英语藏族民间舞蹈论文.doc

英语藏族民间舞蹈论文 藏族是一个能歌善舞的民族。藏族舞蹈由于历史条件、地域环境、生产生活方式、宗教习俗等因素，形成了不同的舞蹈形式和独有的舞蹈魅力。以下是英语藏族民间舞蹈论文，欢迎阅读。 One,theintroduction Danceisaspecialculturalphenomenon,acombinationofculture,whicheffectivelyreflectsthetypicalstateandstyleofnationalculture.Folkdanceisthemostpowerfulimagelanguageexpressingthenationalthoughtandemotion.Itisthemotherofalldances,anditsdanceartcomesfromthenationalculture. TibetansliveinTibet,qinghai,gansu,sichuan,yunnanandotherprovinces.Duetothevastterritory,Tibetandancesintheformandvarietyoffolkpresentation.Tibetanpeoplehaveapassionforsinginganddancing,whenlabor,menandwomen,oldandyoung,inthebroadgrasslandorhometheater,song,dance,dance,toexpresstheirloveofwork,lifeandnature.DancehasbecomeanindispensableartformofTibetanpeoplesspiritualandculturallife,wherethereareTibetanmassesandwherethereareTibetandanceart.Mysterious,holypeople,Tibetan,Buddhareligionconsciousness,maketheTibetandancewithdignified,religiousconsciousnessandrichculturalconnotation,andgracefuldanceanddancestyleformofuniquepersonality. ThebasiccharacteristicsofTibetandance ThecharacteristicsofTibetandancearecloselyrelatedtothehistoricalconditions,socialsystems,customsandbeliefs,geographicalenvironment,productionmethodsandculturaltraditionsoftheTibetanpeople. (I)thephysicalcharacteristicsofTibetandance Tibetandanceisuniqueintheformofacommonfeature,thecenterofthecenter,beforethebodytosendor90degreesofforward.,themorphologicalcharacteristicsoftheTibetanwomenofforward,chest,arm,slackhip,insportsareusedtowillflowandchangesofbodymovementandbodymovement,theformationofnaturalswingdancecharacteristic.TheTibetanmaleischaracterizedbytheexternaldevelopmentofthelowerpartoftheknee,thepostureofthelowerlimb,andthemovementoftheupperextremitymovements. InTibetandance,thefemaledancersupperbodymovementsarereservedandelegant,givingpeopleahealthyandgracefulfeeling.Womenhaveasoftbodyposture,alightbodylikeabodywithoutmeat,asoftdancelikeawaistwithoutbones,fromthebacktothelikewithoutthearm,fromthefrontlooklikeabellybelly.Themaledancersbodymovementsisveryexquisite,armedwithpropsornot,theupperbodymovementslikelion,thousandroushoovesacross6strongmanstemperament,extremelyrichplateautoovercomeallthedangerousenvironment.RegardingtheformbeautyofTibetan,Tibetanancientbookshavethephysicalrequirementsfordancers:theupperbodyACTSlikealion,andthewaistmovestobeenchanting.Limbjointsaredexterousandtendonsareloose.Besoftandbearrogant.Actlikeaflowingwater,andthekneeswillquiver.Thefootofthefootshouldbeflexible,thegeneraldemandisheroic. ThedynamiclawofTibetandance ThethreemaincharacteristicsofTibetandancearesoft(pliable).Themovementofhead,shoulder,armandwaistisreflectedinbodymovement.Thedancersexpresstheirthoughtsandfeelingswiththerhythmoftheirbody,whichembodiesthebeautyofthecharm.Thesecondisqu.Itisflexibleandflexible,withdifferentspeed,intensityandamplitude.Lowerlimbsofbendandstretchisthekeytograsptherhythm,onthebasisofthefeetonthefloor,asthebodyoftheslackandpendulum,relyonthepowerofthekneeandwrist,withtherhythmofthemusicofupsanddowns,crotchthenswinginggently.Theuseofrhythmismainlyreflectedinthemovementoflowerextremityquandstretch.Thethirdisthetremor.Inphysicaltraining,theemphasisisonthecontinuousorsmall,quick,elasticvibrationoftheknee.InTibetandance,thereisnointernalshiver,thereisnowaytofindtheflavorofit. Soft,bendingandtremblingistheinnercharmofTibetandance,formingthemovementrulesofTibetanfolkdanceunyieldingandunyielding.Bodymovementandrhythmisalsoveryimportantatthesametime,theremakeisfootstepslightlylift,ratherthanforcedownwardstomp,atthesametimeinthefiledwiththeswingofthebodysnatural,kneesslightlyvibrate.Thedancerneedstosmelltheflowinthebody,themovementofthebodyandthebreathintherhythm. (3)basicmovementsandskillsofTibetandance