China folk dance is the source of Chinese traditional dance art, and each nation and region has its own characteristics in history, culture and religious belief, forming the distinctive features of China folk dance with various forms, styles and dynamic rhythms. There are many kinds of Tibetan folk dances with different styles due to different regions, among which string dance, pot village and tap dance are the representatives. The artistic expression forms are different, but the external form and dynamic characteristics are unified in structure. As far as Tibetan dance is concerned, it is not only related to the natural environment, national character and clothing, but also has religious psychological traces. But from the perspective of dance, it has artistic creation and strong local color.
1. The purpose of physical training is to make us have the basic qualities of Tibetan folk dance and fully grasp the basic dynamics of dance. Awangkun, a Tibetan dance scholar, summed up the dynamic characteristics of Tibetan dance in five words, namely, trembling, opening, smooth, left and winding. Therefore, physical training emphasizes the vibration and flexion and extension of the knee. Tibetan dance has stylized dance movements and rhythms, with lower limb movements and knee tremors as the core. "Tremor" includes big tremors, small tremors, soft tremors, hard tremors, torsional tremors and swinging tremors. For example, in string dance, "vibrato" runs through typical dances such as "twisting waist", "dragging step" and "turning over step by step". Therefore, Tibetan dance has "unyielding and unsuccessful, you must bend and then move." "Shun", "Left" and "Winding" are the dynamic characteristics of Tibetan upper limb dance sleeves. "Shun" is a unique coordination mode of Tibetan dance, which comes from the action mode of "raising your hand when singing and throwing your hand when stepping". Have dancing sleeves; There are many forms such as throwing, swinging, pulling and winding, but with "winding" as the core, there are: big winding, small winding, arm winding, elbow winding and inner winding. These different dance movements have consistent regularity. Artists should perfectly express literal meaning with body movements, which is the purpose of actor's body training.
Second, the artistic treatment of action rhythm is the sublimation of dance performance technology.
Dance is an X-ray of human beings. After rehearsal, organization and processing, human rhythmic movements are the main means to express people's thoughts and feelings and reflect social life. Action and rhythm are the main forms of expression. Because dance is a dynamic art, its training mainly focuses on the posture, rhythm and quality of action. That is to say, any part or part of the dancer's body causes a long or short rhythm, and the amplitude and strength of the action and the speed, strength and speed of the action are different, which forms the dance action skills. In Humphrey's dance concept: strengthen students' physical strength, flexibility, control and endurance-that is, the motor skills necessary for training performances. Then we can understand the potential of rhythm, rhythm and posture, and creatively use and process them to enhance the expressive force of movements in dance performances. Gorky once said: "If an artist does not master the skills, even the richest feelings will be paralyzed."
In dance, rhythm is the strength of dance, and emotion is the supplement of dance content. Being able to properly handle the rhythm of movements shows that the dancer's ability to grasp the limbs has reached a certain level. For example, in the large-scale music and dance "Everest", when men and women were inspired by braids, the whole music and dance reached a climax, and the actress's drum ironing skills reached a perfect level, no matter how fast, neat, clean and beautiful the top drum rotation, drum rotation and drum rotation were. Actors' braids encourage them to dance with more momentum and have a wild beauty. They throw their braids and play drums freely, and the rhythm changes from slow to fast. When the atmosphere reached its climax, there were other male stunts, such as "lying flat", "one leg sucking and turning" and "tiger leaping and turning". The atmosphere is unusually warm, which is the artistic appeal produced by superb inspirational skills and rich snow style. There is a coherent and balanced movement, and the continuity of these movements is regular and rhythmic. In the process of fast movement, you must have absolute power to control your body. It is through these movements, rhythms and postures that the actors show their unique artistic style and dance performance skills.
