What are the basic skills of classical dance? Mr. Li Zhengyi said that the six parties are perfect, three sections are natural, hand-in-hand and eye-in-hand, and generous. These sixteen words vividly reflect the points that should be paid attention to in the rhyme of classical dance. This is what the basic skills of classical dance need to do most. Love to learn art and share with you how to do the basic skills of these sixteen words well. The following is the basic skills of classical dance that I arranged for you for your reference, hoping to help friends in need.

What are the basic skills of classical dance?

Hexagonal perfection

Six parties refer to six directions, namely, up, down, left, right, front and back. And; Perfection, I think, can be understood separately or together. Together, dancers are required to maximize the rhythm and rhythm of their movements in these six directions and be full of music. We should fully embody the form of each movement in the dance music. The individual interpretation embodies and highlights the basic characteristics of China classical dance; Round. Classical dance is exquisite; Round, which also reveals classical dance and ballet; Direct difference is formed by the infiltration of Confucian culture; A dance form with China characteristics-Yuan.

Circle is a trend, a movement route and an idea of dance. The action of classical dance is not simple imitation, but unique to classical dance on the basis of completing the action; Qi and harmony; Rhyme, if the theme of classical dance is body rhyme, then; The form requirement of circle is the essence of China's classical dance spirit.

Three parts of nature

We all know that the three stanzas in ballet refer to hip, knee and ankle. In classical dance, the big three sections refer to: shoulders, elbows and wrists. In the basic training class of classical dance in junior year, we learned the sleeves. In the process of learning sleeves, we make good use of the coordination of shoulders, elbows and wrists. Almost all the movements of sleeves use shoulders, elbows and wrists, so I want to explain the three natural characteristics of shoulders, elbows and wrists from the direction of sleeves.

The coordination and unity of wrist, elbow, shoulder and fingertips is the key to dancing sleeves well. This must be coordinated; Three quarters. In terms of weapons; Three segments, the hand is a small segment, the elbow is a middle segment, and the shoulder is a root segment; In terms of legs, the foot is slightly jointed, the knee is the middle joint, and the crotch is the root joint; ; The three stages are not only the procedure of external movements after water sleeve dancing, but also the necessary channel for internal forces to complete each water sleeve performance.

From the external action, first of all, it requires the mutual symmetry of the head, waist and feet and the balance of strength; Secondly, the unity and cooperation of hip, knee and foot; Then the shoulders, elbows and wrists. The so-called chase is to distinguish the primary and secondary relationship of the action, the strength of each part, the size of the range of activities and so on. The relationship between shoulder, elbow and wrist and exercise is subtle, which not only promotes each other, but also restricts each other. This is the relationship between coordination and unity, so as to be loose, coordinated, tight inside and loose outside, straight and hidden, rigid and soft; There is movement in silence, and there is stillness in movement. Only by dancing can we handle the sleeves in motion; There is a point in the line; The relationship between the external movements of connecting lines in acupoints and the internal rhythm level and contrast of the body. From the whole process of sleeve technology, it follows the gradual teaching law from simple to complex, from dynamic method, action, short sentences to combination.

Hand-eye contact

Dance itself has the function of expressing feelings, and classical dance is reflected in this respect, which is always mentioned by the teacher in the body rhyme class; Essence, qi and spirit. After all, dance is a kind of performance, which comes from life. In fact, the training of China's classical dance body rhyme has long summarized these in detail: full of vitality; Hands, eyes, body, posture and steps. The coordination of hands and eyes is the characteristic of classical body rhyme, but it is often ignored.

As the saying goes: hands reach, feet follow; Where feelings go, hearts follow; Where the heart goes, the feelings follow; Where feelings go, the taste follows.

People often say; The eyes are the windows to the soul. Eyes are vivid tools, but eyes are vivid; Gathering, releasing, coagulating, and collecting do not refer to the movement of the eyeball itself, but the results expressed by the connotation and psychological rhythm, indicating that body rhyme dominates everything. ; The formula of "the form has not moved, God goes first, the form has stopped, and God is more than that" vividly and accurately explains the connection and relationship between form and God. Only by using these dances comprehensively; Only the artistic skills of body rhyme can produce emotional communication and artistic interaction on and off the stage, and can make the radial dance form a dialogue with the audience and produce shocking artistic effects.

