I. Physical training to the basic physical and dynamic characteristics of Tibetan dance.
Chinese folk dance is the source of China's traditional dance art. Each ethnic group, each region has its own history and culture, religious beliefs and other aspects of the characteristics of the formation of the Chinese folk dance in a variety of forms, styles, rhythms have other distinctive features. Tibetan folk dances are of many kinds, with different styles depending on the region, among which the string dance, potshuang and tap are representative. Different forms of artistic performance, but the external form and rhythmic characteristics are structurally uniform. In terms of the physical characteristics of the Tibetan dance, it is not only related to the natural environment, national character and living costumes, but also carries traces of religious psychology. However, from the point of view of dance, it has artistic creation with strong local color.
1. The purpose of physical training is to equip us with the basic qualities of Tibetan folk dance and to fully grasp the basic dynamics of dance. Tibetan dance scholars Ngawang Kecun with five words summarize the dynamic characteristics of Tibetan dance, namely: trembling, open, smooth, left, around. Therefore, the limb training emphasizes the trembling and flexion of the knee. Tibetan dance has programmed dance movements and rhythms, which is characterized by lower limb activities, and lower limb movements are centered on knee trembling. There are big trembling, small trembling, soft trembling, hard trembling, twisting trembling, swinging trembling and so on, such as: "trembling" in the string dance is carried through in the "twisting", "dragging step" and "pointing step". "and "point step turn over" and other typical dance postures. Therefore, the Tibetan dance has "no flexing without success, want to move must first flexing". "Shun", "left", "around" is the rhythmic characteristics of the Tibetan upper limb sleeve dance. Shun" is the unique way of coordination of Tibetan dance, which comes from the movement of "lifting the hand for the song and shaking the hand when stepping on the foot" in the Lianjia Tap Song; the sleeve dance has many forms such as shaking, swinging, teasing, winding, etc., but "winding" is the core, which has the following forms: "shun", "left" and "winding". But with "winding" as the core, there are: big winding, small winding, arm winding, elbow winding, inner winding ----. There is a consistent regularity in the dynamics of these different dance styles. The artist has to use body movements to express the literal meaning intact, is the purpose of the actor's physical training.
Second, the artistic treatment of movement rhythm is the sublimation of dance performance technology.
Dance is a human x-art. After rehearsal, organization and processing of the human body rhythmic movement as the main means of expression, to express human thoughts and feelings, reflecting social life. Action, rhythm is the main form of expression. Since dance is a dynamic art, its training is mainly placed on the gesture, rhythm and quality of movement feeling. That is to say, any part of the dancer's body or a part of the body caused by a long or short rhythm, the amplitude of the movement, the rhythm of the strength and the speed of movement size, strength and speed. The difference results in dance movement technique. In Humphrey's philosophy of dance: to strengthen the student's body in terms of strength, flexibility, control and endurance - that is, to train the movement skills necessary for performance. Then we can enhance the expressive power of movement in dance performance by recognizing the potential of rhythm, movement and gesture, and by using and processing them creatively. Gorky once said, "The artist does not master the technique, that is, the richest feelings will be paralyzed."
In dance, the rhythm is the strength of the dance, and the emotion is a complement to the content of the dance. Can be appropriate and beneficial to deal with the rhythm of the action, marking the dancer's ability to grasp the body to a certain level. Such as large-scale music and dance 〈〈Zhomolangma〉〉, which is the Jeba drum dance, the whole music and dance is in the women's drum dance and men's braid drum dance performance to the climax, the actresses of the Jeba drum action skills simply to reach the realm of perfection, whether it is the top of the drum rotating, or drum rotating and drums turn over, are so rapid, sharp, clean, beautiful. The male actors of the braid drum dance more momentum, more a kind of wild beauty, they fling the braid drum, action freely, the rhythm from slow to fast, the atmosphere of the climax of the men's stunts "lying body taut", "one-legged suction across the turn", "Tiger jumping and twisting body flat turn" and so on. The atmosphere is extremely warm, it is the superb drumming skills plus the rich snow style produced by the artistic infectious force. Here contains a coherent and balanced action, and these actions are stylized continuous rules, there is a strong rhythm, in the process of rapid movement, to have absolute power to control the body. It is through the handling of the use of these rhythms, rhythms and gestures to reflect their own unique artistic style and dance performance skills.
