The first is the lower back.
Action steps: Hold the handle with your right hand, open your left arm forward and lift it above your head. Bend back, try to level your shoulders and tighten your back.
Exercise site: Back muscles, which play the role of stretching, opening shoulders, holding out the chest and expanding the back. It is recommended that people who have a bad habit of shrinking breasts practice more.
Action misunderstanding: the neck is not straight, the back is slack, and the spine is not hard.
Second, leg press
Action steps: Hold the handle with your right hand, put your right leg on the handle, straighten your knees, press your back straight down, and be sure to straighten your body.
Exercise area: Stretch the leg ligaments to make the legs more slender.
Action misunderstanding: the knee is bent, the foot surface is not stretched straight, and the back is bent.
Third, squat
Action steps: Hold the handle with your right hand, extend your left hand obliquely downward, put your feet and heels together, and open your toes in a straight line. Squat down, knees open to toes, hips push forward.
Exercise area: Stretch the inner thigh muscles.
Action misunderstanding: When squatting, the knee bends forward, which is harmful to the knee joint.
Fourth, dance before midnight.
Action steps: stand, stretch your right foot forward and land on your toes. The right hand opens to the right side of the body, and the left hand extends in a semicircle to the front of the body. Pay attention to the abdomen, chest and eyes looking down.
Exercise area: The abdomen contracts, so that the slender legs and straight back are displayed, which helps to develop a beautiful posture.
Action misunderstanding: knee bending, hunchback, too loose abdomen.
Five, sucking legs and twisting the waist
Action steps: sit on the ground with your legs straight, your left leg bent, and your left foot close to your right leg and calf. Keep your back straight and twist your waist to the left.
Sports parts: eliminating waist fat helps to maintain the correct upper body posture and train a graceful posture with waist shape.
Action misunderstanding: the back is slack and the right leg is bent.
Expansion: the ballet movement
1. Rotation: Quantity and quality are one of the core criteria for judging the technical level of ballet dancers. The so-called quality mainly refers to whether the standard dance is out of shape during the rotation, whether the spatial positioning meets the requirements, whether it is stable when it stops rotating, and whether it can finally complete the fixed dance naturally.
2. Speed: This is another hard yardstick to measure the technical level of ballet dancers. The faster the speed, the more difficult it is, but in some spins and jumps, acceleration is essential, which can make these movements easier to complete. Of course, speed is only a technical standard, not an artistic standard. Is there a secret commotion here? The essence of dance is not so much a general technical principle as an art, although without perfect and complete technical dance, it cannot reach the realm of art.
3. Direction: This is the third criterion to judge the technical level. When changing the direction dynamically, it is required to increase or decrease the intensity appropriately. Experienced dancers know that it is much more difficult to rotate according to a circular timetable than to rotate according to a straight timetable, and it is often one of the touchstones to measure the technical level of dancers to keep women at a fixed point to complete 32 rounds of whipping, or men to complete dozens of two-legged turns at a fixed point.
4. Look at the fixed point: The so-called fixed point means that the dancer must keep his eyes at a certain point in front of his body when he rotates quickly with the trunk as the longitudinal axis, that is, let the whole trunk and limbs rotate first, and leave his head, especially his eyes, behind until the separation between the whole head and the body reaches the maximum, that is, the moment before the body rotates for the second time. The best way to avoid a dancer's dizziness is to throw his head and eyes suddenly with the whole body's dynamic potential, find the original viewpoint at a faster speed than the whole body before the whole body completes a whole circle, and then stare at it all the time. This practice is actually to create a static illusion at lightning speed, so as to complete this visual direction change in the shortest time, reduce the oscillation and change in the balance organ, and avoid the dizziness caused by it.
5. Changing arms or legs and feet: Changing arms or legs and feet during spinning or jumping is another big challenge to the dancer's body balance and coordination ability.
6. Silent and elegant landing: This should be another criterion for judging the level of dancers.
7. Jump height: This can certainly increase the enthusiasm in dance appreciation. Comparatively speaking, creating absolute altitude is far less difficult than maintaining altitude instantly or even creating the illusion of stop for a minute in the air. In the opinion of experts, creating this illusion is one of the most brilliant skills of dancers. At this moment, as a human dancer, or dancer's human characteristics have been the greatest development, while the gravity of nature has been the greatest contempt.
8. Knee extension: This is an indispensable norm in ballet technique.
9. Tiptoe stretching: This is also the basic requirement for the perfection of ballet technology.
10, leg lifting: From the perspective of reception aesthetics, it is better for dancers to lift their legs to both sides when facing the audience.
1 1. Stability of supporting legs: In order to achieve this ideal, the supporting legs should be as motionless as nails, except for the knees and instep.
12. Lines can be roughly divided into two categories, one is the lines of dancers' limbs and the other is the lines of stage scheduling.
13, fluency: According to the traditional Chinese and foreign dance methods, choreographers and audiences are used to asking dancers to move their lines and schedule their lines smoothly.
14, duet: including lifting, supporting rotation and balancing. The tacit understanding between excellent partners is not only manifested in their familiarity with duet routines, but also in their absolute mutual trust.
15, large-scale group dance: the horizontal and vertical lines should be consistent, the hands and feet should be in place, the movements should be consistent, the breathing should be unified, the dance sentences should be smooth, and the dancers should be coordinated. In large-scale group dance, it is necessary to restrain each dancer's personality to the maximum extent in order to maintain the coordination and unity of the whole picture.
16, clean and accurate movements: whether it is a group or an individual, the movements of dancers should be clean and accurate.
17, dancers should show full elegant self-confidence when dancing, especially before and during the completion of simple and difficult movements, they should not show any anxiety, but should give people a feeling of relaxation and freedom, as well as a sense of integrity and comfort in one go.
18, Pleasure: As a theater performance artist, the dancer's bounden duty should be to provide pleasure for the audience, but to provide pleasure, the dancer must first find pleasure for herself in the process of dancing.
19, Tip: When a ballet dancer fails to accurately complete various movements on the stage according to the above technical specifications, she will involuntarily make some small compensation or adjustment. The jargon is called a trick. What needs to be explained clearly to the audience is that in order to complete some actions beyond the normal range of motion and give the audience a novel sense of beauty and pleasure, this trick must be adopted, which is definitely not equal to deceiving the audience, just like magic is one of them.
20. Great leap from technology to art: In ballet performance, dance will constantly change its perspective and strength. Solving the temporal and spatial relationship between body position and action norms is a problem that dancers have to solve in rehearsal.