Physical training in a narrow sense defines it as physical beauty training. Today, I will tell you about the training method of dance body, I hope you like it.
Respiratory training
People's breathing rhythm is normal, for example, there is a pause when reading sentences, and there is breathing when singing. Sound is controlled by breath, and the breathing of dance is also controlled by body language. In physical training, when students are clear about the requirements of breathing, it will help them to change the passive phenomenon of acting for action and imitating for imitation. Usually, the length of breath control directly affects the force, which is the preparation for the force generation. Of course, breath also plays a role in the process of body movements, which will directly affect the performance of dance style. Such as JIAOZHOU Yangko of Han nationality. Get up, slow down, push down, lift up, let go? The movements form a tough, stretched and neat style. At this time, the form, timing and rhythm of breathing need students to adjust with the dance body movements. It can be said that the breathing process and the action performance process are always linked.
How to use breath control, master the regulation law of breath and action, naturally arouse the active consciousness of action and give it vitality? In training, when your arms are raised, you should inhale naturally, and when you are not moving, keep breathing; When descending, exhale naturally; Quick action, quick breathing, slow action, long breath control and sustained strength. With breathing, action has vitality, and with vitality, action has aesthetic feeling. Practice has proved that the training result of arousing self-awareness is much more meaningful than simply imitating the teacher's learning action.
Idea training
Ideas are instructions from the human brain. The purpose of using ideas is to make students feel the force effect produced by the activities of various parts of the body, which is the basis of joint and limb flexibility training and muscle control.
In training, the purpose of moving joints and muscles in various parts of the body is to make students fully realize the law of their own body movement and the relationship between movement and force. On the one hand, increase common joint training, such as flexibility and coordination training of joints such as waist, hip, wrist and knee; On the other hand, it is to develop some insensitive body parts of students, such as spine movement, muscle relaxation movement, chest scapula, scapula, costal scapula movement, strength connection and transmission movement. Generally speaking, hands and feet are more sensitive, and there is little obstacle to exercise. But some parts of the body, such as the back, crotch and even the muscle groups of a certain part, seem to be less sensitive. And dance is inseparable from the role of these parts and muscles. How to start training? Teachers can instruct students to put the movement source of action in other insensitive parts of the body, such as a small sandbag as the movement source, and put it in the crotch, back or side waist of a certain part of the body, and then the brain sends out movement instructions to make the small sandbag change its position with the movement of this part, so as to gradually realize the role of the force generated by these parts. Of course, the difficulty of training can be determined according to the specific situation of students, but in the process of training, we should integrate strength, lyricism, expansion, control of movements and other factors to fully develop physical exercise ability.
Confrontation training
Its purpose is to generate internal forces. We know that any object will have a force and a strong origin, and what about this? A little harder? The function of the opposite direction is resistance. Dance movements with internal resistance will have vitality, explosiveness and extensibility. For example, any jumping action in the air will have a downward thrust at the moment of take-off, which is opposite to the force in the air. For example, in basic training of classical ballet? Get down? , in? Get down? Arrive? Upright? This process will always run through a kind of obstructive reverse force, thus making? Get down? The action process is very meaningful. If there is no resistance, what about this? Get down? It can only be called a change in appearance and figure. Generally speaking, the longer the resistance is maintained, the greater the ductility of the action and the more obvious the internal explosive force of the action. In training, we can often let people experience the effect of this resistance on limb movement and compare the different effects produced by the strength of resistance. Through such training, students will master the ability to control limbs and develop the judgment of right and wrong behaviors.
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