Artistic handling of rhythmic movement also allows the same and different types of feelings to be expressed extremely naturally in a highly emotional dance. Movement, which is closely related to the catharsis of life emotion and atmosphere, is the materialization of the dancer's inner passion. Dancers express their inner emotions through the strength, weakness, length, and rhythm. Excellent dance artists will indirectly express their inner emotions through changes in the rhythm of movement. For example: "Mother" uses the Tibetan slow, heavy body language characteristics, through the artistic rhythm of movement, dance modeling and dynamics, successfully shaped a great and ordinary mother image. In addition, the expression of emotion can also reflect the actor's own emotional quality. For example, the dance 〈〈Ghee Floating Fragrance〉, performed by the Cultural and Industrial Troupe of Tibet Military Region. Under the rhythm of cheerful and light music, a group of hard-working Tibetan girls change the traditional Tibetan forward-leaning body dynamics into a chest-out and head-up body dynamics, and run out rhythmically. In the section without musical accompaniment, through the exaggerated twisting of the body, the vocals and language not only conveyed meaning, but also dissolved into the dance as a kind of rhythm and emotion, interpreting the labor scene with fire. Rhythm of movement through the body artistic treatment, not only does not lose the unique rhythm of Tibetan dance, but also fully shows the spirit of the rich Tibetan people more in the national personality display, the performance of the Tibetan girl free, unrestrained vivid image, not only inherited the traditional Tibetan style, but also injected a new movement, rhythm elements, the inner emotions directly expressed in the dance, becoming a very rich in the spirit of the times dance. It is a dance with a great sense of the times. Artistic handling of movement rhythm is our grasp of body movement skills, through the rhythm, movement, expression organically combined together, it constructs different visual imagery and psychological and emotional connotations. In this way, we can glow the touching artistic charm in the dance performance. With the formation of language and communication, each ethnic group has produced the most suitable for their own characteristics of the dance rhythm and tune, and formed the most suitable for the expression of their character style of dance rhythm. Pot Zhuang: The rhythm of the movement is powerful, with continuity and pauses. The torso and upper limbs move with the pace, the amplitude is large, and the up and down swinging of the sleeves is vigorous and powerful. The footwork is mainly lifting, jumping, stomping and stepping, with a strong sense of rhythm, showing the simple and deep Tibetan character. Therefore, when learning Tibetan dance, one must constantly experience the power, the contrast of the movements and the speed and height of the movement amplitude to constantly modify the dance movements. Through the rhythm, all kinds of movements according to the needs of the dance content organically organized, linked together, to enhance the expressive power of the dance movements. Dance is a kind of entertainment, a cry, a method of self-transcendence. It embodies the survival of beauty like the expression of all rhythms, all human pulses.
Dance is inseparable from the rhythm, just as life is inseparable from breathing. To construct a dance with a proper and favorable handling of the rhythm of movement is like adjusting the breath, so that life is steady and smooth. In addition, to deal with the rhythm, not only from the dance itself, but also to enhance the cultivation of the quality of music theory, full of rhythm and rhythm of life care. As Mr. Yu Ping emphasized, "Don't forget that the work is outside the dance.
In summary, as a professional dancer, to dance Tibetan dance well and reach a certain level of art, you must go through three stages: first, hard physical training. Good dancers are trained from the muscle, is the body and the will to fight; Secondly, grasp the dance style characteristics is the limbs dynamic characteristics of the enhancement. Actor is the work of the second degree of creativity, as long as we continue to learn, and constantly accumulate knowledge, that our movement has the expressive power to "into its own". Thirdly, in the action rhythm processing grasp. We not only have to have a superb technique to express the content of the dance, but also to feel through to the technology, so that our performance technology has been sublimated. Through the above analysis, the three processes are layer by layer, the latter is the sublimation of the former, and the former is the basis for the latter's training to form a practical specification. Thus, all three aspects of learning should be steady and stable, and should not be neglected. "If you don't suffer from frost and ice, the plum blossom will release its fragrance." As long as we are willing to work hard, in accordance with the scientific method of training, can become the stage of the "pride of the sky".
Three, grasp the style of dance characteristics is the limbs of the dynamic characteristics of the promotion.
After mastering the basic dynamics of Tibetan dance, it is necessary to inject connotation into the shell of this only has the meaning of form. We often pay attention to the action on the work, but not too much emphasis on the inner basis of the action, in a kind of purposeless, mechanical blank state, that is to say, do not have a good grasp of the stylistic characteristics of the dance. Goethe has a famous saying: "Reality is richer in genius than my genius". I think it is best to put ourselves in the Tibetan Plateau to live and experience the ancient Tibetan folk culture. Only in this way can the national cultural consciousness take root within our thinking, and only then is it possible to express the Tibetan style and connotation in the dance. Dance itself is a kind of culture, we dance a certain ethnic dance, is to interpret the culture of a certain ethnic group. How to grasp the "style" of Tibetan dance? First of all, we must strengthen the understanding of Tibetan culture, feel their living environment, folklore, religious beliefs, and understand the survival of the ethnic consciousness of things related. For example, the movements of the Tibetan dance are generally carried out in a clockwise circle from left to right, which is consistent with the direction of the "scripture-turning" in its rituals. The "potshang" still retains the simulation of animals and birds, footsteps for the festival, dancing in a circle.
In the training of the body, attention should also be paid to their own physical experience of the dance body, so as to produce aesthetic effects in the heart. For example, our aesthetic experience in the string dance should be: soft movements, long sleeves, light Buddha, dance stretch, continuous. Tap dance is: rhythmic, moody, enthusiastic, flexible aesthetic sense of movement. This requires us, not only to grasp the style of the dance has a good form, but also in the usual training to pay attention to the action of the grasp of the beauty. In addition, we should appreciate more performances and study some works, literature and some developing dance languages. In their own psychology to construct a Tibetan cultural entity, experience dance, modeling symbolizes the meaning, so that we grasp the Tibetan dance style characteristics is much easier.