The Use of Sleeves in Han-Tang Classical Dance
Sleeve dance is a dancable factor in Chinese dance that integrates and connects emotions, with beautiful modeling and lyrical expression of characters' rich inner world. The following is what I have searched and organized for you about the use of sleeves in Han and Tang classical dance, welcome to read, I hope you like it!
Sleeve dance is a kind of dance unique to China, the beautiful sleeve dance is like calligraphy, in the clouds and water, ethereal and ethereal, the sleeve dance in a unique way to give people an infinite sense of beauty.
First, the origin of the sleeve dance
Mention of sleeve dance, usually the first thing that comes to mind is the "water sleeve", "water sleeve" is a term derived from the opera costumes, the earliest called "water coat", "water coat", "water coat", "water coat", "water coat", "water coat", "water coat", "water coat", "water coat", "water coat", "water coat". "Water jacket", with the increasingly rich development of the stage performance situation, the water jacket sleeves gradually become longer and wider, and because of the sleeve dance technique is becoming more and more rich, its form is sometimes like water ripples, and sometimes turbulence like arrows, so it is known as "water sleeve". Dance in the earliest form of sleeve dance for the "long-sleeved dance", as early as in the "Records of the Grand Historian" in the "long-sleeved dance" record, the Zhou dynasty court elegant music "small dance" in the "human dance" has "to the sleeve for the ceremony of the authority
In the dynasties of unearthed artifacts, jade figurines and grottoes in the portrait, the dance of the sleeve dance abounds, visible "sleeve dance" this form of performance has a long history, especially in the Han, Tang Dynasty, historical records of the Han Gaozu Liu Bang's favorite concubine Mrs. Qi "is good for the warped sleeve folded waist dance! "; Sui and Tang dynasties, there is also a "slender waist to make the moon, long sleeves dance spring wind", so "sleeve dance" has become the Han and Tang classical dance with a unique flavor and indispensable art form.
Second, the classification of the sleeve
In the dance costume, the sleeves of different sizes, lengths, and thicknesses have become an extension of the dancer's body to express his thoughts and emotions. Different sleeves have different ways of expression in classical dance, as well as different ways of using them and different techniques of using them. For example, the classical dance of the Han and Tang dynasties "rainbow against the drums", the use of a ten feet of long sleeves; classical dance of the Han and Tang dynasties "Treading Song" of the sleeve is only a foot long out of the fingertips, known as the small sleeve; there are also some special sleeves, such as the classical dance of the Han and Tang dynasties "Xie Gong Clogs" and the "Chu waist" of the wide sleeves of the Bo robe.
Third, the flow of the sleeve
(a) the rhythm of the sleeve
Sleeve rhythms arise from two aspects: momentum and rhythm, the momentum of the sleeve is an extension of the arm, through the dancers body rhythm, the body's rhythm from the The rhythm of the body is generated by the rhythm of the dancer's body, which is from the principle of "wanting to be left before right, wanting to be preceded by successive, being open before being closed, being charged before being relied upon," the principle of "wanting to move," and the use of the momentum of the starting and ending to drive the changes in the sleeve to show the changes in the rhythm of the sleeve. The rhythm of the sleeve is controlled by the dancer's strong or weak strength, and the spatial changes and the changes in form reflect the rhythm of the sleeve, so that the rhythm of the sleeve enriches the rhythm of the dancer's body, and the rhythm of the body affects the rhythm of the sleeve, and the rhythm of the sleeve is in the interaction between the two.
(2) The strength of the sleeve
The strength of the sleeve refers to the strength of the dancer's control of the sleeve, first of all, the strength of the sleeve is from the various parts of the body with the body, usually the intention to lead the waist with the sinking of the shoulder with the elbow, the arm, the wrist, the fingertips take advantage of the power of the sleeve will be brought up, and will be the power to reach the end of the sleeve. The transition from intention leading to waist following is the transition from internal force to external force, from shoulder sinking to elbow moving is the undertaking of external force on the arm, the starting force of the small arm determines the direction of the sleeve, the force of the wrist determines the strength of the sleeve, and finally the fingertips penetrate through the connection between the body and the sleeve [2]. This series of connection process, accompanied by the breath cohesion, operation, release and extension, forming a colorful sleeve strength changes.
(C) the shape of the sleeve
The shape of the sleeve dance is the route of the sleeve in the flow process, such as straight line shape, curved line shape, arc shape, spiral, round and other forms of change, it is relying on a series of coordination from the waist to the fingers, the waist to drive the shoulder, the big arm, the elbow to guide the direction, and then by the small arm to drive the wrist, fingers, and so on. It is a series of coordination from the waist to the fingers in which the waist drives the shoulder and the arm, the elbow guides the direction, and the wrist and fingers are driven by the small arm. In other words, the collaborative direction and route of the waist, shoulder, elbow, arm and wrist determine the shape of the sleeve. The completion of the form is not only dependent on the skill of the sleeve dance, but also depends on the complete knowledge and understanding of the sleeve shape, posture, route and process in the mind, and the various forms embodied in the sleeve dance are the crystallization of the collaboration of the mind, qi, and power*** with the corresponding design route of the sleeve dance in the mind.
