Penetrating into the tangible shell of dance, getting in, getting in and coming out may take a long, deep step. When you feel closer to the bottom, you must have disappeared. You don't have it, you don't have it, it seems to be everywhere. When you can't find the bottom of the long sequence and you can't find yourself at the same time, both of you become ubiquitous tremors, which can never be explained, explained, nonexistent and incomprehensible. It only comes from the spirituality of human life and is with you. There are weak, strong, soft, rigid, loose, tight, astringent and slippery. It's rhythm.
Rhythm is the soul of dance. Looking from the inside out, it is particularly intuitive.
Rhythm gives the primitive restlessness of life a rhythmic order and turns it into an emotional atmosphere, which can be presented like a fire.
The core of rhythm is the style of force. There are various styles of rhythmic strength, which can directly and obviously show the temperament, feelings and charm of dancers.
Mountain people have been wading through mountains and rivers for many years, and their flexible rhythm often constitutes the basic rhythm of their dance. However, with the same rush, the dance on the top of a high mountain will be rougher than that on a bold mountain; The dance in the valley area shows beauty and elegance with flexible water; In primitive and sparsely populated tribal dances, in addition to the bouncing of knees, hips and hips often roll actively, which implies potential reproductive worship and a little simple sexual incitement; In a country with a relatively developed culture, this kind of hip, hip and even waist and abdomen tend to be introverted and more consciously guided, turning to the direction of graceful rhythm.
People who are used to bearing heavy objects with their heads must have some kind of body cushioning method to keep their heads stable and balanced. For example, some dances in Sri Lanka and the South Pacific have a feeling that the crotch seems to be squeezed out by the pressure of the upper body. When walking, they alternate from left to right with a leisurely rhythm, which adds a light and comfortable mood to them and forms a graceful dance, like a leisurely wave and a palm swaying in the breeze.
The mystery of rhythm is consciously used by dancers in ballet dance, and even extended and developed, and the space-time image flows from individual dancers to the whole stage. Generally speaking, dancers try to find a basic rhythm for each work, and use it as a driving force to develop, strengthen and derive a dance and even the whole dance.
An isolated gesture, no matter how wonderful and meaningful, is still not a dance, and no matter how stacked with each other. Only when the style of force conforms to the ups and downs of life sentiment, logically develops vivid contrast, and focuses on these gestures, so that they grow and are organically linked together, can it become the image of dance. Some dances, you can't even grasp the definite shape from them, and it is difficult to separate the units of posture.
Rhythm is the soul of dance, of course, it does not mean that other elements such as modeling are irrelevant and dispensable. Rhythm rhythm is always the rhythm in a certain modeling form, and any rhythm must be in the modeling posture. The rhythm of dance, no matter when, is of course the movement of one's tangible body with form.
Dance movements in modeling and body in motion can all be attributed to plastic arts. But its shape has its own characteristics.
It is often said that dance is an active sculpture. As a metaphor, you don't have to be picky about it. I was chatting with a dancer one day, and he said that he would rather change this sentence to: "Dance is a living sculpture." There is a word difference between living and living, and there is indeed a gap in taste! Obviously, as mentioned above, nagging about rhythm and dance is an unusual activity and a vivid expression of life.
Sculptors are committed to capturing the texture and sense of quantity of marble, bronze and other materials, the block and shape of modeling, the texture rhythm and the instantaneous image, while dancers are committed to the interdependence of dance modeling and internal rhythm, so that the ever-changing space can be integrated into the dynamic contrast of time rhythm.
In the stage play Dancing for Eyes, the significance of dance modeling has undoubtedly been greatly enhanced. Just like the pen and ink of calligraphy, just like the meteor across the sky, the power movement of inner life perception is seen by our naked eyes, so it is understood by our eyes! Within the space-time framework of the stage, the audience expects to see a fully developed dynamic image. The richness of modeling will inevitably strengthen and enrich the genes of rhythm.
