Chinese classical dance integrates the movements and shapes of traditional Chinese martial arts, acrobatics and opera in the dance, paying special attention to the role of the eyes in the performance, with a unique Oriental beauty of hardness and softness, it was once called "opera dance" by some people.

The name of Chinese classical dance was first proposed by Mr. Ouyang Yuqian, a Chinese opera artist, in 1950, and was gradually recognized and widely spread by dance circles.

中国古典舞是中国舞其中的分支，起源于中国古代，有着极为悠久的历史，其渊源可以追溯到中国古代宫廷舞蹈或更为遥远时代的民间舞蹈。

中国古典舞在舞蹈中融合了中国传统武术、杂技、戏曲中的动作和造型，特别注重眼睛在表演中的作用，有着东方独有的刚柔并济的美感，它曾一度被一些人称作“戏曲舞蹈”。

中国古典舞这一舞种的定名，于1950年由中国戏曲艺术家欧阳予倩先生首次提出，后渐渐得到舞蹈界人士认同并广为流传，最终被确定。

2. Rich dance posture, basic dance posture and jumping, rotation and turn over and other technical movements have a strong sculpture.

3. Classical dance, in combination with the elastic rhythm of national music, has the characteristics of slowness, relaxation, huff and huff, cadence, combination of points and lines, etc. It has specific dynamic characteristics and rhythmic sense with music.

4. The dance costumes of Chinese classical dance are ancient and have their own characteristics according to the specific requirements of the dance. Most Han and Tang dances adopt traditional Han costumes.

5. Chinese classical dance attaches great importance to the body rhyme of "both form and spirit, physical and mental integration, internal and external unity", which is the foundation and soul of Chinese classical dance.

1.音乐大多采用中国特有的民族乐器演奏的乐曲，如古筝、二胡、琵琶等。

2.舞姿丰富，基本舞姿与跳跃、旋转与翻身等技巧动作都具有强烈的雕塑性。

3.古典舞在节奏上民族音乐的弹性节奏相配合，有着缓急、放收、吞吐、抑扬顿挫、点线结合等特点，配合音乐使舞蹈有特定的动律特点和韵律感。

4.中国古典舞的舞蹈服装古色古香，根据舞蹈的具体要求也各有特色，汉唐舞大多采用传统的汉服。

5.中国古典舞非常强调“形神兼备，身心互融，内外统一”的身韵，身韵是中国古典舞中的基础与灵魂。

Practice: In the posture of sitting in the disc through exhalation, make the breath sink, feel the gas sink, with the breath to drive the lumbar spine from the natural vertical section by section under the pressure to form a chest micro-contain, the body is slightly curved, the eyelids slowly relax with the sinking gas.

是躯干之上下动律，主要掌握躯干上提下沉纵向的动势与呼吸的配合关系。先“沉”后“提”。

做法：在盘坐的姿态上通过呼气，使气息下沉，感觉气沉丹田，以气息带动腰椎从自然垂直状一节一节下压而形成胸微含，身微弯状，眼皮随沉气慢慢放松。

在“沉”的基础上深吸气，感觉气由丹田提至胸腔，同时以胸之力带动腰椎由微弯状一节一节直立，感觉头部顶向虚空，提至胸腔之气不能静止憋住，随着“头顶虚空”的感觉向上延伸，同时眼皮也向微松状逐渐张开，瞳孔以气之力放神。

First "lift", and then in the process of "sinking", with the back shoulder and back side to drive the upper body to 4 or 6 points, feel the front rib to pull in, the back side muscle elongate, requiring the shoulder to keep level with the ground, must not have the feeling of lying down, such as the body to the right (left), the head is slightly left (right) turn, the eyes are flat, the head and neck slightly downward stem.