(4) Sleeve Technique
Each sleeve has its own pattern and change mode, and has its own way of using it, which is called sleeve technique. The many changes in form that occur during the flow of the sleeve, in the transformation of time and space, form the unique expressive power of the sleeve dance. This expressive power is embodied in the clear route of the long sleeve, rounded transition, bright modeling, sharp connection, the process of running the sleeve, trajectory and embodied in the space modeling, all determine the quality of the sleeve dance and appreciate the beauty of the good or bad.
1. Sleeve whisking is both the starting movement and the connecting movement of various sleeve dance techniques. Sleeve whisking is a technique of using the arm, lifting the wrist to drive the back of the hand and the fingers to lift and tease the long sleeve to drive the dance.
2, shaking the sleeve, shaking the sleeve is the use of breath to throw the sleeve in the direction of the arm quickly, the method is to sink the shoulder to lift the elbow, the wrist force, the sleeve body quickly shake out, and then, sink the shoulder to release the arm, the wrist relaxation, the sleeve to the far end of the loose, the body and the breath in the opposite direction of the opposite direction, so that the sleeve tip in the far end of the unfolding, which we call the sleeve, the most important part of the action is the breath on the sleeve control,
3, the sleeve, the sleeve, the sleeve is the most important part of the control,
3, the sleeve is a long sleeve dance technique.
3. Raising the sleeve, with the elbow as the axis, or the shoulder as the axis of the arc track, the method of exertion is to raise the breath and stand on the waist, with the arm with the wrist, to the outside or inside of the body to throw up the sleeve in the middle of the body, to the outside of the body by the wrist flicked, to the inside of the body by the fingertips flicked, the breath in the release of the body, so that the sleeve to keep the arc of the rounded state. This action should pay attention to the consistency of the arm, wrist, fingertip force, master the size of the force, the wrist to the fingers after the force ` relaxation, as well as to control the trend of the sleeve, to maintain the arc round state.
4, around the sleeve, this action is divided into outside the sleeve and inside the sleeve, the fingertips drive the wrist, through the inward or outward spiral toggle, sinking the shoulder to send the elbow, twisting the small arm, so that the sleeve body to form the inward or outward spiral form, at the same time, the breath can be held back to cohesion, but also with the rise and fall of the sleeve can be put in and out of the sleeve, so the sleeve becomes an extension of the arm.
5, ride the sleeve, through the sleeve and the body of the echo and collaboration to *** with the completion of the "ride" process, in the sleeve to the predetermined direction is, the body should always run through the two words: "catch" and "welcome", that is, in the sleeve to the predetermined direction is, the body should always run through the two words: "catch" and "welcome", that is, in the sleeve of the "ride" process. "That is to say, while the sleeve is being built, the corresponding parts of the body, such as the wrist, elbow and arm, should be used to match the formation of the sleeve method. It is reflected in the rise of the body when welcoming the sleeve and the fall of the body when receiving the sleeve. This rise and fall is led by the inner breath, which is fully reflected in the inner relationship between the body and the sleeve in the body-sleeve coordination, which is dependent on each other, and mutual support and mutual concessions.
Fourth, the use of sleeves
In the dance "Flying Rainbow and Drums", the use of sleeves is the most extensive, such as using the unfolding of the sleeve as an extension of the arm to form the swing of the sleeve, shaking the sleeve, to draw a circle or a spiral shape to form the flow of the state of the sleeve, sleeve, sleeve, sleeve, sleeve, sleeve, sleeve, and so on, sometimes stretching and sometimes grasping.
The sleeves of the costumes in the dance "Tap Song" are shorter than those of "Flying Rainbow and Drums", and the sleeves are one foot above the fingertips when the hands are hanging down, so the movement of the sleeves in "Tap Song" is mainly in the form of linear sleeves, and in the process of the movement of the sleeves, the unfolded sleeves act as an extension of the arm to form the streamline state of swinging, throwing, shaking and wrapping. Relying on the extension of the sleeve amplifies the momentum of the movement and expands the range of movement and expression of the body. Dance movements in the shaking sleeve, raising the sleeve use more, "Tap Song" theme movement changed a few times, but all appeared in the line sleeve, such as the theme movement using the side shaking sleeve, the original action for the body leaning tower, the right foot to the 3-point step up, the left foot to follow and step, the right arm will be shaking the sleeve to the furthest point of the 3-point, the body tilted to the 7-point, turn around the back to the audience, the two arms to the 3-point, the 7-point flat pull to unfold the sleeve. The movement is now a half moon, first utilizing the arm-over-sleeve, placing the sleeve of the right arm across the left arm, while the body's center of gravity tilts the tower and shakes the sleeve toward 3 o'clock. Both movements are used to shake the sleeve, this action to the waist force, drive the upper limbs (shoulder, big arm, small arm, wrist), so that the tip of the sleeve at the furthest point of the unfolding of the formation of the momentary static stop, demonstrating the dynamic and static, the flow and the process of connecting the dance, reflecting the beauty of the Han and Tang Classical Dance dynamic and static.
