Footsteps, also known as catwalks. Although it is only a small part in the comprehensive art of traditional Chinese opera, its function is very important. It is the most basic physical training and an indispensable part of the means of traditional Chinese opera performance. The following is a detailed explanation of the steps of Peking Opera. Welcome to read:
Characteristics of Mei Pai's footsteps:
Mr. Mei has good natural conditions, and the characters in the play are mostly court aristocrats, queens, princesses or ladies mainly in Tsing Yi. Therefore, the footsteps he created have the characteristics of dignity and generosity, which are different from those of ordinary Tsing Yi.
Mei Pai's footsteps began to be slightly larger. As the waist column was lifted, the first feet were a little off the ground, and then the heels slowly landed, driving the upper body. With the waist swinging direction, the vibration is very small, so that the human eye can just see it, giving people a feeling as if nothing has happened, and then set out to step down on the sole and start the second step again. This way of walking seems to give people a generous, luxurious and elegant aesthetic feeling. This kind of footsteps and walking methods are used in the characters of good families, giving people a feeling of femininity, gentleness and lightness; If it is used on the luxurious figures in the court, it will give people a sense of dignity, pride and dignity.
This kind of footwork is elegant and gives people a sense of beauty. It is characterized by jumping at first, but you can't squat because the main leg is not bent. If you can't master it, it's not easy to walk well, let alone master it and use it properly. Mr. May doesn't always start like this. He uses it according to the needs of different roles in different plays, which is the essence of Mei Pai's footsteps.
Characteristics of Cheng Pai's footsteps:
Mr. Cheng is tall and burly, but most of his performances are images of poor and weak women or slim and luxurious women in ancient times. In order to shorten the physical distance between himself and the characters, Mr. Cheng created a unique style of footsteps according to his own characteristics. This kind of step is very laborious, with long stride and long distance between feet. The main leg of the step bends downward. When the right foot is raised, the body leans about 25 degrees to the left with the waist, and then the sole of the foot is forced and pushed forward. The main leg should be slightly bent when following. In this step, the calf should be hard besides the ankle.
Some people say that Mr. Cheng took the gossip step, but in fact, Mr. Cheng adopted Tai Ji Chuan's footwork, beautified it and used it in his own footsteps. Performing a character with this kind of footsteps, when he appears on the stage, gives the impression that the character image is relatively flat and thin, because he almost appears sideways in front of the audience. This kind of gentle and firm footsteps makes people feel that the characters in the play are simple and generous, gentle and deep, and have a sense of melancholy. Mr. Cheng gave full play to the role of Yin-Yang Classics in the art of traditional Chinese opera. Although tall and burly, she appeared on the stage as an ancient woman, acting like everything.
The characteristics of the footsteps on the school:
"Princess Hamming" is Mr. Shang's specialty. He plays the role of heroine and heroine among women, so his footsteps have distinct characteristics. The footsteps of Shangpai began to be calm, and the feet followed the ground more steadily. When the soles of the feet are pressed down, then press the forefoot and toes hard, and then the upper body should lean forward slightly. This is a slow walking method.
When walking at a brisk pace (circus), he usually bends his legs, steps, keeps in shape and runs long, that is, when he first starts running the circus, his legs should be flexed quickly. At this time, the body leans forward to the left, the upper body bends slightly, then the legs are gradually straightened, and then the upper body should stand up slowly and grow again. This kind of step gives people a feeling. This kind of footsteps, when applied to the characters, especially when they first appeared, will make people feel bright, free and easy, full of life breath, and more able to show their temperament. Walking at a brisk pace, especially in the process of showing the generals fighting for hegemony and riding while walking, and in the scene of provoking battles, gives people explosive power and fighting capacity, and can better show the heroic spirit of ancient female heroes in the war.
Characteristics of Xun School's footsteps:
Xunzi's footsteps look casual, big and fast, some close to those of modern people, and sometimes all his feet touch the ground. He created this special step according to the needs of his role. Most of his roles are innocent little girls, ordinary girls and the like. His footsteps can reflect the personality characteristics of liveliness, integrity, chic, passion and vitality when used in characters.
In addition, in order to describe the special psychology of girls, he also used the slow walking method of dragging his feet and legs. He used the performance law of China traditional opera program "Want to be ahead, want to be left first, want to be right first" to create a unique pace: when you want to move forward, you should start with a big step, separate your legs, pull back your upper body and hind legs, pause for a while, and then get up and start moving forward. This step is not only beautiful, but also handsome and beautiful, and can grasp the rhythm flexibly and use it freely.
From the characteristics of the footsteps of the above four famous schools, we can see that the footsteps are closely related to the characters, personality, age and characteristics in the play. The reason to list the characteristics of the four famous footwork is nothing more than to illustrate the importance of footwork.
The way and usage of Dan Jiao's footsteps;
A, Dan jiao's footsteps:
Basically, it can be divided into steps of Tsing Yi, Hua Dan, Cai Dan, Lao Dan and roundabout. If we subdivide it a little, we can also have boudoir steps, knife-horse Udan steps and flower-shirt steps (Cai Dan steps and Lao Dan steps are not mentioned here).
1, Tsing Yi Footstep: "Learn the beauty of peacock in dance steps", which vividly illustrates the basic footwork requirements of all dance steps, also called basic footwork. Use it when you are enlightened. Its key formula is: "relax, head straight, shoulders flat, abdomen closed, waist upright, hips stable, palms pressed against ankles".
The requirements are: stand up your neck, look straight ahead, relax your shoulders, stand upright, maintain your strength, tuck in your abdomen, close your chest, and be at most half a step away from the back toe of the main force. At the beginning, you should keep your hips unstable. When you land, your heel will land slowly, and your body will follow you forward. Your feet will press down with your heels (also called stepping) and your feet will land. At this time, the feet that began to land were like carp.