The graceful rhythm can be pushed from the upright rotation to the oblique rotation like Xiang Yan, the squat rotation plus the idling of jumping up, the quick jumping and turning, the stretching leg somersault until it turns and rolls on the ground. ...
The dynamic situation in which the rhythm extends to the whole stage image >>
Question 2: What is the sensibility and expressiveness of dance? On the Cultivation of Students' Emotion and Expressiveness in Children's Dance Teaching
Dance, as the art of body movements, has its special forms of expression. As far as dance vocabulary is concerned, it can be roughly divided into two parts: external body movements and internal modality. External form action refers to the externalized form of visibility such as dynamic law, dynamics and strength of dance; Intrinsic modality refers to the performer's inner psychological factors such as mood, emotion and consciousness. They depend on each other, at the same time, they restrict each other and are indispensable.
In the performance of children's dance, a good dance should not only have good choreography, but also show the style and rhythm of dance with standardized movements. At the same time, it can fully show the beauty of dance through students' inner experience of dance content, so that the audience can enjoy and satisfy the beauty while watching emotional dance. To achieve this effect, students are required to have strong dance sensibility and expressive force. The sensibility and expressive force of dance come from the cultivation of children's external morphological movements and internal modality. Therefore, in order to cultivate students' dance sensibility and expressive force, we must pay attention to the dual cultivation of students' external morphological movements and internal modality.
First, the cultivation of external morphological movements.
Dance art exists with body movements as one of the main means of expression. As performers, students must first have a flexible, coordinated and symmetrical external body. Through basic skills and physical training, children's sports potential can be fully developed, students' body lines can be extended to the maximum extent, the flexibility and coordination of students' limbs can be enhanced, and their dance scope can be expanded. With this foundation, the expressive force of dance is naturally much richer. Therefore, teachers should be strict with students and standardize their behavior in teaching activities. For example, a simple action of wiping the floor, how to stand, how to wipe, with what force, where to press the back and so on. The teacher should explain it clearly to the students. At the same time, through action demonstration, students' perceptual influence is deepened, so that students can do it in strict accordance with the training steps and master each action accurately, thus achieving the purpose of training.
The process of physical exercise is monotonous and arduous, and students are prone to fear of difficulties. In teaching activities, teachers' friendly teaching attitude, vivid language and gentle and concerned eyes will bring students confidence and determination to overcome difficulties. Teachers' affirmation of students' progress, words and methods to encourage them to make progress from time to time are undoubtedly good educational means to cultivate students' strong will and perseverance and urge them to train an expressive external body.
In the cultivation of external forms and movements, students must have the ability to master different styles and rhythms of dance, which is the most critical link in dance learning. But once a week, students can't master a lot of dance content, and the training period is longer. Therefore, how to find an effective method to enable students to master more different styles of dance movements as soon as possible in a short time to adapt to different styles of dance performances is a major problem faced by every dance teacher.
In recent years, through continuous exploration and research, I have gradually formed my own views and teaching ideas on how to shorten the training period and let students master more dance movements in a short time.
In the past teaching activities, we always started with the "enlightenment" of folk dance, and then carried out the teaching activity mode of dance single action combination. In my opinion, we can break the traditional single dance teaching mode, extract the most obvious dynamic characteristics and the most dance essence from many dances, and recombine them to teach students. For example; The "arm combination" can be Mongolian, Korean, Miao and Yi. We can also take this colorful dynamic essence as students' regular training, so that students can learn a variety of dance dynamic rhythms and master their characteristics in a short time. This combination of multi-ethnic styles can stimulate students' interest in learning. Students can not only adapt to different styles of dance performances quickly, but also deepen their dynamic characteristics in dance. The sensibility and expressiveness of their external forms are self-evident.
Second, the cultivation of internal modal movements.