The artistic treatment of rhythmic movements can also naturally show the same and different types of feelings in dances with extremely strong emotional colors. Action is closely combined with venting life feelings and setting off the atmosphere, which is the materialization of dancers' inner passion. Dancers express their inner feelings through the intensity and length of the rhythm. Excellent dance artists will indirectly express their inner feelings through the change of action rhythm. For example, Mother successfully created a great and ordinary mother image by using the slow and dignified body language characteristics of Tibetans and through artistic movement rhythm, dance modeling and dynamics. In addition, expressing emotions can also reflect the emotional quality of the actors themselves. For example, the Tibetan Military Region Art Troupe performed the dance Sweet Butter. Under the cheerful and brisk music rhythm, a group of hardworking Tibetan girls changed the traditional Tibetan forward posture into a chest-holding posture and ran out rhythmically. In the period without music accompaniment, through the exaggerated twisting of the body, human voice and language not only convey the meaning, but also blend into the dance as rhythm and emotion, making the labor scene very popular. After the artistic treatment of the body, the movement rhythm not only keeps the unique movement rhythm of Tibetan dance, but also fully shows the spiritual outlook of the wealthy class in Tibet. In addition, it shows the vivid and unrestrained image of Tibetan girls in the display of national personality, which not only inherits the traditional Tibetan style, but also injects new movement and rhythm elements, directly expressing inner feelings in the dance, making it a dance with great flavor of the times. The artistic treatment of movement rhythm is our grasp of body movement skills. Through the organic combination of rhythm, movement and expression, different visual images and psychological and emotional connotations are constructed. In this way, we can glow the artistic charm of the people in the dance performance. With the formation and communication of language, each nation has produced the most suitable dance rhythm and tune, and formed the most suitable dance rhythm for its own personality expression. Guo Zhuang: The dynamic rhythm is strong, continuous and pause. The trunk and upper limbs move with the pace, with a large amplitude, and waving double sleeves up and down is powerful. The dance steps are mainly lifting, jumping, stamping and stepping, with a strong sense of rhythm, showing a simple and honest Tibetan character. Therefore, when learning Tibetan dance, we must constantly experience the contrast between strength and movement, and constantly modify the dance movements with the speed and height of the movement range. Through rhythm, all kinds of movements are organically organized and linked according to the needs of dance content, so as to enhance the expressive force of dance movements. Dance is a kind of entertainment, a cry, and a method of self-detachment. It embodies the existence of beauty like all rhythms and all human pulses.
Dance is inseparable from rhythm, just as life is inseparable from breathing. Constructing dance with proper movement rhythm is like adjusting breathing to make life smooth and smooth. In addition, to deal with the rhythm problem, we should not only work hard from the dance itself, but also strengthen the cultivation of the quality of music theory and care for the life full of rhythm and rhythm. As teacher Yu Ping emphasized, "Don't forget that kung fu is outside the dance".
To sum up, as a professional dancer, if you want to dance Tibetan dance well and reach a certain artistic level, you must go through three stages: first, you must work hard to carry out physical training. Good dancers start training from muscles, which is a contest between body and will; Secondly, grasping the characteristics of dance style is to improve the dynamic characteristics of limbs. Actors are the second creators of works. As long as we keep learning and accumulating knowledge, the expressive force of our actions will be "internalized". Third, in the grasp of action rhythm processing. We should not only have exquisite skills to express the dance content, but also put our feelings into the technology to sublimate the performance skills. Through the above analysis, the three processes are promoted layer by layer, and the latter is the sublimation of the former, while the former forms a practical norm because of its basic training for the latter. Therefore, these three aspects of learning should be slow and steady, and should not be neglected. "Plum blossoms are fragrant without frost." As long as we are willing to work hard and train according to scientific methods, we can all become "darlings" on the stage.
Thirdly, grasping the style characteristics of dance is to improve the dynamic characteristics of limbs.
After mastering the basic dynamics of Tibetan dance, we need to inject connotation into this shell with only formal significance. We often pay attention to the action, but not the internal basis of the action, and are in a state of aimlessness and mechanical blank, that is to say, we have not grasped the style and characteristics of dance well. Goethe famously said, "Reality is more talented than my genius". I think to appreciate the ancient Tibetan folk culture, it is best to put yourself on the Qinghai-Tibet Plateau to live and experience. Only in this way can the national cultural consciousness take root in our thinking and show the Tibetan style connotation in dance. Dance itself is a kind of culture. When we dance a certain ethnic group, we interpret the culture of a certain ethnic group. How to grasp the "style" of Tibetan dance? First of all, we should strengthen our understanding of Tibetan culture, feel their living environment, folk customs and religious beliefs, and understand things related to the national survival consciousness. For example, the movement of Tibetan dance is generally clockwise from left to right, which is consistent with the direction of "turning the scriptures" in its teachings. "Guo Zhuang" also retains the simulation of animals, stepping on knots and dancing in circles.
In the training of limbs, we should also pay attention to our own physical experience of dance noumenon, so as to produce aesthetic effects in our hearts. For example, our aesthetic experience of string dance should be: gentle movements, long sleeves and light Buddha, stretching and continuous dance. Tap dancing is a kind of aesthetic consciousness with distinct rhythm, cheerful mood, enthusiastic action and flexible feet. This requires us not only to grasp the style and form of dance, but also to pay attention to the beauty of action in the usual training. In addition, enjoy more performances and learn more works, literature and some developing dance languages. It is easier for us to grasp the style and characteristics of Tibetan dance by constructing an entity of Tibetan culture in our own psychology and understanding the symbolic significance of dance and modeling.