On the Function and Application of Breathing in Dance As an excellent dancer, besides having solid basic skills, skillful skills and super artistic expression, it is more important to control breathing correctly, control the body with breathing, help the limbs, make all kinds of dances more perfect and show the profound connotation of dance more vividly. This kind of breathing is called artistic breathing. It plays a vital role in the rhythm, style and strength of dance. This paper discusses the close relationship between dance and breathing through examples, and expounds how to use breathing correctly in dance in order to reveal the position and value of breathing in dance. Keywords: Dance Breathing All activities of the human body must be accompanied by breathing, which plays a vital role in many artistic categories. Dance is no exception. The predecessors of dance art attached great importance to the use of breath in dance. Predecessors once classified "breath" as one of the three elements of dance art, and endowed the characters with individuality and artistic vitality through various changes of "breath" and "emotion moving in the middle". It can be seen that breathing plays a vital role in dance. 1 The role of breathing in dance 1. 1 Breathing in dance rhythm is the contrast and change of dance movements in strength, speed, energy, amplitude and fluctuation. This is closely related to breathing. Breathing has length, movement, weight and urgency, which also includes the nature of rhythm. To practice the mind is to practice internal and external strength, internal and external rhythm, achieve internal and external harmony and unity, and use it freely according to our needs. For example, among the numerous rhythmic changes of China classical dance, the purification is mainly based on three rhythms, namely, fullness, rushing and flashing. "Full" breathing is comfortable, slow and orderly, sucking like running water and breathing like spinning. Externalized movements are slow and balanced, and easy to do controlled movements; In fact, "Chong" is the symbol points and segments in music. There are two gods in the middle, and there are two gods in the middle. The breathing rhythm of "Chong" is very important in the movement change; "Flash" means as fast as lightning, one eighth, one sixteenth or even faster. At such a fast pace, breathing requires quick harvest, and condensation erupts instantly. This breathing rhythm often gives people unexpected effects, and it is easy to jump, switch actions and show your face. Of course, there are special breaths such as inhalation and secondary breathing, which are also used in specific actions to produce special rhythm patterns. 1.2 Breathing reflects the dance style. Different national cultures and customs have different dance styles. Different kinds of dances need different breathing methods in order to accurately show the style and characteristics of each dance. For example, performing the light and gentle "hook and kick step" of Dai dance, whose dynamic law requires fast rise and slow fall, then breathing should be fast inhalation and slow exhalation. But when performing Jiaozhou Yangko, you can't use this breathing method. List the breathing methods in the action of "slowly twisting and pushing the fan", that is, inhale quickly, exhale slowly after a pause, take the waist as the axis, push the fan quickly on one hip, hold the fan in your chest with your hands quickly, inhale quickly at the same time, exhale slowly after an instant pause, and slowly stretch all parts of your body. Imagine that if you don't inhale quickly, pause and exhale slowly, but breathe evenly, who can see that this is the action of Jiaozhou Yangko? Another example is the soft arm combination of Mongolian dance. For the training of shoulders, arms, hands and steps, the steps are mainly stepping and dragging. Therefore, breathing should be regarded as inhaling quickly when taking empty or weak shots, and exhaling slowly when taking reshoot, so as to show the strong physique of Mongolians and the vast feeling of living in the prairie. The soft arm is the continuation of the shoulder movement, extending in a wave shape, while the dragging step at the foot requires the knees to master the balance and move with the direction of the movement. Breathing is used to drive the ups and downs of shoulders, arms and feet, control the balance of joints, coordinate forces, smoothly connect front and back movements and express feelings. Only through the breathing of movements can we reflect the priority, strength, cadence, strength and charm of movements, and reflect the characteristics of rough, vigorous, steady and dignified Mongolians. Only by accurately controlling and using breathing and finding breathing points in different music rhythms can we show different dance styles and characteristics. 