Mao's Preface to Poetry in the Han Dynasty said: "Emotion moves in the middle, and words are the shape. If words are not enough, lament; Lament the shortcomings, so sing forever; Without eternal songs, it is better to dance with your hands and feet. " Mr. Wen Yiduo once said in "Talking about Dance": "Dance is the most direct, full and strong perception of life ... >>
Question 3: How to enhance the expressive force of dance "Dance is the most direct, precious, strongest, sharpest, simplest and most fulfilling expression in the mood of life." This is Mr Wen Yiduo's understanding of dance. It can be seen that dance is a beautiful art, a lyrical art, a physical activity that appears at the most turbulent moment in people's inner emotional world, and an art that expresses people's inner mentality and reflects social reality. In recent years, in many dance competitions, the difficulty of dance skills is often used as a standard to measure the quality and level of dance. This makes many dancers only pay attention to the training of technical skills, but ignore the cultivation of their own perceptual ability and thoughts and feelings. As a college student majoring in dance, it is necessary to master the methods of cultivating the sense of dance in theory and know how to do it, deeply and carefully understand the emotional connotation in dance works, integrate theory with practice, and improve their own dance expressive force. In the process of learning, we should pay attention to the following points: 1. Consolidating basic skills, improving physical fitness and enhancing artistic appeal and good dance expression are based on standardized and accurate dance movements, so the response speed and coordination of dancers' personal movements are the fundamental premise to measure the level of dance sense. To cultivate a sense of dance is inseparable from a solid dance foundation, high sensitivity and the coordination of movements of all parts of the body. Through standardized professional training, gradually enhance the ability of dance techniques and skills, and constantly improve the coordination of muscle tissue and joint ligaments. To improve physical fitness, on the one hand, it is to train skills, on the other hand, it is to cultivate the accuracy of one's own movements, which is reflected by all the movements of the dance and the cooperation of the dancers. As the saying goes, "details determine success or failure", and the quality of dance expressive force is often demonstrated by seemingly small details such as the extension of fingers and toes, the direction of limb rotation, the degree of flexion and extension, the grasp of action points, lines and surfaces. Pay attention to every detail, the movement will be endowed with emotion, and the appeal of dance will be enhanced immediately. 2. Desalinate imitation and deeply understand music. To improve the artistic imagination in dance, after gradually mastering the movement law of the body, it is necessary to dilute the object of imitation, further develop imagination, understand the emotions to be expressed in dance, and rely on your own understanding to shape the dance role. Einstein said: "Imagination is more important than knowledge. Because knowledge is limited, imagination sums up everything in the world, promotes progress and is the source of knowledge evolution. If I had no music education when I was young, I wouldn't have these scientific achievements now. " It can be seen that it is very important to pay attention to cultivating your imagination. In fact, dance itself has a strong role in entertaining the body and mind, and both the audience and dancers can entertain themselves. Everyone has his own perception of beautiful things. Before the action is formed, we should give enough time to listen to music, feel music, have independent feelings and opinions on music, and grasp the artistic conception and emotional tone of music in appreciation. The emotion and beauty of music have a strong appeal. Appreciate the appeal of music, consciously pay attention to the rhythm of music, and connect rhythm, imagination and dance, so that dance can be carried out in a free and regular rhythm that is loose but not slow, tight but not chaotic, static in motion and static in motion. Third, pay attention to expression and body language, pay attention to "verve" and strengthen artistic expression. In the cultivation of inner feelings, expression of eyes is very important. The eyes are the windows of the soul, which are not only the media to understand the outside world, but also the mirror to reflect the inner world, so we should learn to flirt. The so-called "watch its dance, watch its merits, watch its color and judge its appearance." In the process of dancing, the dancers' facial expressions always run through it, which is the focus of the artistic image and aesthetic feeling of the whole dance. Only when they devote themselves to the dance, understand the essentials of the dance, pay attention to the overall style of the dance, carefully ponder the role and integrate themselves into the emotion of music can they have both form and spirit. We should deeply realize that dance movements serve the theme of dance, while dancers' faces serve the whole soul of dance. As we know, whether we talk about poetry, painting or enjoying music, we can't do without the word verve, and so can dance. "God" is the inner charm of dance. We criticize dance movements for being rigid and lifeless, saying that when we are doing the "form" of movements, we lack the inner "charm" and fail to understand the realm of "unity of form and spirit" in dance. In addition to mastering the essentials of action, we should also carefully polish the inner charm of each action. We should not blindly pursue the difficulty of action and ignore the cultivation of charm. Only by grasping the spirit can we have vitality. "The shape hasn't moved, God ... >>
Question 4: What does it mean to express desire by dancing? Refers to the expressive force of dance. Just like an actor acting, how about getting into the play? Dancers just want to see if they can let go and devote themselves to dancing. No matter how many people are around, you can express yourself well.