ThepaceofTibetandanceisveryrich,fromthefootmovementscanbesummarizedintorub,drag,step,antecedentsandpoint,yi,kickandplane,play,suck,cross,twistedandother12kindsofbasicsteps.ThegesturesofTibetandancecanbesummarizedaspull,yo,swing,go,push,riseandYang.Tibetandanceemphasizesthecoordinationoffeet,knees,waist,chest,hands,shoulders,headandeyes,andtheessenceandrulesconstitutethecharmofthewholeTibetandance. IntroducesthecharacteristicsoftheTibetandancemovements,itisnecessarytobrieflylisttheTibetandanceskillsin:,planelegsturn,kickturn,fruitandharmonicturn,crosslegsturn,jumpacrossturnturnturn,turntogrinding,squatting,kneeling,yi,positive&negative,twistingthewaistandreversing,twistthebodysteppointofcrossturn,turn,turn,turn,turn,smallstepsstepped,deadmanstepped,laygreatstepped,flatspintigerjumpedandcrosslegs,legsjumped,coverthelegs,liaolegsjump,cengstepcrosslegsjumpjumped,rabbits,cats,etc.TheseactiontechniquesareusedinthedancetoshowthespiritandcharacterofTibetanpeople. Tibetandance,besidesthemaincharacteristicofthetotalofacommononthemotionlawisthemostbasicofthreesteps,retreatbeforestep,whilsttravelling,foursteprotarycommonrule.Onthebasisofthiscommonlaw,differentchangesareproduced,combinedwiththeoperationofthegesture,therhythmofthewaistandthedifferenceofmusic,whichconstitutedifferentdancestyles. Iii.ClassificationandstylecharacteristicsofTibetandance Nationaldancehasalonghistoryandpasseddownfromgenerationtogeneration.Thefeelingissincereandrich,thestyleisvaried.Tibetandanceisafolkdancewithnationalcharacteristics.Itisacommonbasicimage,suchasloosecrotch,bowwaist,curvedbackandsoon.Ithasaheavyworkinglifeintheplateauregion. Theinfluenceofreligiouspsychology,religiousetiquetteandcustoms.Whentheydance,thesemovementswillnaturallybereflectedinthedance,makingtheirimagewithobviousspecialculturalpsychologicalfactors. (I)classificationofTibetandances AlthoughTibetandanceisinvariousshapesandvarieties,itstillcanbeattributedtothefourseriesandcategories,namely,folk,religious,dramaandcourt.Thefolkdancesincludefruitharmonic,heapharmonic,fruity,harmonic,etc.Religiousdanceisdividedintoqiangmu,homedance,gonggarinspiration,etc.Theoperadancewasperformedbyrahm,gesarandhelongzhongzi,etc.Thepalacedancehasaclouddance(gael)andsoon.Inthemultivarietaldance,eveninthesamefolkdanceform,therearedifferentdanceandperformanceproceduresindifferentplaces,presentingthemulti-stylecharacteristicsofthesameformofdance. (2)tolookattheperformancestylefromthecommontypesofdances TheperformancestylesofTibetandancearevariedandvaried,withsinginganddancing,dancing,singing,dancing,singinganddancing. Zhuozhuoalsocalledthepotzhuangdancetofocusonemotionalexpressionandgracefuldance.Thedancermovesinfrontofthebody,turnthehip,thesquatandturntowaitforthemain,thewaisttotherhythm,theregularundulations,thebeautyofpeaceandharmony. Heapharmoniccommonlyknownastapdance,simpleandeasy,havethestepforthefestival,therhythmoftherhythmchangeunderfoot,tokick,kick,step,walk,swing,jump,smartandnimble,exquisiteandexquisite. Harmonicisthestringdance,thehandsshakethelongsleeve,themovementisgraceful,smooth,theslowstretchstretches,thestretchextendscontinuously. Fruitharmonicreferstothecircledance,havestampedfortheday,eventhearmextension,boldandunrestrained,freeandeasybodyhasav,atthefootofaflexible,actioninfrontofahand,hip,squatdownandturned,livelyandwarm. Harmonicmenandwomentogetherdance,dancerswithpremiereshakingfromthevibratobursts,dancingontheissueofthickcorrespondingchatter,howtosimulateapeacockposturemovementforitsphysicalcharacteristics.Thedancepostureisround,stretch,themelodyiseasyandfluent,ittakesdragstep,pointsteptoturn,swaysleeve,forkliftdisplayaction,longsleevefliesverycharacteristic. Zhuoisboldandbold,withthecharacteristicsofsongwithoutdance,dancewithoutsong,technicalperformancetakesthemainpositionofdance,step,jump,flip,shake,soft,steadyandpowerful. Hotbarisacharacteristicbellinspire,withaskillfulandskillfulskill,withwittyandhumorousperformancetowin.Heishuidancehasbeenboldandunrestrained,hypertrophyofthepantsmenarelikeeagles,coarselegsstrongpowerful,dancemoresimulationbeastformofaction,especiallyaneagle,eaglewingslikeeaglesjump,eaglehovering,etc.Thegracefulopening,heavypostureandemotionalexpressionofwomenarethephysicalmanifestationofthefiercetemperamentofTibetanpeopleindance. Therearealsosomedancesperformedatthesacrificialceremony,fullofmysteryandpiety,whichreflecttheinviolabilityofgod.Withthegradualthinningofreligiousconsciousness,thehumanspiritischanging,butthemovementandstyleofthisdancehavebecomethenationalaestheticcharacteristics. Tibetandancestyleischaracterizedbyitscharacteristics,whichisthebeautyofTibetandanceform,whichistheformandindividuationofspiritandemotionreflectedindance.ItisbecauseTibetandancearthasspecialdancestylethatmakesitmorebrilliant. ThetypicaldancepostureofTibetandance TheTibetanpeopleliveintheqinghai-tibetplateauknownastheroofoftheworld,wheretheHimalayasandtheworldshighestpeakmountEverest.Duetothedifferenceofaltitudeandnaturalenvironment,arivervalleyareasuitableforfarmingisformed,andagrassyareasuitableforgrazingisformed.TheTibetandanceformistheintegrationofthecultureofagricultureandanimalhusbandryandthereligiousculture,whichmakestheTibetandance. (1)shunbianmeiofTibetandance Shunreferstothemovementofaparticularmovementandpostureinthedanceprocess.Itisalifeofoxygenbythehighmountains,plustheruggedmountainroad,walkingontheplateauforlabororweight,whenthebodycentreofgravityistiltedtooneside,thecenterwillbetilted,thesideofthehandalsoiswithtoYiShunedge.Thispostureistheleastdangerousasittravels,anditisthemostenergy,soasthebasicdailylifeingait,andgraduallysublimatedintoYiShunedgedanceofbeauty,manifeststheplateaunationalaestheticpsychology,formauniquedanceposture.Thedancertakesthewaistastheinitiative,thebodyandthearmstothesamesideofthebigswing,givesthefeelingofthewaveundulating. (2)peacockeatingwaterinTibetandance Tibetandancedancefeaturesarereflectedinthedepictionofdanceimages.Forexample,theformofpeacockeatingwater,whilepraisingthepeacock,isagestureoftheeagle.Thepeacockisasymbolofauspiciousness.Itisapopularflyingbirdthatfliesintheairlikeaneagle,andthelocalpeopleregardthepeacockandtheeagleasthebirdofthebird,sothepeacockisthepeacockinthedanceoftheeagle.Dancersperformapeacock,holdingtherobehorizontallyonbothsidesoftheflexor,exchange,liftoneleg,forward,afteraslowrotation,thedanceimageofnatureisverybeautifulandserene,fullofhope,liketheeaglewings,flylikebirds.Thetwoareintegratedintothedanceonthebasisofreligiousculture,whichembodiestheuniquestyleofdancingandtheprofoundreligiouspsychology. 