1 Breathing embodies the "force" in dance. The forms of "force" such as fierceness, urgency, depression, silk entanglement and rigidity that the human body shows in exercise are actually controlled by force. The force is supported by qi, and the force comes from qi. For example, in the body rhyme of China classical dance, the movements are stretched, the flowing water is controlled, and sometimes the connection is instantaneous, and sometimes the China classical dance is simply smart, which reflects the unique way of exerting strength, so the body rhyme can also be called "charm". Mr. Ping Huang once said, "Breathing precedes action, and action is carried by breathing. The size of exhaled gas in the body affects the outer limbs, and the strength also directly depends on the size of breathing." Controlling the size of breathing can be used to run through the connection between actions, find the "extension" of actions, and help the limbs make various dances perfectly, thus vividly expressing dance works. For example, in the classical dance "Fan Dance in Danqing", the dancer moves one hundred and eighty degrees with a quick side leg, and the breath is not broken at this moment. Instead, slide along the fan, exhale quickly, and exhale according to the law of weight downward, while bending your legs and squatting. This action in one go fully embodies the perfect combination of qi and force, and also accurately shows the usual technique in China's painting, "a cold plum sticks horizontally into the air". How to use breathing correctly in dance is the vitality of dance and has unique importance in dance performance. Good use of breathing is the guarantee of dance quality. Breathing in dance can be basically divided into big breathing, small breathing, long breathing, short breathing, slow breathing, fast breathing and breath holding. These different breathing methods have different effects in dance. Generally speaking, the adagio rhythm in dance expresses graceful and euphemistic feelings with steady breathing, which reflects the gentle stretch of dance; On the contrary, in Allegro, fast and short breathing is often used to control the complex changes of movements and express a cheerful and cheerful psychological state. In a complete dance work, it is impossible to have only a single and unchanging atmosphere. So, how to use breathing correctly in dancing? First of all, you should be fluent and have a good breath. Dance breathing is different from natural breathing, which is generally called passive exhalation, and people will not feel it very much. Dance breathing must be controlled and active. Dance breathing is also different from the breathing of some smooth-paced sports, such as marathon running. Dance breathing destroys the average rhythm of breathing because of the change of action. In this case, the only way to adapt to dance breathing is to adjust according to action breathing. This adjustment should first keep the rhythm of breathing as much as possible according to the nature and rhythm of the action. On the relationship between breathing and exercise, generally speaking, exercise plays a leading role, that is, breathing is arranged according to the intensity and frequency of exercise. However, in order to maintain the relative mobility of breathing in specific actions, breathing is often used to drive the completion of actions. Secondly, in addition to smooth and natural breathing (relatively regular rhythm), we sometimes need some special breathing methods. For example, hold your breath, hold your breath and steal your breath. You must learn to use inflation to do some powerful movements or some skills that can be done in an instant, especially jumping in the air. Breathing is an improved breath-holding action. Holding your breath can fix the thorax and pelvis, creating a stable fulcrum for the upper and lower limbs to exert force; The increase of abdominal pressure promotes the contraction of muscles such as abdomen and waist; Suddenly holding your breath can also increase muscle strength reflexively; So these make holding your breath an authority of strength in companionship (breathing). Thirdly, carry out self-regulation of breathing-"abdominal suction and nasal suction". In addition to training breathing to adjust various movements, breathing should also be trained by yourself. In dance, the self-movement of breathing should be carried out in such a basic way-abdominal inhalation and nose breathing. Qi sinks from the chest (below the shoulders) and is sucked into the lower abdomen. The lower abdomen is tightened and lifted, and qi seems to gather between the waist and abdomen. Although breathing runs up and down the abdomen and chest, there seems to be nothing. Lifting without lifting, sinking without accumulating, is the so-called "qi sinking in the abdomen." This is the basic breathing method that actors should follow in any action. If you stick to this method in practice, you can gradually make your strength and shortness of breath inconspicuous. Of course, this is indeed a lasting effort, but as an actor, we must master it step by step, because it is the most basic and important content in dance breathing. Finally, it should be noted that breathing is not an independent part in dance, but is closely related to the inner feelings and external dance movements of dancers. It can be said that emotion is the driving force of breathing, and "breathing with emotion" is the basic requirement of breathing. Breathing should be carried out to the end in the process of dance teaching, so that breathing will greatly promote the whole dance performance, thus making dance art have strong vitality. However, it is not an overnight success to master the characteristics of breathing and use it accurately. It takes constant training to control and handle breathing better and use breathing reasonably. Conclusion Breathing endows dance with vitality. Only correct breathing can effectively control the body, help the limbs to make all kinds of dances more perfectly, and make the movements fuller and more tense. Then it highlights the movement rhythm, dance style and the embodiment of "strength" in dance. Therefore, we must fully realize the important role of breathing in dance and consciously hone it to make it a conscious creative act. Make breathing and dancing achieve a high degree of unity. Only in this way can the central idea of the work be vividly expressed. Make the dance more infectious and make * * * sounds with the audience.