Sleeve is one of the stunts in China traditional opera. Sleeves are a way for actors to enlarge and extend their feelings on the stage.
function
The way to express the feelings of the characters.
Opera and dance
type
Special effects of China opera
abstract
Selected video
Basic introduction
Exercise hard.
fundamental function
Shuixiu celebrity
Selected video
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One of the stunts of China traditional opera is the skill of water sleeves. If you play well with sleeves, you can stand firmly on the stage!
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Fenggang dance shuixiu
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1
Basic introduction
White silk long sleeves (China traditional drama and dance costumes)
It comes from the traditional opera and dance in China. Today's China classical dance draws lessons from and inherits the unique and distinctive style and form of China traditional opera dance, which complement each other and are inseparable. If you don't train by the correct "hard method", on the stage, sleeves are like two pieces of cloth that don't listen to you. They can't get it back or get it out. Actors and audiences are sweating, and there is no sense of beauty, let alone "expressive force". Or, conversely, Dallas to the audience if you only master the technique of water sleeves.
attitude
There are hundreds of postures of sleeves, too numerous to mention. Such as: swinging sleeve, swinging sleeve, kissing sleeve, swinging sleeve, lifting sleeve, swinging sleeve, swinging sleeve, back sleeve, swinging sleeve, dust removing sleeve, folding sleeve, rolling sleeve, lifting sleeve, folding sleeve, picking sleeve, rotating sleeve and so on.
technology
Speaking of sleeves, no one will feel strange. It originated from traditional Chinese opera and dance. Today's China classical dance draws on and inherits the unique and distinctive style and form of traditional Chinese opera and dance. Sleeves are also a part of inheritance and development. The two "forces" to be discussed in this paper-exertion and expressiveness-are complementary and inseparable. If you only master the technique of water sleeves, but don't express the beauty of water sleeves through the expressive force of the body, then water sleeves are just a skill, which not only can't reflect the beauty of rhythm in dance, but also feels redundant and far-fetched. I think the relationship between these two forces is that I have you and you have me, which complement each other and are inseparable. It can also be understood as two stages of the same "force": starting from the "force method", that is, using the coordination and performance of the body to drive the sleeve to make the correct force skills; Based on "expressive force", the slender and changeable sleeves are used to express the human body shape and thoughts and feelings.
2
Exercise hard.
summary
The coordination of fingers, wrists, elbows and shoulders is the key to jumping sleeves well. This is the key to coordinate the "Three Sections" and "Six Rivers". The so-called "three joints" are arms, hands are small joints, elbows are middle joints, and shoulders are root joints; In terms of legs, the foot is slightly jointed, the knee is the middle joint, and the crotch is the root joint; For the whole human body, the head is a micro-joint, the waist is a middle joint and the foot is a root joint. The movement law of sleeves is that the joints are slightly lifted, followed by the middle joints, and the roots are chased. "Three knots" is not only the procedure of external movements after water sleeve dancing, but also the only channel for internal forces to complete each water sleeve performance. "Liuhe" is divided into "inner triad" and "outer triad" The "external triad" is: hand and foot, elbow and knee, shoulder and hip; "Inner Trinity" means: the harmony between heart and heart, the harmony between heart and qi, and the harmony between qi and God.
external action
From the external action, first of all, the head (upper), waist (middle) and feet (lower) are required to be symmetrical and balanced; Secondly, the unity and cooperation of hip, knee and foot; Then the shoulders, elbows and wrists. The so-called chase is to distinguish the primary and secondary relationship of the action, the strength of each part, the size of the range of activities and so on. The relationship between shoulder, elbow and wrist and exercise is subtle, which not only promotes each other, but also restricts each other. This is an internal coordinated and unified relationship. Actors themselves must be relaxed, harmonious, tight inside and loose outside, straight and hidden, rigid and soft; There is movement in silence, and there is stillness in movement. Only dance can handle the relationship between the external movements of "line in point" and "point in line" and the internal rhythm level and contrast of the body. From the whole training process, the sleeve method follows the teaching law from simple to complex, from dynamic method, action, short sentences to combination step by step.
