1. China classical dance

China classical dance, as a category of China dance art, is a dance with certain demonstration significance and classical style, which is based on traditional folk dance, refined, sorted, processed and created by professional workers in past dynasties, and tested by long-term artistic practice. Classical dance was founded in 1950s and was once called "traditional opera dance" by some people. It is a mixture of drama and dance, that is to say, it has not completely evolved from drama, so it is called drama, which removes the most important singing and reading in drama; Say it is a dance, it still maintains the original state of the opera in quantity. The songs and dances in China's traditional operas serve this story. Even a martial arts drama that does not sing well is still a drama, and the subordinate relationship of its dance to the role industry is also very clear.

From its origin, classical dance is a revival of the traditions of classical dance, traditional opera dance and China dance for thousands of years. Obviously, its aesthetic principle is not a new invention, but the spread and continuation of China culture for thousands of years, strung together with a long line from ancient times to the present. These principles can be found not only in traditional Chinese opera, but also in music and dance in Tang and Song Dynasties, "dance drama" in Han and Wei Dynasties, and even rites and music in Shang and Zhou Dynasties. As far as its flow direction is concerned, it is a brand-new art category produced locally, a new dance category comparable to ballet and modern dance, and this exotic dance category is authentic from China.

China classical dance has not yet passed its childhood, but is still growing. However, with the emergence of body rhyme, its aesthetic core has been stable, its theoretical foundation has been relatively solid, and its action system has been formed. We have every reason to say that it has got rid of the prototype of China traditional opera and moved towards the category of real dance.

China classical dance "Body Rhyme" course came into being in the early 1980s. After more than ten years' practice, it has been gradually recognized by Chinese and foreign dance circles and academic circles. 1993 was rated as an excellent teaching achievement by the State Education Commission. Li Zhengyi and Tang Mancheng, the old professors of classical dance in Beijing Dance Academy, resolutely created the class of "Body Rhyme" of classical dance, which revived China classical dance and the cause of classical dance. When interpreting "classical dance", Professor Li Zhengyi said: "It is called classical dance, not a copy of ancient dance, but a new classical dance based on profound traditional dance aesthetics and adapted to modern people's appreciation habits. It takes the nation as the main body, based on the national aesthetic principles such as drama and martial arts, and absorbs the beneficial parts of foreign art such as ballet, making it an independent, national and contemporary dance species and system. "

2. The body rhyme and aesthetics of classical dance.

"Body rhyme" is the general term for "body method" and "rhythm". "Body" belongs to the external technique category, and "rhythm" belongs to the artistic connotation. Only by organically combining and infiltrating them can we truly embody the style and aesthetic essence of China classical dance. In other words, "body rhyme" means "having both form and spirit, integrating body and mind, and integrating inside and outside", which is an indispensable symbol of China classical dance and the artistic soul of China classical dance. Although the source of style of body rhyme is obvious, it can no longer be called "drama dance", and its transformation from drama to dance has been basically completed. It got rid of the ever-changing roles of opera and dance. However, no matter how it changes, it is the same. This "one" and this "change" are both rare figures in art and the essence of artistic aesthetics.

A mature national dancer's action on the stage has aesthetic value and artistic charm, because it embodies the high integration of "form, spirit, strength and rhyme" and is an important expression of the body rhyme of China classical dance. "Form, spirit, strength and rhyme", as the basic action elements of body rhyme, highly summarizes all the connotations of body rhyme. Form, that is, external action, includes the movement line connected by posture and its action. God, that is, charm and mind, is the dominant part. Strength is strength, which includes the artistic treatment of the relationship between priority, strength and softness. Law, that is, the movement law of the action itself. The relationship between these four elements of action is to achieve unity of form and spirit through force and law. Its law is "harmony between heart and heart, harmony between heart and qi, harmony between qi and force, harmony between force and form". These are incisive generalizations and refinements. These words and basic movements are highly unified and harmonious, which constitutes a dance aesthetic theory with China characteristics.

1, shape

Form refers to actions beyond form. It is manifested in various postures, ever-changing movements and their connections. All visible forms and processes can be called "shapes". Form is the most basic feature of image art, the attachment of classical dance charm and the media of classical dance beauty.

As we all know, through the analysis of the aesthetic characteristics of traditional art and various typical dances, it is concluded that the curvaceous beauty of "twisting, warping, roundness and curvature" and the temperamental beauty of "vigorous, implicit and flexible" must be solved first in "shape". China's dance emphasizes "twisting, slanting, roundness and bending", the curvaceous beauty of upturning, slanting, turning and warping, and the inherent temperament of "vigorous, straight, implicit and flexible". From the unearthed tomb figures and Dunhuang murals, it is not difficult to see that this point has been in the same strain since ancient times and has been constantly developing and evolving. For example, the figures in dance benches in Qin and Han Dynasties, Sandaowan in Tang Dynasty, meridian, yin and yang, twist twist, the rolling, twisting and toughening of Jiaozhou Yangko, a Chinese folk dance, and the stopping, exploring, twisting and waving of ocean Yangko. Mastering the curvaceous beauty of posture and modeling also requires corresponding qualities and abilities. Therefore, it is also a technology, and the "twisting, oblique, round and curved" of the human body is the overall image. Locally speaking, "head, neck, chest, waist, buttocks", "shoulders, elbows, wrists, arms, palms" and "knees, ankles, feet and steps" all have their specific requirements.