In China's classical dance, there are; China classical dancers attach great importance to the vividness and connotation of eyes. They put ordinary people's; Look at artistry, express secular desires through eyes and show the inner world of the characters to the audience. If there is nothing in your eyes, no matter how beautiful the dance is, it will be as pale as paper and it will be difficult to attract the audience.

Loose stretching

China classical dance is a combination of China traditional drama, martial arts, ballet and Han and Tang dances. It is a kind of dance that combines various art forms. Therefore, many movements in classical dance include the characteristics of traditional Chinese opera, martial arts, ballet and Han and Tang dances, but there are also great differences. The action of classical dance pays attention to stretching and generosity, which can be literally understood as: for the action of classical dance, the action of classical dance should be stretched in the atmosphere, not tacky and unconstrained, the action should show the release of the whole body, and the action should be unconventional and give full play to the whole body.

Dance Wushu is not only instantaneous, but also has a thrilling visual impression because its shape is different from other disciplines and the position of human body in the air is also strange. Dance is an art that pays attention to beauty, which is the particularity that distinguishes dance from martial arts, but it should also emphasize the unity of dance skills and classical dance aesthetics, that is, the aesthetic problem of dance. Just like China traditional opera pays attention to skills; Fast, compact, floating and slippery, but lacking in stretching and generosity, while classical dance is very skillful; Lightness, stretch and atmosphere.

Therefore, the stage performance technology, skill teaching and training are very different from other martial arts training. In addition, in skill training, dance has a wide range of applications, long lines and elegant shapes, emphasizing softness, openness, jumping and straightness, and highlighting the beauty of curves, which are in line with the aesthetic concept of dance. Only in this way can the characteristics of classical dance be more prominent, the visual impression it gives people in an instant can be more profound, and the characters it creates can be more typical and aesthetic; Even the art of Chinese drama, which is good at martial arts, has absorbed the beauty of classical dance in the performance and daily training of martial arts in recent years, and is also pursuing the beauty of stretching and lines. In normal study, work and life, everyone must have been exposed to some commonly used slogans, which have very obvious characteristics of the times and industries. So what kind of slogan is more infectious? The following is the propaganda language of safety operation norms I have compiled, hoping to help everyone. In normal study, work and life, everyone must have been exposed to some commonly used slogans, which have very obvious characteristics of the times and industries. So what kind of slogan is more infectious? The following is the propaganda language of safety operation norms I have compiled, hoping to help everyone. In normal study, work and life, everyone must have been exposed to some commonly used slogans, which have very obvious characteristics of the times and industries. So what kind of slogan is more infectious? The following is the propaganda language of safety operation norms I have compiled, hoping to help everyone.

Extended data:

Dance forms of classical dance

Many countries and nations in the world have their own unique styles of classical dance. Throughout the world, various countries have gradually accumulated and formed traditional dances with exemplary significance and unique style in the long history of their own nation. Classical dance is mainly divided into the following categories according to the region:

1, Chinese style

China classical dance was once called "drama dance" by some people. It is a mixture of drama and dance, and most of the dance movements handed down are preserved in drama and dance; Some dance postures and shapes are preserved in China's grotto murals, sculptures, stone reliefs, brick reliefs and terracotta figures, as well as paintings and decorative dance images on various unearthed cultural relics. There are also a lot of detailed descriptions of past dance images in China literature and history materials.

Since the 1950s, China dancers have made great achievements in the research, arrangement, reappearance and development of China classical dance, established a set of China classical dance teaching materials, and created a large number of dance and ballet works with the style of China classical dance, forming a delicate and mellow, rigid and flexible combination, blending of scene and skill, precision, spirit, hand, eye, body, method and step.

2. European style

European classical dance is generally called ballet. Ballet is a transliteration of French ballet. The classical dance dramas of European countries are collectively called ballet, which is a kind of dance variety with European classical dance as the main means of expression and integrating music, drama, stage art and other artistic forms. Because an important feature of its performance technique is that actresses have to wear special tiptoe shoes and dance on tiptoe, it is commonly known as "tiptoe dance". According to legend, ballet originated in Italy, formed in France, and was introduced to Russia in the18th century. At the end of18th century and the beginning of19th century, it became an independent and complete art form, created tiptoe dancing skills, developed various aerial jumping and spinning skills, and produced a whole set of training methods, gradually forming Italian school, French school and Russian school with different styles and characteristics. Modern ballet schools appeared after the 1920s, and many ballet schools were derived one after another, which became popular in Europe and America.