5.CostumefactorsofTibetandance Clothingisapartofnationalculture,boththecrystallizationofmaterialcivilizationandthemeaningofspiritualcivilization.Tibetanpeoplefromgenerationtogenerationintheqinghai-tibetplateauandtheroutesofnomadicandanimalhusbandryandagriculture,thushasformedatypicalinthedressofthesnowyplateauuniquelocalstylecharacteristic.Thedressisdecoratedwiththeeffectofthedanceperformance,andcanenhancethedancesappeal. (I)basiccharacteristicsofTibetanclothing ThemostbasiccharacteristicsofTibetanclothingarefatwaists,longsleeves,broad-skirts,longboots,braiding,ornaments,andheavycolors.Bulkygarmentsleeveiscapacious,thearmsareretractable,itiscoldandwarmandconvenienttolive,thedaytemperaturerisecanbeabletotakeoffanarm,whenhotdayscanexposethearmsofdoublesleevesrolledinthewaist.Overtime,thiskindofcostumeformedtheTibetandancestyle.Forexampleofqinghairegiondancedance,suchaszhuo,suchasharmonicmanmoretypicalactionis:bythemovementofthebigarmdrivesthenaturalmovementoftheshoulderandbackarmswavingawidelongsleeveasfaraspossible,andtherangeofmotionisgreaterthantheupperarm.Danceartworkerscombinethecostumesmorecloselywiththedancemovementsandexaggeratethemtomaketheirsleeveslongerthanthehumanbody.Forexample,theTibetandanceworksplateaus,thewhitelongsleevesflyingintheair,thebeautyofnatureaccompaniedbythegracefuldanceofthesleevelesssleeves,likethewhitecloudsdancinginthebluesky. (ii)artisticfeaturesofTibetanclothing TheartisticfeaturesofTibetanclothingaremulti-faceted.Themostprominentfeaturesareincolors,patternsandotheraspects.Thedifferentcolorsofclothingbringpeopledifferentfeelings.Forexample,thedancecostumesofkangbaandTibetannortharemostlycolorful,andthedanceisinproportiontothedress,showingthedancestyleofenthusiastic,bold,strongandrugged.Andinthefemalestringdance,thedressiswarmcolor,giveapersonakindofbeautiful,pureandshyfeeling,foilthedancebeautiful,quiet.Likethedanceofmotherriverinthebigdance,thedesignerUSESthewiderpinkasthedecorationside,whichhasbothTibetanethniccharacteristicsandthefemininesideofTibetanwomen. Vi.AppreciationofclassicalTibetandanceworks IntheappreciationofChinesefolkdanceworks,therearemanyexcellentworks,whichstillserveasanimportantpartofourteaching,andmoredeeplyfeelthecharmofTibetandance. (1)danceofhotbaonthegrassland Wonthesixthworldyouthfestivalofstudentsofpeaceandfriendshipdancegamesbronzemedalworkstheheatoftheplains,istheTibetanpeoplesloveandbefamiliarwiththetraditionalfolkhot,astheprototype,afterfinishingprocessingandcreate.Intheformofnovelfreedomandvariety.Thegreatestfeatureoftheworksistheintegrationofsonganddance,whilepeopleappreciatetheintenseencouragementofhotbaandenhancetheirunderstandingofthedancecontentthroughthelyrics. Inthemaindanceperformance,first,themaleactortakesthebronzebellastheprop,jumpsthebelltoinspire,USESalotofbodybounces,feetjump,turntokneeldownthewaistandotherskills;Then,theactressstruckupthehotbassdrum,makingavarietyofdrummingmovements,makingthedancealivelyatmosphere;Intheend,agroupofTibetanwomen,withtheslowandslowsinging,begantodancewithagracefulandgracefulstringdancewithalargerangeofstringdance.Performanceinhandhelditemsshowexcellentdancersdanceskills,throughthedancemovementsconveythecontentofthelyrics,singTibetanpeopleanewlife,newChinaperformanceholidayhotandartistsandpeopleofallnationalitiesinthelivelysceneofjubilation. (2)thefemalesolodancemother OpenedinBeijingin1993smotherdanceworks,withpinewaisthipofTibetandancepeculiarposturecharacteristicasthefoundation,usesignificantlylowerbody,forward90-degreeposture,createawearingcoarseTibetanrobe,hunchovershrinkback,oldladyimagequivering.Althoughtheyearshadleftherintheoldmark,shewasdancingwithinfinitelo