2. God

Here refers to the connotation, spirit, rhythm and temperament. Any art without charm can be said to have no soul. Charm is an extremely important concept in China's literary criticism. Whether we talk about poetry, painting, music and calligraphy, we can't do without the word verve. In the movement of human body in classical dance, verve can be recognized and felt. Moreover, only by grasping the "god" can "form" have vitality.

In the concept of mind, body rhyme emphasizes the connotation of Yun Qi, breath and idea. Emphasize verve and inner feelings. In the relationship between form and god, god is put in the first place, and it is this concept and emotion of "leading form with god and conveying spirit with form" that creates the rhyme of body rhyme. It can be said that without rhyme, there would be no China classical dance. Without the stimulation and drive of inner feelings, the most important brilliance of China classical dance will be lost.

"Heart and mind, mind and qi, qi and force, force and shape". The so-called "heart, mind and spirit" is the embodiment of "verve". People often say that "eyes are the windows to the soul" and eyes are vivid tools. The "gathering, releasing, coagulating, closing and closing" of the eyes does not refer to the movement of the eyeball itself, but the result expressed by the connotation and psychological rhythm, which shows that verve dominates everything. "The shape has not moved, God leads first, the shape has stopped, and God has not stopped." This formula vividly and accurately explains the connection and relationship between form and god.

For a long time, people have been puzzled by the inherent rhythm of China classical dance. Although the word "circle" has long been recognized by people, it is a long-term puzzle for people engaged in classical dance. The founders of Tiyun put forward the theory of "three-circle movement". They thought that the body movement process of China classical dance was along three circles. This is the vertical circle, the horizontal circle and the figure-eight circle. Surprisingly, this long-standing problem is so easy to be solved. And it is so accurate and concise. It immediately reminds people of Laban's theory of "spherical motion". They have very similar ideas and explain their own laws. The original reason is very simple. Science has gone through the process of "from shallow to deep" to "from simple to simple". The simple truth is the result of hard exploration, long-term accumulation and accidental acquisition.

3. Strength

"Strength" is an internal rhythm given to external actions and a distinct and contrasting strength treatment. For example, "the point in the line" or "the line in the point" in motion (that is, the movement in stillness) are all properly expressed by "strength". The running rhythm of China classical dance is often different from the conventional 2/4, 3/4 and 4/4 musical rhythms. More often, it is carried out at a regular "elastic" rhythm, loose but not slow, tight but not chaotic, static in motion, free in static, and moving in motion. "Body rhyme" means that the strength of training dancers is not uniform, but there should be contrast and difference between lightness, urgency, length, frustration, symbolic point, segmentation and extension. These rhythm symbols are all expressed by human actions, which is the application of truly mastering and understanding "strength". "Strength" not only runs through the process of action, but also is very important at the end of the action. No matter China traditional opera, ballet or martial arts routines, they all attach great importance to the instantaneous rhythm before the end of the action, and China classical dance is no exception. It has the following typical appearance strength: "inch strength"-posture, angle and orientation are all ready, and the strength between one inch is used to "make the finishing point". "Contrast"-Give a strong reaction to the posture modeling that is about to end, so as to strengthen and contrast the final modeling. "God's power"-everything has been completed, and the sense of extension of eyes and limbs makes it "the shape has stopped but God has not stopped". In addition, there are strength differences such as "softness in rigidity", "brittleness in toughness" and "slowness in urgency".

4. Law

The word "law" contains two meanings: the rhythm of oneself in action and the law followed in movement. Generally speaking, after the action, it must be "smooth", which is the "positive law" in the law, and the action seems to have a feeling of flowing through "smooth". Anti-French is also a very important factor in the rhythm of classical dance, such as "double waving". When the arm swings to the left, the body must be pulled to the right to show the roundness and charm of the action. The "anti-law" of "if it doesn't go well" can have a surprising effect. The trend of an action and momentum is obviously to the left, suddenly to the right, or from front to back, and so on. This kind of "anti-law" is unique to classical dance, which can produce ever-changing, confusing and ever-changing movements of the human body. From every specific movement, there is also a saying that "everything starts from the opposite side", that is, "everything must be done from the left, everything must be done from the left, everything must be done from the opening, and everything must be done from the front". It is these special laws that produce the special aesthetics of classical dance. Whether it's smooth sailing at one stroke, facing fortune or "starting from the opposite side", it embodies the beauty of China classical dance, which is the essence of China's "dancing method".