3. Indian style

It consists of six traditional dance departments: Brahma, Kartak, Kadakali, Manipuli, Odisi and Kuchipudi. Its main artistic features are clear rhythm and rhythm of dance movements, strong modeling, colorful dance sign language, delicate facial expressions and rich connotations.

Style characteristics of classical dance

"Body rhyme" is the general term for "body method" and "rhythm". "Body" belongs to the external technique category, and "rhythm" belongs to the artistic connotation. Only by organically combining and infiltrating them can we truly embody the style and aesthetic essence of China classical dance. In other words, "body rhyme" means "having both form and spirit, integrating body and mind, and integrating inside and outside", which is an indispensable symbol of China classical dance and the artistic soul of China classical dance. Although the source of style of body rhyme is obvious, it can no longer be called "drama dance", and its transformation from drama to dance has been basically completed. It got rid of the ever-changing roles of opera and dance. However, no matter how it changes, it is the same. This "one" and this "change" are both rare figures in art and the essence of artistic aesthetics.

A mature national dancer's action on the stage has aesthetic value and artistic charm, because it embodies the high integration of "form, spirit, strength and rhyme" and is an important expression of the body rhyme of China classical dance. "Form, spirit, strength and rhyme", as the basic action elements of body rhyme, highly summarizes all the connotations of body rhyme. Form, that is, external action, includes the movement line connected by posture and its action. God, that is, charm and mind, is the dominant part. Strength is strength, which includes the artistic treatment of the relationship between priority, strength and softness. Law, that is, the movement law of the action itself. The relationship between these four elements of action is to achieve unity of form and spirit through force and law. Its law is "harmony between heart and heart, harmony between heart and qi, harmony between qi and force, harmony between force and form". These are incisive generalizations and refinements. These words and basic movements are highly unified and harmonious, which constitutes a dance aesthetic theory with China characteristics.

Body rhyme follows the movement rules of "starting from the opposite side" such as "wanting left before right", "wanting up before down" and "wanting to open before closing", and the route rules of "three circles" such as "flat circle, vertical circle and figure-eight circle" are just like the grammar of body rhyme language.

These aspects constitute the internal structure of body rhyme language, and the expression of body rhyme "shape, spirit, strength and rhyme" makes China dance have the dance aesthetics with China cultural characteristics.

Basic elements of classical dance

1, shape

Form refers to actions beyond form. It is manifested in various postures, ever-changing movements and their connections. All visible forms and processes can be called "shapes". Form is the most basic feature of image art, the attachment of classical dance charm and the media of classical dance beauty.

China's dance emphasizes "twisting, slanting, roundness and bending", the curvaceous beauty of upturning, slanting, turning and warping, and the inherent temperament of "vigorous, straight, implicit and flexible". From the unearthed tomb figures and Dunhuang murals, it is not difficult to see that this point has been in the same strain since ancient times and has been constantly developing and evolving. For example, the figures in the Qin and Han Dynasties, the three bends in the Tang Dynasty, the meridian, the yin and yang, and the twist in the traditional Chinese opera dance, the rolling, twisting, turning and tenacity in the Chinese folk dance Jiaozhou Yangko, and the blocking, exploring, twisting and tenacity in Haiyang Yangko. Mastering the curvaceous beauty of posture and modeling also requires corresponding qualities and abilities.

2. God

Here refers to the connotation, spirit, rhythm and temperament. Any art without charm can be said to have no soul. Charm is an extremely important concept in China's literary criticism. Whether we talk about poetry, painting, music and calligraphy, we can't do without the word verve. In the movement of human body in classical dance, verve can be recognized and felt. Moreover, only by grasping the "god" can "form" have vitality.

In the concept of mind, body rhyme emphasizes the connotation of Yun Qi, breath and idea. Emphasize verve and inner feelings. In the relationship between form and god, god is put in the first place, and it is this concept and emotion of "leading form with god and conveying spirit with form" that creates the rhyme of body rhyme. It can be said that without rhyme, there would be no China classical dance. Without the stimulation and drive of inner feelings, the most important brilliance of China classical dance will be lost.

"Heart and mind, mind and qi, qi and force, force and shape". The so-called "heart, mind and spirit" is the embodiment of "verve". People often say that the eyes are the windows of the soul and vivid tools, but the "gathering, releasing, condensing, closing and closing" of the eyes does not refer to the movement of the eyeball itself, but the result expressed by the connotation and psychological rhythm, which just shows that verve dominates everything. "The shape has not moved, God leads first, the shape has stopped, and God has not stopped." This formula vividly and accurately explains the connection and relationship between form and god.