In addition, let me briefly talk about the drunken step: its basic footwork is the Tsing Yi step. At the beginning of the drunken step, take a bigger step, for example, on your right foot, take a half step to the left and take a bigger step. When the upper body leans to the right and rear, it is opposite to the direction of the previous step, and the main leg (without the leg of the previous step) should hold on. When the front foot lands, the body should lean to the left and front, although it is backward.
2. Hua Dan's footstep: Its formula is: "The basic footstep is still to walk, the waist column is slightly twisted, the shoulders are loose and the arms are bent like willows, and the elbows are swinging orchid hands".
The requirements for walking are: based on the footsteps of Tsing Yi, the rhythm should be light, the footsteps at the foot should be closely coordinated with the head, eyes, waist, arms and hands, the waist should be supported, the column bones should be twisted, the head should be slightly tilted, the eyes should be lifted to the eyelids, the cheekbones should be lifted (so as to produce smiling eyes), the arms should droop naturally, the elbows should be round, and the wrists should be slightly tilted.
3. Rounding step: The formula is: "Raise your head and pull the waistline. It is very important to start the calf, and the knee-clamping step should be small, just like sailing on water."
Roundness is used in all walks of life, and the basic footwork comes from Tsing Yi. The key points are: when walking, the head and heart should be pulled up, look straight ahead, the upper body should be stable, the middle and lower three qi should be lifted, the pedaling moment should be small, the starting foot should fall on the arch of the main leg (that is, half foot), and it is important for the thigh to drive the calf, so that the circle can be fast, flat and stable, and the foot should be hard when running.
4. The footsteps of Knife Horse and wudan: There is no special footsteps in this line, just two points. (1) its basic footwork is inseparable from the footsteps of tsing yi, but it must be skillful. In literary dramas, the pace of walking should be accelerated and powerful, and the gesture is generally to pinch the waist and press the palm to lift the armor: in dance and martial arts, you should use round steps, your feet should be skilled and light, and your upper body and arms should dance freely. (2) Chivalrous footwork: This special footwork is different from Tsing Yi footwork. It adopts some characteristics of male footwork. The walking method is: when starting, the toes are tilted outward, the heels are kicked, and the hips are opened slightly, with a big step, which is equivalent to a foot's distance, and it falls obliquely in front of you. When stepping down, your feet should be fast and powerful, your upper body should be slightly tilted with your starting foot, and your starting foot should turn slightly, so that you can walk smartly. This kind of footsteps can only play the role of embellishment, and can not be used for the whole play. For example, in the play Yue Lai Dian, thirteen sisters signed up for a performance, and they could walk a few steps by singing a song, and then stopped three horses. For another example, when He Yufeng went to Yuelai Store to find An Gongzi's Fish under the Big Gong, he could take a few steps to show his character with this special step.
5. Footsteps in the boudoir: There are no special footsteps in this line. This trade is between Tsing Yi and Hua Dan. Hua Dan's head, waist and arms should be used in the footsteps of standing on Tsing Yi. Attention should be paid to the fact that the swing of both arms should not be too high or too large, which is lower than that of Hua Dan. When you start, you should raise your starting feet a little and let the tassels of colored shoes gently kick the skirt.
6. Flower steps: This business covers a wide range, basically belonging to the business between Tsing Yi, Hua Dan and Beijing Opera Blues. Therefore, its steps are not rigid and broad, and various steps can be used according to different plots in the play.
Second, the practice method:
In terms of training steps, our professional art school should adopt the basic steps of collective training in large classes (Tsing Yi step, Hua Dan step and detour), and other steps should be taught by the bishop teacher according to the requirements of the roles in the play.
Third, usage:
Factional steps should not be rigidly stipulated, nor should they be limited to factional drama. Instead, we should properly absorb the essence of various factional steps according to the needs and requirements of the plot and characters. If you play a noble role or a good girl role, you can use Mei Pai's footwork; For example, you can beat girls and ordinary girls with Xunpai's footwork. If you play the role of misery and poverty, you can follow the footsteps of Cheng Pai. If there are many figure dances and martial arts movements, you can use the footsteps of the faction. If the actor is fat and needs to play the role of a girl, we can combine the side squat (inch) method of Cheng School with the footsteps of Xun School according to our own conditions, which can make up for the deficiency and achieve a more perfect effect.
Give a concrete example: For example, in the drama The Legend of the White Snake, the White Snake is the role of the Tsing Yi flower shirt. This role involves a wide range of performances, so footwork is also used more. In the first few scenes of the play ("You Hu" and "Married"), you can use the footwork of Gui Dan and Xun School to pull your legs; Duanyang Liquor Change and River Fire. You can use Mei Pai's footwork, which can not only reflect the happiness of White Snake after marriage, but also show a dignified and generous form; In the scene of Broken Bridge, Cheng Pai's footwork can be adopted, which can show that the White Snake is pregnant and heartbroken despite difficulties and hardships, pursuing happiness and freedom. The dance steps with softness and rigidity can set off the situation and artistic conception of the characters and enhance and enrich the performance means; Stealing Grass and Jinshan Temple are the martial arts scenes of the whole drama. We can use the brisk walking and skillful round steps of Shang school, which can not only reflect the graceful dance movements and the agility of martial arts tricks of Bai Niangzi, but also show that she has a good martial arts skill after thousands of years of cultivation.
It can be seen that only by mastering all kinds of footwork skillfully can we use it freely and use it to shape roles when performing various roles.
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