3. The characteristics of classical dance body rhyme course

The appearance of body rhyme, as an important teaching achievement of China classical dance, makes the training of China classical dance move towards its own form standardization and dance diversification. It is not only a complete training system, but also a system integrating training, creation and performance with the aesthetic characteristics of China classical dance. As far as the current teaching is concerned, the understanding of the function and value of the charm of classical dance is still in a vague state in concept, and it has not been put in a correct position in teaching. In every process and detail of teaching, the teaching of "physical charm" has not penetrated into the "bone marrow" of basic training courses, and has really been regarded as the "core" of classical dance.

Nowadays, basic skills and body rhyme are generally arranged into two courses in dance teaching, which inevitably gives people the illusion that basic skills are the main course, body rhyme is the sub-course, basic skills are the key to students' training, and body rhyme is an embellishment course set up to strengthen style. The primary and secondary of the surface layer is not the internal quality, but the "shell" or "core", which is determined by the essence embodied in the two courses. Therefore, the key question is not whether to offer one course or two courses, but what is the teaching essence of China classical dance. If the basic training course and the body rhyme course reflect their own qualities, rather than a unified quality, then a "two-layer skin" situation will be formed, and the basic training will become a "shell" with only technology, rather than a "core" without body rhyme. It is difficult for them to form a unified style of classical dance, and the final result can only be one-sided pursuit of the shape of classical dance, ignoring the god of classical dance, which we demand. Only in this way can we fully meet the basic requirements of classical dance training, which is the consistent standard required by both training. From this development to a deeper level, it is required that every movement, every process, every detail, every transitional movement, static and dynamic changes, and the operation of techniques and skills of basic training courses should be directed by the spirit, shape, strength and method of body rhyme, and run through the teaching, so as to achieve the perfect unity of "shell" and "core", and even the setting and arrangement of two courses can be achieved So what are the standards of basic skills training and body rhyme training? Is it the unification of the two stages, or is it the goal of completing the whole training purpose from beginning to end? At present, the arrangement of the two courses requires our teachers to grasp a standard, that is, in the teaching process of basic skills training, the body rhyme will permeate the whole process of basic skills training, and the essence of China classical dance will be reflected in the classroom.

4. How to do a good job in the body rhyme teaching of classical dance?

1, do a good job in quality training

The charm teaching of China classical dance should start from the perspective of training, and at the same time solve the tasks of physical training, quality training, technical skills training, artistic expression training, stage image building training and so on. Therefore, it is essential to solve the problems of muscle quality, flexibility, endurance, explosive force, toughness and center of gravity for training students. At ordinary times, we can strengthen the scientific research on human movements, and achieve training results in the range of movements, the flexibility of ligaments, the grasp of the center of gravity, and muscle ability. For example, the "front leg movement" needs to be completed 180o, and the main leg and the power leg are required to be absolutely straight knees, and the main foot is required to be half-toed, controlled at the highest height and kept for a long time (two eight beats). This shows that in quality training, it is necessary to develop to the limit requirements of action. Therefore, the purpose of the basic training of classical dance is to solve the basic physical problems of students and enhance the expressive force of dance with technical movements such as jumping, turning and turning, which can be called skill training.

2. Firmly grasp the elements of body rhyme

The so-called elements, including basic skills, posture, charm, breathing, shape, posture, point, line and many other core elements, should be based on the teaching method of "starting from the elements and starting from the rhythm", taking "cloud shoulders turning to the waist", "hot wheels" and "swallows crossing the forest" as examples. They don't have much material, but they have maximized it. "Cloud shoulders turn to waist" is both an element and a rhythm. There is rhythm in the elements, and rhythm is displayed through the elements. Hot wheels's waist is a 360-degree circular movement in basic training, in which all the turns, inclinations and turns are involved, which has strong vitality. If it reappears, it has both training value and practical value, which is enough to derive other actions. As Professor Tang Mancheng said, refining elements, developing elements and using elements are effective ways to solve the problem of body rhyme training.

3. Expressiveness of body rhyme.

It seems that the characterization on the stage is not reflected much in the classroom teaching process, but any action should fully show its artistic expression. That is to say, in the training of classical dance, we should pay attention to the personality of movements and the appeal of temperament, and in the handling of music and combination, we should pay attention to the training of "combining rigidity with softness" and "flexibility and stretching", as well as the changes and requirements of dexterity and agility.

4. Reflect the times of body rhyme.

Like other categories in dance art, body rhyme has its characteristics of derivation, change and development. How to grasp the era of body rhyme is the key to the success of body rhyme training. Therefore, in training, we should fully reflect the spiritual outlook of contemporary people and achieve the unity of body charm and the spirit of the times.

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