3. Strength

"The running rhythm of China classical dance is often different from the conventional 2/4, 3/4 and 4/4 music. More often, it is carried out at a regular "elastic" rhythm, loose but not slow, tight but not chaotic, static in motion, leisure in static, and moving in motion. " "Body rhyme" means that the strength of training dancers is not uniform, but there should be contrast and difference between lightness, urgency, length, frustration, symbolic point, segmentation and extension. These rhythm symbols are expressed by human actions, which is the application of truly mastering and understanding "strength". "Strength" not only runs through the process of action, but also is very important at the end of the action. No matter China traditional opera, ballet or martial arts routines, they all attach great importance to the instantaneous rhythm before the end of the action, and China classical dance is no exception. It has the following typical appearance strength: "inch strength"-posture, angle and orientation are all ready, and the strength between one inch is used to "make the finishing point". Contrast strength "-give a strong reaction to the posture modeling that is coming to an end, so as to strengthen and contrast the final modeling. God's power "-everything has been completed, with the sense of extension of eyes and limbs to make it" the shape has stopped but God has not stopped. " In addition, there are strength differences such as "softness in rigidity", "brittleness in toughness" and "slowness in urgency".

4. Law

"Anti-French" is unique to classical dance, which can produce ever-changing, confusing and ever-changing movements of human body. From every specific movement, there is also a saying that "everything starts from the opposite side", that is, "everything must be done from the left, everything must be done from the left, everything must be done from the opening, and everything must be done from the front". It is these special laws that produce the special aesthetics of classical dance. Whether it's smooth sailing at one stroke, facing fortune or "starting from the opposite side", it embodies the beauty of China classical dance, which is the essence of China's "dancing method".

Essentials of classical dance movements

1, rotate

The rotation technique in the basic training of China classical dance is mainly characterized by twisting structure, which is quite different from the rotation technique in the basic training of ballet. The rotation in ballet basic training is linear, and most of them are three-dimensional composition on the basis of forehead to shape the image. So the action is long and stretched, and the sense of extension is very strong. The drive of the body, the drive of the arm and the drive of the span are all very important, and the rotation depends on the coordination of the whole body. The rotation in the basic training of China classical dance, besides the straight rotation, is characterized by the figure rotation in the twisting and tilting dances, especially the balance center of gravity rotation in the tilting dance, which is shaped by the vertical composition of the upper and lower parts. Therefore, the movements are slender in dexterity, continuous in rapid flight, and morphological changes in the rotating spiral, such as turning the legs back to the chest and then turning sideways.

The characteristics of waist-driven rotation lead to various "movements" in the basic training of China classical dance, and most of them are made in the process of moving. Such as striding, sweeping the hall and exploring the sea.

In the basic training of China classical dance, national dance has a strong "posture", and some national dances turn around, which can be said to be the continuation and exaggeration of posture.

The mobility and complexity of the national dance turn are relatively strong, and the space changes greatly, such as the bottom-up or top-down turn, and the combination and flow characteristics of various dances during the turn.

Step 2 hand over

Turning over is a unique skill form in the basic training of China classical dance. It is the rotation of the body with the waist as the axis and the horizontal line inclined. The action runs through the form of twisting, leaning, leaning and lifting from beginning to end.

Strong nationality

A strong image

Strong expressive force

3. Huge

In the basic training of China classical dance, bouncing requires light floating in the method of exertion, elastic combination in the process of action, concentrated exertion, fast process, and emphasis on "strength at the root, strength at the tip" and "inch strength". In terms of bouncing, the characteristics of our nation are becoming more and more obvious and the difficulty is getting bigger and bigger. [5]

Step 4: rhythm

The characteristics of classical dance in rhythm are also outstanding, which is inseparable from the characteristics of our national music. Our national music rarely has the rhythm of strength, unity of laws and rhythm as that of western music, and is generally characterized by the combination of elastic rhythm and point and line. The rhythm is mostly attached (rushed) or syncopated (rushed) or pushed at both ends in the middle, or pushed at both ends in the middle, or slowly pressed, or slowly pressed, and so on. Therefore, the internal rhythm of movement, such as softness, movement, urgency, release, throughput ... cadence, combination of point, line and surface, etc. , produce our specific dynamic characteristics and sense of rhythm.

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