-The above information refers to the self-dance research test (I hope it will help you)
Question 5: What is children dance's expressive force? Is it the center of dance education? The difference between dance performance and dance education;
Dance choreography is a subject that studies the teaching theory of dance choreography and the skills of human movement arrangement. It is also a subject of scientific research and practice on dance choreography teaching, talent training, repertoire creation, stage and scientific research innovation. It is characterized by inheriting the tradition of China dance culture, absorbing the world dance culture extensively, and building a complete, systematic, scientific, open and sustainable education and teaching system of China dance choreographer.
Dance major is a popular major in colleges and universities, which aims to cultivate dance theory and basic dance for people with special interest in dance and integrate it into dance practice and theoretical teaching.
Question 6: What about the lack of emotional expression in dance? The beauty of dance lies in its expression and physical beauty on the one hand and its story and connotation on the other. The first point requires dancers to have a solid foundation and profound foundation, and the second point is what you call emotional expression, which is also very important. To do this well, we must understand the story of this dance and go deep into life. This is the meaning of "art comes from life". For example, when it comes to tea-picking, we will go to the tea garden with the tea-picking girls to learn about their sufferings and joys, so that we will naturally show rich feelings when dancing.
Question 7: What dance tracks are more expressive? The temperament of Latin dance bullfighting is better, which embodies the masculine side of men, and the stamping in the middle also reflects the heroic spirit when fighting with bulls in the bullring.
Question 8: What is the performance and pursuit of dance? As the spokesman of beauty, dance expresses an unparalleled artistic realm and aesthetic pursuit. Her innate elegance makes all her followers different and outstanding. Dance is the life worship of primitive tribes, the religious sacrifice of rebirth, the joy of harvesting moonlight and the free catharsis of life feelings. Dance represents a realm, and dance pursues a spirit; Dance can express a faint sadness, convey a fascinating story, tell a generous sadness and carry forward the blood of life. I hope my answer can help you. Please accept it. Thank you very much \ (o)/
Remember to adopt
Question 9: What does the leisure of dancing style mean? Refers to the expressive force of dance. Just like an actor acting, how about getting into the play? Dancers just want to see if they can let go and devote themselves to dancing. No matter how many people are around, you can express yourself well.
-The above information refers to the self-dance research test (I hope it will help you)
Question 10: Some people say that female college students are little dragon girls and female doctors are extinct teachers. Who knows what the corresponding boy version is? The most popular version on the Internet is this version:
Women should not read too much, because in men's minds, junior college students are little dragon girls, undergraduates are Huang Rong, graduate students are Zhao Min, doctoral students are Li Mochou, postdoctoral students are extinct teachers, and it is even more terrible to continue studying for a master's degree-the legendary "Dong Fangbubai"! ! !
Men should not read too much, because in women's minds: college students, undergraduates, graduate students, doctoral students, postdoctoral students, Ouyang Feng, and master's and doctoral students continue to study-he is the terrible "Yue Buqun"! ! !