(1) Dynamic law: the force exerted by sleeves is mostly "contrast force". That is to say, it follows the rhythm of "everything starts from the opposite side", and its characteristics are: left desire comes first, right desire comes first, first desire, first desire, first desire, first desire. "Contrast" fully embodies the beauty of roundness and swimming of China classical dance. "This opposite and complementary power can produce ever-changing human movements and give the audience a special effect of surprise" (Tang Mancheng's The Form, Spirit, Strength and Rhyme of China Classical Dance). Slender sleeves use the dynamic law of "contrast" to extend the dynamic relationship between points and lines in art forms. More importantly, the key to the strength of the sleeve technology lies in a "contrast".
(2) action: that is, the word we often say. The so-called "word" is a single action or skill. "Word" can develop and change; Can be enlarged, done in different directions, interwoven and combined; But no matter how ever-changing, the law is whether "everything changes without deviating from its original religion" is a single technology, that is, taking "word" as the mother.
The above is the most basic and concrete method, which is the basic force method in the primary stage. Every word is trained with one hand, then with both hands, and then with both hands crossed.
three
fundamental function
basic element
The basic movements of sleeves are: throwing, dusting, poking, hooking, picking, shaking, beating, lifting, supporting and punching. Relying on these many basic skills, sleeves can combine various techniques to express rich emotions and shape various characters. It has many functions on the stage:
function
1 the function of the fan: walk in front of your face with your sleeves.
White silk long sleeves (China traditional drama and dance costumes)
2 Salute: When bowing and saluting, one hand pulls up the other sleeve horizontally to show courtesy and respect.
Sad and shy: pull up the other sleeve with one hand to cover your face.
4 wipe tears: wipe gently with sleeves.
5 dust removal: gently dust clothes with sleeves.
Shake hands and hug: the two sides gently lift their sleeves and stay together.
Signal: When the actor sings on the stage, he signals the band with his sleeves.
four
Shuixiu celebrity
Letaief
(1930—2003) A famous Peking Opera performer, he has performed in Hebei Laishui Theatre, Beijing Hong Guang Peking Opera Theatre and Jilin Yanji Theatre. Before the Cultural Revolution, Ma Jianling, president of the famous dramatist Shaanxi Opera Research Institute, invited him to give lectures in Shaanxi Province in order to develop the cause of Shaanxi Opera, and he left the stage of Beijing Opera. As early as the 1950s, he began to study sleeves. He made bold breakthroughs and innovations on the basis of studying, researching and inheriting the "four famous talents" of Peking Opera. After years of painstaking research and continuous exploration, I have gradually accumulated a unique and rich performing arts program for Dandan. He once swept the theater with his wonderful performance of one foot and two sleeves, and was praised as "the master in sleeves" by the dance circle in the theater.
Qi Aiyun
Qi Aiyun's the Goddess Chang'e flying to the moon.
(1968~) is a national first-class actor, one of the four famous artists of China Shaanxi Opera, the winner of the 2nd1Plum Blossom Award for Chinese Drama, and a member of Chinese Dramatists Association. 1980 was admitted to the performance class of Shaanxi Art School, and studied under the famous Shaanxi Opera performance artists Ma (Fire Phoenix), Li Ruifang, Xiao Yuling,. The application of Qi Aiyun's seven-foot sleeve in Qin Opera's "Playing the God and Telling the Hall" and one-foot sleeve in Qin Opera's "the Goddess Chang'e flying to the moon" can be described as brilliant and completely integrated with the plot. Qi Aiyun's single throw, double throw, twist, sleeve shaking, sleeve turning and sleeve twisting are all very neat, and the whole sleeve stretches freely, which shows her profound skill in controlling the plot development on the stage from the aspects of strength, size and stretching degree.
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