Classical dance body rhythm training in the ? The body of classical dance is the body method, which refers to the external expression technique of classical Chinese dance. is the body method, which refers to the external performance technique of classical Chinese dance;? Rhythm? refers to the internal rhythm of classical Chinese dance. A dancer in the classical dance body rhyme training, the content of the training is more than one aspect. Such as: physical training, quality training, technical skills training, artistic expression training, until the stage image shaping training and so on. So as a dancer how can the above content of scientific training? The answer is very simple, that is, the classical dance body rhyme in the unique elements of processing and organization in the form of a combination of training.
The so-called elements, including the basic technique, stance, charisma, breathing, shape, form, point, line and many other core factors, when the dancers in the classical dance training, based on? Starting from the elements, starting from the rhythm? Take? Cloud shoulder and waist turn? and the "wind and fire wheel". Wind and Fire Wheel? and? Swallow through the forest? For example. The cloudy shoulders and waist turn? are both elements and rhymes, elements have rhymes in them, and rhymes are shown through them. Wind and Fire Wheel In the basic training of the waist is a three hundred and sixty degrees of the big ring movement, all twist, tilt, round are in it, there is a very strong vitality, and then to reproduce, both the training value, but also practical value, enough to derive from other movements. This is just like what Prof. Tang said: refining the elements, developing the elements, and utilizing the elements is an effective way to solve the problem of body rhyme training.
Therefore, the classical dance body rhyme training plays an indispensable role in solving the dancer's muscle quality, soft openness, endurance, explosive force, toughness, center of gravity, etc.
The classical dance body rhyme training is the most effective way to solve the problem of the dancer's muscle quality.
1, classical dance body rhyme training for actors in the dance performance of the role of bouncing
Chinese classical dance body rhyme training for actors in the dance performance to do bouncing skills give a great role. It makes the actor's explosive force, flexibility and muscle ability improved. For example: when the actor does double flying swallow jump, the upper body to maintain balance, across the open downward squatting. When the reaction force is up, it is necessary to open the legs horizontally into 180 degrees in the air at the same time, the body should also be leaning forward in the air, and the two hands from both sides of the body under the cover is the whole person in the air to form a sense of air control modeling. If you want to complete this kind of action in the dance performance, then the actor does not have good flexibility and explosiveness is not possible. People often say? There is no good jump without a good squat.
The squat itself is a means of training the flexibility and strength of the leg muscles. In the jump, the squat has two functions: one is the function of borrowing power. That is to say, when the human body from the air to the ground, the use of squat to slow down due to gravity caused by the impact of the force of the joints, the formation of the role of protection. In the fall at the same time using inertia to jump, which can show the existence of borrowed power and explosive force, which is the law of classical dance want to go up first down, and borrowed power instantly stirrups the ground up, so that the jump will be higher. The second is the function of explosive, that is to say, the embodiment of explosive force, for jumping, explosive force determines the speed of jumping, the height and the accuracy of the formation of the dance posture and ornamental, so the explosive force is in the squatting under the role of the formation of the jump. Classical Dance Body Rhythm not only trains the muscular ability of the calf but also trains the reaction ability of the calf. In terms of bouncing, it is outstandingly characterized by: presenting twisting, tilting, turning, flashing, spreading, prancing and moving in the jump. It makes the lateral turn in the air has a new development, which indicates that the characteristics and skills of our classical skills have been strengthened. In recent years, there has also been a substantial development in the composite skills of bouncing, in the air change orientation and skills and techniques of the connection has also been a new improvement, it is due to the jumping skills of the actors in the dance performance and the classical dance body rhyme for the clever combination, so it is the formation and strengthening of the mobility of the classical dance jumps and the linguistic and stylistic characteristics.
2. The role of classical dance body rhyme training on the actor's rotation in the dance performance
The role of classical dance body rhyme training on the actor's rotation in the dance performance is mainly manifested in two aspects:
(1) The role of classical dance body rhyme training on the actor's rotation in the center of gravity in the dance performance
The role of classical dance body rhyme training on the actor's rotation in the dance performance
In the dance performance, the technique of rotation has been recognized as the best way to improve the performance. The technique of rotation in dance performance has been widely used by many choreographers and directors, so how can actors accurately grasp the essence of rotation in dance performance is the most important thing to decide whether the rotation is good or bad. Speaking of the essentials of rotation here I want to talk about the center of gravity of the rotation. Every part of the human body has a center of gravity, all the center of gravity of the combined force concentration point called the total center of the human body. When the actor in the air must be two legs of five tightened, so that the whole body falls vertically within the face, the formation of vertical center of gravity line. When the actor is doing a single-leg center of gravity rotation, the center of gravity of the human body must fall on the supporting surface of a very small half-toe. Take the big dance rotation in the classical Chinese dance body rhyme training, the big dance rotation in the classical dance body rhyme includes? Sweep the hall to explore the sea turn? Back crane turn? Big tuck step? and so on. It is in the process of rotation is mostly the body shape in the twisting and tilting rotation of the dance posture modeling completed, especially? Tilt? The balance of the center of gravity on the turn. So it is because of the classical dance body rhyme training, to ensure that the actors in the dance performance to do this big dance rotation center of gravity of the stability of their own, the actors in order to put these beautiful dance into the rotation to make the dance works more artistic charm.
(2) The role of classical dance body rhyme training on the rotational power of actors in dance performance
In addition to the center of gravity, which is indispensable for actors to do rotational skills in dance performance, power is also a very important factor. There are many parts of the human body can drive the body to rotate, but the spine is a key . The spine is the center of the torso. The spine is the central axis and pillar of the human torso, through which almost all parts of the body can be linked together. Throwing your head hard in the direction of rotation can also generate some momentum for rotation. Such as doing the side leg turn with the power leg toe band, instantly up on the ground, the downward turn is the power leg with the main leg, the reverse turn is the main leg with the power leg. The reason why the actors can perform these rotations so well is that they are not separated from the training of classical dance body rhyme. Classical dance body rhyme training to ensure that the actor's spine sense of uprightness and power at the same time and the actor's inner emotions and their own technical ability to link together, so that the whole process of rotation added to the ornamental.
3, classical dance body rhyme training on the role of actors in the dance performance of the turn
The turn is a more representative of the classical dance body rhyme training skills, it is the axis of the waist, the body in the horizontal line tilt state of the turn, turn, turn the action is always through the wringing, tilting, leaning and side lifting of the form. It is characterized by the fact that in the performance of the dance it can show the unique aesthetic characteristics of classical dance and ? movement? The "sea-exploring turn" is a large-scale slow turn. It is a large-scale slow turn over, in the space of the arc movement as if the waves undulating;? Sucking Leg Turnover? Action to complete the need for agility and speed, to achieve the artistic effect of the rapid as lightning, so that its image and expressive are very strong, they are rich in a variety of different speeds and rhythms in the performance, different connections, thus creating a different artistic sensory effects, but also can show a variety of different feelings and moods. In addition to these turnovers completed on the ground, there are also many turnovers completed in the air in the classical dance body rhyme training. Such as? Cloud Gate Roll? etc. They also have a great importance in the dance performance, these turn over is mainly rely on the strength of the actor's waist to complete. With the continuous development and growth of our country's dance industry, turn over skills also have constant changes and development, air shape more beautiful, the difficulty is obviously increased, showing in the dance appears to be more exciting dance. Enhanced mobility and composite, strengthened contrast, coupled with the tumbling in the air and turn over the easy and difficult contrast, so that the Chinese classical dance is more expressive.