Thoughts on body and rhythm training in classical dance teaching
1. Aesthetic standards of body and rhythm
Body and rhythm are the combination of body and movement The combination of rhythm requires two basic qualities that dancers must have when interpreting classical dance. Only when the body skills are perfect and the rhythm is grasped deeply can classical dance have high aesthetic and artistic value.
Shenfa is a technique that belongs to the external expression of dancers. Over the years, some dance artists have summarized seven elements in their interpretation of classical dance, namely: lifting, sinking, rushing, leaning, and containing. , Yin, Shi, such as "moving with hands, holding hands, pushing hands", etc., are the basic requirements for body skills in classical dance. In addition, the aesthetic standards of bodywork are also reflected in the roundness and continuity of movements, which requires dancers to move smoothly in dance. The flexibility of the body must meet the basic requirements of each movement. Only by being able to move freely can the beauty of classical dance bodywork be demonstrated. Beauty and artistic value.
In comparison, rhythm is another basic quality in classical dance. Rhythm in acoustics is only the external expression of a few notes, while in classical dance teaching, rhythm requires learners not only to be highly sensitive to music, but also to have certain performance qualities. Classical dance teachers emphasize to students in teaching that "if there is nothing in the heart, the body will go in vain", which is the interpretation of rhythm, that is, students are required to pay attention to the understanding of the soul of dance, and use rhythm to integrate movements, character images, character psychology and even natural phenomena. To show it, we not only pay attention to "similarity in appearance", but also pay more attention to "similarity in spirit".
2. Key points of body and rhythm training
(1) "Xing" refers to the student's posture. In short, it is the student's movement skills. Each body must be integrated through body techniques. This form is deduced, emphasizing the beauty of the curves of twisting, rounding, tilting, bending, tilting, bending, turning and curling, and the inner temperament of being strong, upright, implicit and flexible.
(2) "Shen" is the artistic expression of verve, which is the soul of classical dance. If any dance lacks verve, the dance will also lose its artistic value. For example, in the dance of the famous dance artist Yang Liping, what the audience sees in Yang Liping's dance is not only the movement form, but more of the charm. Taiwanese and Southeast Asian audiences praised Yang Liping for the "fairy spirit" flowing in her body, which originated from Her expression of verve in dance.
(3) "Jin" refers to the grasp of strength in classical dance. Men need to use strength to show masculine beauty in dance, while women need to use strength to express the lines of movements in dance. Beautiful, showing the free and elegant movement. "Jin" is generally expressed in the finishing movements. The key point of training is to use the force on the outer ends of the limbs such as hands, feet, head, etc., to be able to achieve "the force comes from the heart and is exposed to the outside", such as "inch Jin" in classical dance , refers to using an inch of force to add the finishing touch when making an appearance, while "contrary force" refers to giving the movement a strong reaction force at the end of the movement, thereby creating an artistic effect of "the form stops but the spirit continues" .
(4) In music, the original meaning of "tempo" refers to the beat of music, while in classical dance teaching, "tempo" refers to the rhythm of body movements and the unnatural laws of movement. "Rhythm" can be divided into regular rhythm and anti-rhythm. First, regular rhythm refers to the integration of dance movements with the beat of music, which is mainly reflected in the pauses or continuity in dance movements. It must conform to the rhythm of music and grasp the rhythm of movements. That is to say, it reflects the rhythm of the movements; secondly, anti-rhythm is the most important movement element in classical dance teaching. Anti-rhythm is reflected in the reverse nature of the movements, such as "double shaking hands". When the arms swing to the left, the body naturally leans to the right. , only in this way can the charm and mellowness of the movements be shown. Another example is that an movement should be pulled upwards, but suddenly goes straight down, thus creating an artistic effect of peaks and peaks. Therefore, "rhythm" is the most important training link in body rhythm training. .
3. Training methods of body and rhythm
(1) Element training
In classical dance teaching, elements refer to single movements. At present, some teachers often use a set of movements as a unit when teaching body and rhyme, which is a great challenge for beginners.
Elemental training starts from a single movement, such as horizontal twisting, side lifting, hand threading, etc. After learning a stage and then connecting them, students can better master the essentials of the movements.
(2) Unit training
The so-called unit training refers to some short and independent unit actions that are composed of several elements and are performed between combined trainings. Training, such as shaking sleeves, raising sleeves, extending and retracting sleeves, etc. The fundamental purpose of unit training is to improve students' certain movement skills or improve physical conditions, so that students can better master the basic rules of body rhythm. .
(3) Sketch training
Sketch training is a key link in classical dance body and rhythm training. From the perspective of the connotation of classical dance, its theme comes from life, so in Performance on stage must also be relevant to life. Sketch training refers to simulating a life scene, allowing students to interpret and express these scenes through dance based on their own understanding, thereby strengthening students' understanding of the connotation of dance and improving students' performance ability.
Conclusion: In classical dance teaching, body and rhythm training can not only help students master and understand the movement patterns of the body, better coordinate dance movements with music melody and rhythm, but also help students develop good skills. The sense of dance, feeling the unique artistic charm of Chinese dance, and experiencing national emotions play an important role. Body and rhythm training vividly expresses the traditional, restrained and implicit character traits of the Chinese people, and also brings into full play the unique charm of Chinese classical dance. Therefore, as the artistic soul of classical dance, body and rhythm training is not only the basis of classical dance teaching, but also the foundation of classical dance teaching. It is the core link in teaching. ;