首先“提”，然后在“沉”的过程中，用后肩部及后肋侧带动上身向4点或6点收，感觉前肋往里收，后背侧肌拉长，要求肩与地面保持水平拉出，決不能有躺倒之感，身如向右（左）收，头则微向左（右）转，眼平视放神，头及颈部略向下梗。

The process is the same as "sinking", but it strengthens the adduction of the chest, the shoulders squeeze inward, the lumbar spine forms a bow, and the empty chest bows the head. The shoulders are closed inward and the chest is contracted, and the shoulders can be clasped with both hands to find the feeling.过程和“沉”一样，但加强胸腔的内收，双肩向里合挤，腰椎形成弓形，空胸低头。双肩向里合与胸腔收缩，可用双手抱肩寻找感觉。

和“含”相反的动作，在“提”的过程中，双肩向后掰，胸尽量前探，头微仰，使上身的肩胸完全舒展开。

Transverse movement is the movement of the horizontal plane along the vertical plane to the left or right, and is the dislocation of the waist and the relatively fixed hip to the left or right. The shoulder moves horizontally with the ground.横移是沿垂直面向左或向右的水平面上的移动，是腰与相对固定的胯向左或向右的错位。肩与地面呈水平动势横向移动。

在“提”的基础上，上身继续向上行进，胸往上顶，肩自然展开放松下沉，仰头，整个上身向天空仰展，尾椎、腰椎、胸椎收紧向上拔。

1. Body Rhyme School

"Body rhyme" is a school with the significance of the "elder" of Chinese classical dance, and its core idea is derived from the opera body and Chinese martial arts. This school pays attention to the internal rhythm and rhythm of body movements, and pays attention to the precision and expression of movement details.

2. Han-tang School

A classical dance school based on the musical and dance traditions of Han and Tang dynasties, combined with the mature opera and dance forms since Ming and Qing dynasties. The classical dance of Han and Tang schools emphasizes the inheritance and development of ancient dance styles.

3. Dunhuang School

Influenced by the dance images in Dunhuang murals, it focuses on the fluency and elegance of body lines and pursues the combination of modeling beauty and fluidity.

4. Kun Dance School

Kun dance is a unique genre based on Kunqu opera, which combines some elements of Chinese classical dance. It retains the singing and performance style of Kunqu Opera, while injecting new vitality into the dance movements.

These categories represent the rich variety of genres and styles of Chinese classical dance. Each of them has its unique aesthetic characteristics and technical requirements, which together constitute the overall style of Chinese ancient music dance.

中国古典舞大致分为四类：

1.身韵派

“身韵”是具有中国古典舞“元老”意义的流派，其核心理念脱胎于戏曲身段和中华武术。该派别讲究身体动作的内在韵律和节奏，注重动作细节的精确与表达力。

2.汉唐派

以汉、唐两代的乐舞文化传统为基础，结合明清以来成熟的戏曲舞蹈形式发展而来的一种古典舞蹈学派。汉唐派的古典舞强调对古代舞蹈风格的继承和发扬。

3.敦煌派

受到敦煌壁画中舞蹈形象的影响，着重于肢体线条的流畅与优雅，追求造型美和流动性的结合。

4.昆舞派

昆舞是以昆曲为基础，融合了中国古典舞的一些元素而形成的一个较为独特的流派。它保留了昆曲的唱腔和表演风格，同时在舞蹈动作上注入新的活力。

这些分类代表了中国古典舞丰富多彩的流派和风格。每一种都有其独特的审美特点和技巧要求，共同构成了中国古曲舞的整体风貌.

How do you bring emotion into the dance?

1. Improve the accuracy of sensory responses

The first is the response speed and coordination of the dancer's individual movements, which requires a high degree of sensitivity in all parts of the body. It is necessary to master the nature and characteristics of movement speed, time of exertion, movement route, breathing and movement fluctuation; To focus on training soft opening and limb control ability, head, eyes and torso four times to make each movement of the whole dance smooth attention! Do your basic skills well! Try to balance the external shape, beautify the body line to the maximum extent, and enhance the flexibility and coordination of the body

2. Cultivate inner emotions

The inner emotion needs the facial expression in place, it belongs to the external mental activity, and it needs to be exaggerated. Usually in front of the mirror to train facial expressions, maintain a relaxed facial expression. If you always think, "I am performing," then it will be artificial, to integrate yourself into the dance, and think that at this point in the music, I should be such a state, become a natural revelation.

