Through my years of practical experience in dancer education, I have been trying, groping and summarizing. I think in the basic training and teaching of dancers, we should first pay attention to the following aspects. I. Training to improve the physical fitness of actors 1. The basic training of dancers in soft, open and flexible literary and art groups is different from that of students at school. On the one hand, due to the frequent and diverse performances of literary and art groups, their training time is limited, and the training time is not fixed and continuous. On the other hand, with the growth of the actor's age, the actor's ligaments and joints become stiff year by year, and the functions of all aspects of the body gradually decline. Then, in the soft opening and flexibility training, special attention should be paid to gradual progress, otherwise the actors will be easily injured. In the actor's basic training class, it is necessary to increase the combined warm-up activities, starting from the most vulnerable ankle and fully moving the front, side, hind legs, crossed joints, shoulders, hips, waist and other parts. After a set of warm-up activities, not only the actors' joints and ligaments are fully mobilized, but also this combination warms up the actors' muscles, laying a good foundation for subsequent training. After that, flexibility training is combined with rod movements and intermediate combination for training to enhance the range of joint activities and the flexibility and stretching ability of muscles and ligaments. In this way, actors will not realize the boring process of training flexibility, and also achieve the training purpose of enhancing the flexibility of actors. 2. Coordination and flexibility In the training course, the combination arrangement should be rich and diverse first. After the body orientation is unified and accurate, pay attention to strengthen the coordination of the head, upper limbs and lower limbs, and train in all directions and angles to achieve the coordination of the limbs. At the same time, in the arrangement of training combination, it is necessary to grasp the variability of music rhythm, which requires actors not only to stretch, coordinate and beautify the slow combination performance, but also to master the flexibility of fast-paced combination, so as to continuously improve the coordination of various muscle groups in the actor's body and quickly change the position and direction of some links in the body or limbs. Only when an actor's body is coordinated and flexible can he better adapt to the ever-changing dance movements. Second, improve the actor's aesthetic feeling and body expression 1. Strengthen the actor's aesthetic feeling: First, in practicing every movement and combination, gradually let the actor realize that even in simple and single hand position, foot position, pace and body rhyme movements, there is an unspeakable aesthetic feeling, which is a kind of concept, an emotion, an idea and a fusion of souls. Through the movement of hands, head, eyes, body, legs and feet, let actors imagine the beauty they can show when they move in space; Let the actors realize that the classroom is the stage. The classroom is not only a place to train the basic skills of dance, but also a place to learn stage performances. Over time, the actor's mind will form a firm consciousness of expressing and creating the beauty of dance, and will also produce physical memory of expressing beauty in the process of action, resulting in the effect of "sneaking into the night with the wind and moistening things silently". Secondly, dance action norms are as important as aesthetic training. Dance teaching, like music, art, opera and other art teaching, has its strict form and strict norms. Dance training, whether on the ground or in the air, transition or modeling, should be coherent, smooth, beautiful and complete. Teachers must strictly ask actors to practice the position of each hand or foot according to the basic norms of dance during training. At the same time, it is also very important to standardize the dance rhythm, and strive for the actors to gradually understand how to grasp the music rhythm and action rhythm through training, how to deal with the visual image and auditory image, and form the visual enjoyment of beautiful dance. Only by paying attention to the aesthetic feeling of the body in daily training can actors better integrate basic skills into works of art in future performances and give people beautiful enjoyment. 2. Improve the expressive force of the actor's body to music: rhythm seems to involve more "technical" problems in dance, while melody is a "feeling" problem, which are two important aspects in dance teaching. We should guide the actors to listen to the music attentively in class, and then reproduce the music with dance movements. It is very important to highlight the rhythm and melody of music in teaching and integrate it into the explanation of movements. It is necessary to emphasize this point when explaining a single action, so that it can form a good habit of listening to songs, which is also a necessary means to improve the actor's sense of music and musical expression. In class, we can try to use some "musicalized" languages, such as "stepping on the remake" and "running the rhythm through action"-we can let the actors enter the role in the prelude of music and integrate the performance into the music. Remind actors to listen to the rhythm and melody of music more in the basic training class, which can guide their body movements and help them understand the essentials of action. Music is a good helper for dance teachers, and dance lessons cannot be separated from music. When emphasizing music, we must pay attention to both rhythm and melody, and combine it with the points and lines of action to achieve the unity of music and dance. Secondly, the expression of emotion should strive for unity. The ups and downs of lines in the combination express the emotion of the combination, which is closely related to how to deal with the music melody. Therefore, it is extremely important to guide students to listen carefully to the breath and emotion of music melody, let the music melody infect actors, make their lines smoother, move more passionately, and give full play to the expressive force of the body. Therefore, actors are required to pay attention to two aspects when listening to music, that is, how to make the rhythm point coincide with the action and how to make the melody of music guide the action to produce aesthetic feeling. I think this is the key point to improve the performance ability training of actors. In short, the dance teachers of literary and art groups should first make the actors realize the importance of basic skills. Basic skills training is ultimately for dance expression. In daily training, we should not only pay attention to cultivating the physical quality of dancers, but also pay attention to cultivating their musical quality and physical expression ability, so that actors can really move from class to stage. In future stage performances, basic skills should be better integrated into artistic works, laying a good foundation for better interpretation of dance works, thus achieving the significance of basic skills training courses and the real purpose of strictly training actors. Today's society is an era of vigorous development of science and technology, and the demand for talents is no longer single, and the requirements of society for talents are also constantly improving.