The Importance of Body Rhythm in Classical Dance

The creation of body rhythm is not simply a literal change from "stance" to "body rhythm", but a qualitative leap. It is the transformation and sublimation of the stance in opera; it is the inheritance and study of the traditional stance from an aesthetic point of view; it is the result of the development and evolution of the dance according to its own characteristics and the requirements of the spirit of the times. The body rhyme breaks through the original "body" action stereotypes, and replaces it with an ever-changing, expressive artistic approach, which is manifested in the "body rhyme" by the refinement of elements, the derivation of movements and the translocability of the character of the movements.

The appearance of body rhyme solved the contradiction between stylized dance and functional training that existed when classical Chinese dance was produced from opera, and changed the dilemma between opera and ballet. With its colorful movement forms, ancient and modern applicable styles of the times, and the combination of dance and national aesthetic characteristics, it enriches and develops the function of physical performance in exploring the expressive power of the human body. It is not confined to the range of human body movements in the classical dance, but focuses on the artistic language of the middle part of the human body "with the waist as the axis", showing the distinctive national characteristics and deep artistic charm. The potential expressive power of the human body has been given full play to create a vivid and distinctive image of the dance gives a new artistic means.

The formation of body rhyme and its introduction into the mechanism of dance creation have brought about a great turnaround in the development of Chinese classical dance. As a new dance vocabulary of Chinese classical dance, body rhyme has won the favor of many young Chinese dance choreographers and performers, who have fully utilized it in their creations, making a great breakthrough in the creation of Chinese classical dance. For example, the dance drama "Yellow River", a large number of body rhyme in the back of the human body performance, from the wringing of the dynamics of the tilt and the water and clouds of the imagery to create a shocking momentum, whether in the ground movement or aerial skills, are fully played out in the expression of the region that has been unearthed, to show the struggle of man and nature, and the fight with the famine. The Water of the River" uses water sleeves as a means of expression, however, what we see is not the several feet of long sleeves or complicated sleeve techniques, but the human body full of infinite emotions, showing the back moaning, the back crying and howling in sorrow, with the emotion of the sleeve, the sleeve and the human being as one, with a strong artistic infectious force. The excellent works created by using the body rhyme dance vocabulary also include "Mulan Returns", "The Great Wall", "Liang Zhu", etc. These works are magnificent, with delicate image and smooth dance posture, which not only have strong national characteristics but also have a brand-new style of the times. Their choreography makes classical dance really get rid of specific characters and move towards a kind of emotional language. Prof. Tang Mancheng once said wittily: "Body rhyme training is a million-dollar profit". The Chinese dance world is also impressed by this, and they find that this is the continuation of the unique charm of traditional Chinese dance. Prof. Lv Yisheng said, "This is exactly what I have in mind for contemporary Chinese classical dance!"