wrap the inner and outer sleeves together. Coupled with the change of rhythm, the arrangement of space, the sleeves can be wrapped in different directions and positions in front, back, left, right, up and down. However, no matter how varied the "Ruan Xiu" in the short sentence is, it still revolves around the word "Ruan", and what it follows is the law of "all things return to one".
After you have a certain foundation in the training of short sentences with a single word, you can combine two or three different words to form an intertwined short sentence. This is more varied and also tests the actor's mastery of water sleeve techniques and the connection and coordination of changing water sleeve techniques. For example: a short sentence composed of raising sleeves and leaving flowers. The key to this type of sentence lies in the connection and conversion process between the "floating" of raising sleeves and the "spiritual" of leaving flowers; at the same time, one must master proficient sleeve skills in order to raise sleeves. After floating up, the half sleeves are quickly collected. This kind of intertwined short sentences pave the way for the next stage of combination. It is also an essential part of short sentence training.
(4) Combination:
It is a way of combining two or more complete dance sentences. It is the most important link in classroom teaching, the final result of all single training, and the ladder for actors from classroom to stage. The combination forms of water sleeves can usually be divided into three types: technical skills combination, performance combination and personality combination.
1. Combination of technical skills: through it, the coordination and unity of water sleeves can be trained. Use rhythm to run through the entire composition, and use different rhythms as the main line. Generally speaking, this type of combination is a combination of partial training of "characters" and changes and development of "characters". Each "character" can form a complete combination. The coordination between water sleeves and the body, the flow of steps, the transformation of different directions, and the intensity and slowness of the rhythm are used to train the coordination ability of the sleeve skills and the body in dance. For example, a word "take" can be placed up or down; left or right beside; front or back; left or right shoulder; both shoulders; left or right arm; etc. Use strengthening means to achieve the purpose of training sleeve skills.
2. Performative combination: The sleeves are worn with emotion, the sleeve skills are reflected with emotions, and the beautiful shape and meaning of the sleeve skills are used to express people's emotions. Various contrasting techniques and complete music are used to reflect the performative characteristics of the performative combination - "carrying feelings with sleeves, and using sleeves with feelings". "Performance" in a group is different from "performance" on stage. The performances in the group do not have specific characters or plots, but only use emotion to drive the expressiveness of the body and sleeves.
3. Personality combination: Water sleeves give people the feeling of being graceful, elegant, free and easy, and smart. So to train the personality combination of Shuixiu, you have to start with the particularity of personality and emotions. For example, to express "strongness" or "anger", you usually use sleeve grabbing and sleeve punching; to use strong sleeve skills of quick closing and quick release to express strong character and angry emotions; to express "dexterity" and joy, use sleeve wrapping and flower skimming. flexible transformation. Personality combination is the best transition for training actors from classroom to stage.
2. The expressive power of water sleeves in dance
Dance is an art characterized by expressiveness, and many colleagues have expressed this. For example, the essence of dance lies in the artistic function of human body movements and expressions (Ying Xingding); emphasizing expressiveness means emphasizing that dance is indeed the product of people when they are extremely excited, and is the externalization of inner passion, which also stipulates The essential attribute of dance art is a lyrical art (Long Yinpei, Xu Erqi); expressiveness refers to the characteristic of dance that focuses on expressing emotions. It is presented from the overall image and determines the general style of the work. Is it the fundamental requirement for dance to grasp the world? (Feng Shuangbai).
How expressive are the water sleeves in dance? Because its shape itself contains poetry, sometimes it is like a dancing luan singing about a phoenix; sometimes it is like the waning moon and falling flowers and smoke; sometimes it is like the light of flowers and the shadow of the moon. Sometimes a river of spring water flows eastward; it is the drunken sleeves holding the dangerous fence, the sky is clear and the clouds are clear, but then I see the loyal people are filled with anger, and there are tears pouring down. It can not only express the self-sighing, sad and helpless emotions of marrying the east wind but being misled by the autumn wind for no reason, but also express the majestic, majestic and Magnificent scenery and cheerful, heroic spirit.
It can be seen that the performance characteristics of water sleeves are "more freehand than realism, and narrative in lyricism". The so-called "long sleeves are good at dancing", that is, through the coordination and unity of water sleeves and dancers, the use of water sleeves is smooth and elegant like "falling flowers and flowing water without leaving a trace"; the free and straight style of water sleeves is like "flying clouds and flying cranes" to express meaning and artistic conception. And poetry, poetry, from which the characters' thoughts and feelings are reflected and the character's personality is shaped.
More freehand than realism, narrative in lyricism is the most important expression method of water sleeves in dance. For example, the women's group dance "White Cloud" uses the elegance and softness of water sleeves to express the ethereal nature. The ever-changing sleeve skills and the stage management of gathering, dispersing, opening and closing create a poetic and dreamlike illusion. White clouds are floating in the air, and the entire stage is like an ink painting - freehand brushwork - to express human beings' sincere feelings of loving nature and loving life.
The relationship between freehand and realism is that of virtuality, reality, primary and secondary. After rigorous and standardized conception, virtual phenomena are used to express the essence of reality. Lyrically narrate, not just tell a complete story on stage. Dance is a physical art. You cannot sing and chant. You can only use your body to express the ups and downs of a character's personality, thoughts and feelings. Therefore, it is necessary to make full use of the characteristics of the human body that is good at expressing emotions and the water sleeves that are good at understanding to express the emotions and emotions contained in dance. Make the meaning and reality complement each other and confirm each other. For example, the female solo dance "River Water" is an example of using water sleeves to express a lyrical narrative. The work has a rigorous structure and is divided into three sections A, B, and A. It does not specify who the specific characters are, but uses the dance relationship between the water sleeves and people. It shows the image of all the weak women in ancient times who were helpless, oppressed and bullied by dark forces, and bound by feudal forces. The water sleeves fully demonstrate their expressive capabilities in this dance. It is not only a symbol of the dark forces that oppress women, but also a rope used by feudal forces to restrain women. It is both a wedding sedan and a sword to vent grief and anger. The work expresses ancient women's yearning for freedom and happiness with image, life, fluency and vocabulary. Desire but helpless emotion.
The expressive power of water sleeves in dance is rich and colorful. It has got rid of and surpassed the limitations of expressing specific characters and stylized movements in opera. Not only can it express joy, anger, sorrow, and joy, but it can also be divided into expressions. In fact, the two are inseparable. "Exerting force" is for better expression, and "expressiveness" is based on mastering the skillful "exerting force" method. ;