3. Breath is also the key throughout the work

It is in harmony with emotion, and the length, speed and size of breath can show the personality and state of different characters. Breathing can control the dance, and the speed of breathing can also change the emotion of the dance.

4. Know your persona

Through the rhythm of the dance, the position of the movement, and the facial expression held in place, the logical and orderly incarnation of the external body language and internal emotions of the characters is arranged and released after unification, and the meaning of this dance is conveyed to the audience. Give full play to your creativity, give yourself problems, and practice.

5. The music door has a crucial impact on the dance, and the accompaniment cannot be regarded as a simple accompaniment, but the rhythm and melody are melted into their own bodies. Listen to music, improve their own understanding, more feelings, more understanding of the music wants to express the emotion and connotation.怎么把情感融入到舞蹈里？

1.提高感官反应的准确性

首先是舞蹈者个人动作的反应速度和协调性，需要全身各个部位高度敏感力。要掌握动作快慢的性质特点、用力的时间火候、运动路线、呼吸与动作起伏一致；要重点训练软开度及肢体控制能力，头眼躯干四时配人好使每个动作 整个舞蹈顺畅注意啦！基本功要打好！尽量匀称外部形态，最大限度地美化肢体线条，增强肢体灵活性和协调性

2 .内心情感的培养

内心情感需要面部表情到位，它属于外放的心理活动，还需更为夸张。平时多对着镜子训练面部表情，保持放松的登面部表情。如果老想着“我是在表演”，那么就会做作，要把自己融入到舞蹈中，自认而然认为在这段音乐的此处，我应该就是这样一种状态，成为自然的流露。

3. 气息也是贯穿作品的关键

它与情感是相互协调作用，气息的长短、速度、大小，能表现不同人物的性格、状态。呼吸能控制舞蹈，呼吸處的快慢也能改变舞蹈的情感。

4.了解自己的人物形象特征

通过舞蹈的律动、动作的走位、拿捏到位的面部表情，有逻辑有条理的化身为人物外在肢体语言及内部情感，整理统一后释放，将这支舞蹈的意义传达给观众。充分发挥创造力，给自己出难题，多练。

5.音乐门对舞蹈有至关重要的影响，不能把伴奏当作单纯的伴奏，而是将节奏和旋律融化到自己的肢体中。听听音乐，提高自身悟性，多感受、多理解音乐想表达的情感和内涵。

She said in an interview about shaping Iris Chang: After all, we are telling a history that cannot be looked at directly, it is heavy, and Iris Chang, on her way to explore the light, the psychological backlog formed in the face of one thing gradually formed a collapse.

She is not a classical figure shaped by us, she is a person who has experienced the current society. She is close to us, and through documentaries and books, she understands some efforts she wants to make for this nation.

Let me on the stage can be completely immersed in her world, in fact, on the stage I no longer feel that I am playing a role, I feel that I am her.

On the performance of the dance drama, she said: "We do not have too many cosmetic actions on the stage, but we just need you to come from the heart and show your feelings and emotions at this moment."

It can be seen that it is Tang Shiyi's excellent psychological expression that enables her to experience the fate and emotional line of the role in the early preparation work, deepening the soul "fetters" between her and Iris Chang.

It allows her to fully channel her inner emotional experience into the character's external representation.

At the same time, in the performance, the psychological expressiveness allows the dancer to convey the "true feelings" of the role through the emotional expression of the body.

The physical gestures and expressions full of "true feelings" can not only deepen the audience's impression of the character, but also lead the audience to further experience and empathize with the inner psychological activities of the character.