Water sleeve

Water sleeve

In ancient times, it was said that long sleeves are good at dancing. The culture of water sleeves has a long history. It is the artistic crystallization of Chinese culture, as a sleeve dance props "water sleeve", has become an independent performing art. It has a unique form of expression, reflecting the charm of the spirit of the Chinese nation in Chinese classical dance. The use of water sleeves not only extends the body movements, but also expands the body's expressive force and inner feelings. Through techniques and body expression, it reflects the beauty of "Flowing Clouds and flowing water".

Basic introduction

Most of the sleeves of traditional Chinese opera costumes are decorated with a section of white silk, which is called water sleeves. Water sleeve is an exaggeration of ancient clothing sleeves, is an important part of costume. Opera actors often use water sleeves to portray characters.

posture

There are hundreds of water sleeve postures, too many to enumerate. Such as: shake sleeve, throw sleeve, wave sleeve, brush sleeve, throw sleeve, raise sleeve, swing sleeve, throw sleeve, back sleeve, swing sleeve, brush sleeve, fold sleeve, lap sleeve, revolve sleeve, lift sleeve, fold sleeve, pick sleeve, turn sleeve and so on.

technology

Speaking of

Water sleeve

You won't feel strange. It comes from the Opera Dance. Today's Chinese classical dance draws lessons from and inherits the unique and distinctive style and form of Opera Dance. Water sleeves are also part of inheritance and development. In this paper, the two "forces" -- force and expression are complementary and inseparable. If you only master the technique of water sleeve, but do not reflect the beauty of water sleeve through the body's expression, then water sleeve is just a skill, not only can it not reflect the beauty of rhythm in dance, but also feel superfluous and far fetched. I think the relationship between these two "forces" is that we have you, you have me, complement each other and are inseparable. They can also be combined into one, which can be understood as two stages of the same "force": starting from the "force method", that is, using the body's coordination force and performance to drive the correct force skills of water sleeves; becoming "expressive force", using the slender and changeable water sleeves to express the body shape and feelings.

Force

overview

The coordination and unity of fingers, wrists, elbows and shoulders is the key to a good water sleeve dance. This is the key to coordinate the "three sections" and "Six Harmonies". The so-called "three sections" are as follows: for the arm, the hand is a slight section, the elbow is the middle section, and the shoulder is the root section; for the leg, the foot is a slight section, the knee is the middle section, and the crotch is the root section; for the whole human body, the head is a slight section, the waist is the middle section, and the foot is the root section. The movement rule of water sleeve is to start from a little section, follow the middle section and catch up with the root section. "Three sections" is not only the procedure of the external movement after the water sleeve dance, but also the necessary channel for the internal force to complete each water sleeve performance. "Liuhe" is divided into "inner Sanhe" and "outer Sanhe". "External three combinations" are: hand and foot combination, elbow and knee combination, shoulder and crotch combination; "internal three combinations" are: heart and meaning combination, meaning and Qi combination, Qi and spirit combination.

External action

From the external movement, the first requirement is the head (upper), waist (middle) and foot (lower) mutual symmetry and balance of strength; the second is the unity and cooperation of crotch, knee and foot; the second is the pursuit and following of shoulder, elbow and wrist. The so-called chasing and following is to distinguish the primary and secondary relationship of the action, the strength of the force used in each part, the size of the range of activity, etc. The relationship among shoulder, elbow, wrist and movement is subtle, which promotes and restricts each other. This is the relationship of internal coordination and unity. Actors must be relaxed, coordinated, tight inside and loose outside, straight and implicit, rigid and flexible; there is movement in the static, there is static in the dynamic, and only when dancing can we deal with the relationship between the external actions of "a little in the line" and "a little in the line" and the internal rhythm level and contrast of the body. From the whole process of training, the exertion method of water sleeve technique follows the teaching law from simple to complex, from driven law, action, short sentence to combination, and from simple to complex, step by step.

（1） Dynamic law: the force of water sleeve is mostly "contrast strength". That is to follow the rhythm of "everything starts from the opposite". Its characteristics are as follows: to the left first to the right, to the front successively, and to the top first to the bottom. "Contrast strength" in the body rhyme of classical dance fully embodies the beauty of circle and tour of Chinese classical dance. "This opposite force can produce a variety of human movements and give the audience a kind of unexpected special effect" (Tang Mancheng's the shape, spirit, strength and rhythm of Chinese classical dance body rhyme). The dynamic law of "contrast strength" is used for the slender sleeves to extend the dynamic and static relationship between points and lines of artistic form. What's more, the key to the exertion method of water sleeve technology lies in the "strength" of "contrast".

（2） Action: we often say "word". The so-called "word" is a single action or skill. "Zi" can develop and change; it can enlarge, move in different directions, interweave and combine; but no matter how ever-changing, the rule is that "all changes are inseparable from their ancestors" or a single technique, that is, "Zi" as the matrix.

The above is the most basic and specific method, which is the basic method in the primary stage. Each word is trained with one hand, then with both hands, and then with both hands crossed.

basic function

Basic movements

The basic movements of water sleeves are: throwing, dusting, dialing, hooking, picking, shaking, beating, lifting, supporting and punching. With the help of these basic skills, water sleeves can combine various ways to express rich emotions and create various characters. And it has many functions on the stage:

function

Function of fan: use water sleeve to come and go in front of face.

Salute: when bowing, one hand pulls up the other sleeve horizontally, which means it's very polite and respectful.

Sadness and Shyness: pull up the other sleeve with one hand and cover your face.

4 wipe tears: gently wipe with water sleeve.

Brush: brush the clothes gently with water sleeves.

Shake hands and embrace each other: both sides gently raise their sleeves and put them together.

Signal: when the actor wants to sing on the stage, when he signals to the band, he uses water sleeves.

Water sleeve master

Li Defu

(1930-2003) he is a famous Peking opera performing artist. He has been an actor in Hebei Laishui opera company, Beijing Hongguang Peking Opera Company and Jilin Yanji opera theater. Since then, he left Shaanxi opera theater to study the development of Shaanxi opera. As early as the 1950s, he began to study water sleeves. On the basis of studying, researching and inheriting the water sleeve art of the "four famous dans" in Peking Opera, he made bold breakthroughs and innovations. After years of painstaking research and constant exploration, he gradually accumulated a unique and rich Dan performance art program. His wonderful performance with one foot and two feet of water sleeves once swept the drama world, and was praised as "water sleeve master" by the dance industry in the drama circle.

Qi Aiyun

(1968 ~) national first-class actor, one of the four famous actors of Chinese Qin opera, winner of the 21st "plum blossom Award" of Chinese drama, member of Chinese Dramatist Association. In 1980, he was admitted to the performance class of Shaanxi art school, and studied with famous Qin opera performing artists Ma Lanyu (huofenghuang), Li Ruifang, Xiao Yuling and Li Defu. The application of Qi Aiyun's seven foot water sleeve in the play "Da Shen Gao Miao" and the one foot water sleeve in the play "Chang'e rushes to the moon" is wonderful and dazzling, which is completely integrated with the plot. Qi Aiyun's single throw, double throw, spin, shake sleeve, turn sleeve, twist sleeve are very neat. The whole sleeve can stretch freely, no matter the strength, size, stretching degree all reflect her deep skill in controlling the development of the plot on the stage.

Chinese PinYin : Shui Xiu