The sleeves of the dance "Xie Gong Clogs" are different from those in "Flying Rainbow and Drums" or "Treading Song", the latter two sleeves are only the difference between the length of the sleeves, while the sleeves of "Xie Gong Clogs" are broad and wide, and the perfection of the sleeves can be best shown when the arms are pulled flat and unfolded, and the long sleeves are not an extension of the sleeves themselves, but are attached with a thin silk in the wide sleeves, which makes the dance sleeves, which are swung, neither heavy, nor soft. It appears to be extraordinarily fluttering and soft. The movement of the wide sleeves of the Bo robe is mainly based on the winding, hitching and shaking of the sleeves. Therefore, the use of the body to match the body method, to highlight the body to let the sleeve, the body to avoid the sleeve, the sleeve to fit the characteristics of the body, combined with different ways to match the pace, to fully reflect the sleeve and the body's skillful cooperation, the formation of a variety of changes, flow.
In short, the sleeve dance with its unique lyrical way and writing characteristics, in the clouds and water-like relief, in the floating and free cloud travel, creating a calligraphy-like ethereal and vast and profound mood, expressing people's endless reverie of nature and faraway thoughts, in the dragon churning the sea like the moment of flopping, in the wind and clouds of the rapid change, the sleeve and its strong, thick momentum, writing out of the excitement and The first thing you need to do is to get a good deal on a new product.
Fifth, the expression of classical dance of the Han and Tang dynasties
The style of classical dance of the Han and Tang dynasties is different, so their forms of expression will be different.
Specifically expressed as follows:
1. The expression of the Han Dynasty dance
The Han Dynasty dance not only has this feature of the Chu dance, but also absorbed the foreign dance, after many years of development, so that the gradual formation of national folk dance. From the point of view of the performance characteristics, the Han Dynasty dance has the following main features:
(1) dancing sleeves;
(2) dancing feet;
(3) dancing waist.
In China's classical dance, Chuyue Dance is one of the wonders, so the Han Dynasty dance borrowed some of the stylistic features of the Chu Dance, which laid a good foundation for the development of Han Dynasty dance. As for the foot dance, this stylistic feature is also more typical in Han Dynasty dance. For example, in the dance of "Pan Drum Dance", the dancers dance by stepping on the drums and stepping on the pan, in which the dancers need to be accurate and loud, and in the process of "longitudinal tiptoe" and "floating", there should not be any problem in the dance. The dancers need to have accurate and loud feet and not make any mistakes in the process of "tiptoeing" and "floating" [3]. In addition, the waist dance is also a characteristic form of Han Dynasty dance. Although the dance waist of Han Dynasty borrowed some forms of expression from the Chu Dance, it has its own characteristics. In the Chu Dance, there is the expression of "folding the waist", which has a large amplitude of movement, but the dance waist of Han Dynasty Dance is more soft and beautiful. In the Han Dynasty dance, the dance sleeve is a very important form of dance performance, in the performance, the dancers move their arms, through the two long sleeves to form a beautiful "S" curve, and then coupled with the dancers' own "S" figure, giving people a good visual impact. The dancer's own "S" shaped body will give people a good visual impact.
2. Tang Dynasty Dance Expressions
Tang Dynasty classical dance can be said to be a combination of all the strengths, not only absorbed the dance style of the Han Dynasty, but also absorbed the dance elements of the Western region, and absorbed the Korean music and dance and the music and dance of the Central Plains in the dance of some of the elements of the elements of the organic fusion of a variety of elements of the dance, which formed a dance system with characteristics. Through the organic fusion of various dance elements, a dance system with special characteristics was formed. Especially under the support of Emperor Xuanzong of Tang Dynasty, the development of Tang Dynasty dances was further promoted, especially the "Amazing Dance", which utilizes bionic elements, so the dance gives people a light and airy feeling. During the dance, it is just like a wild goose in the sky, and the Tang people often use the word "stunning" to describe the posture of the dance, which indicates that the dance is light and airy through this term. In many movies and TV dramas, Tang Dynasty dance is used. For example, in "Legend of Zhen Huan", Guan Guiren was favored by the emperor because she danced the "stunning dance", from which it is not difficult to find that the charm of the "stunning dance" is so great that even in today's popularity of modern dance, this kind of classical dance is also able to bring back memories.
Conclusion
In summary, as one of the dances with classical characteristics in China, Han and Tang Classical Dance can well highlight the classical flavor of China. The Han and Tang classical dance has the characteristics of lightness, elegance and beauty, so it was loved by the people at that time, and has been passed down to today, and still gained the respect of the people. Chinese dance art to achieve further development, in addition to the inheritance of traditional dance forms, but also need to carry out continuous innovation, so as to form their own characteristics, and then to the world.
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