浅析武术套路动作节奏的训练
摘要
武术是中国优秀的传统文化,是中华民族独具特色的民族传统体育项目。武术套路是以技击动作为素材,以攻守进退、动静疾徐、刚柔虚实等矛盾运动变化的规律编成的整套练习形式,在技击动作中有运动的过渡动作,有静止的停顿动作,有移动快的动作,也有移动慢的动作,有表现刚强的动作,也有体现柔化的动作,方向上也有虚实间的转换,动作的运动幅度也有大小,这些不同动作间的转换变化,都体现出武术套路鲜明的节奏。要体现武术套路鲜明的节奏变化,需要运动员具备良好的力量、速度、柔韧、灵敏、耐力等身体素质,这也是是对运动员基本功、专项素质以及演练技术的基本要求。
中国武术源远流长,武术流派林立,拳种多样,而且不同的拳种、不同的套路各有其独特的演练风格,所以我们不可能找出演练风格特点一样的拳种,尽管许多拳种中都含有相同的动作,但不同的拳种其演练要求、节奏的处理也是不一样的。
伴随东西方文化不断地交流融合,代表现代武术发展方向的竞技武术应运而生,它以高、难、美、新为发展方向,主要包括散打和套路两种运动形式。由于竞技武术是为了最大限度的发挥个人运动潜能和争取优异成绩而进行的武术训练竞赛活动,它的主要特点是专业化、高水平、超负荷,尤其突出竞技性,在武术套路训练中运动员为取得优异的比赛成绩,往往注重难度动作的训练而忽视了套路演练的节奏。本文从武术套路竞赛的角度出发,准确把握住武术套路演练中动作节奏变化的技巧,不仅提高了运动员的技术水平,而且给观众带来强烈的视觉冲击。
武术套路中动作的节奏,是武术动作自身运动变化规律的外在表现形式。武术套路的演练节奏,只有通过动静、快慢、虚实、刚柔、起伏相互间的变化才能表现出来,而动静、快慢、虚实、刚柔、起伏在武术运动中代表了不同的节奏形式,是武术动作节奏变化的主要因素。
动静节奏在武术套路姿态中,有静止的定式动作,也有变化的连贯动作,连贯动作与定势动作间的转换变化,体现出了武术套路的动静节奏,动静节奏在武术演练中要求动作做得象大海的波浪那样激荡,滔滔不绝有韵律,有节奏,动静节奏的变化是武术动作节奏的重要表现形式。
武术套路演练中完成动作的速度体现了快慢节奏。“快如风,缓如鹰”要求快的动作就要象一阵风那样迅速,缓的动作要象鹰在空中盘旋飞翔一样,这种缓慢是慢中有快,快与慢是相对而言,而不是持续不变的慢。动作节奏的快是相对与慢的动作而言的,如果没有先前的快也无所谓慢,同样慢也需要快来衬托,快与慢主要体现了动作节奏在速度方面的变化。
“实中含虚”、“虚中含实”是对虚实节奏变化的基本要求,武术套路演练中要表现出动作的外部形态,必须先有身体的内动,唯有虚实分明,才有利于内在意识引导外部形体动作,“虚”与“实”指的是在武术训练中动作变化的过程和结果,没有过程就不可能有结果,没有实就不可能有虚,没有虚也无所谓实,二者是一个相互矛盾的统一体,相辅相成。有的武术动作讲究勇猛快速,这体现了动作刚的一面,有的动作注重松缓柔化,这表现出了动作柔化的特点。刚柔节奏的变化体现出动作有松有紧,有刚有柔,欲紧先松,欲刚先柔,发力有大小,进攻的动作发力勇猛,防守的动作闪避柔化,使武术节奏变化清晰。
在武术套路中动作运动幅度的大小高低变化,体现了动作的起伏节奏,也就是我们常说的含展节奏。起伏的动作突出表现为有舒展大方的动作与紧缩小巧的动作;有身体外展的仰身动作,也有缩身内含的动作,通过在演练中的相互转换,体现出武术动作的幅度有大有小、有高有低,动作招势有上有下,欲起先伏,展后必缩的节奏变化形式。
武术套路动作的节奏虽然有动静、快慢、虚实、刚柔、起伏等不同的表现形式,但它们都含有相对性和逆反性的变化规律。在武术套路训练中动作的变化有动才有静,有快才有慢,有刚才有柔,有虚才有实,有含才有展,孤立的任何一面是表现不出动作节奏的变化,动作的动、快、虚、刚、起是相对静、慢、实、柔、伏相对而说的,在动作演练中要想更好的表现动静、快慢、虚实、刚柔、起伏的节奏变化,必须掌握欲动则先静,欲快而先慢,欲刚则先柔,欲实则先虚,欲起则先伏的节奏变化技巧。动静、快慢、虚实、刚柔、起伏都是相对而言的,快中再快也显不出快,慢中再慢则显不出慢,同样动静、虚实、刚柔、起伏等节奏的变化也是如此。武术动作的节奏,只有通过运动员在具体的练习中不断的体会、研究、心领神会,才能形成自己独特的演练特点,才能真正掌握动作节奏的变化技巧,从而在武术训练与比赛中表现出自己与众不同的风格,取得优异的比赛成绩。处理好武术动作节奏变化的各对主要矛盾,从中认识到动作节奏变化的要点和规律,对于提高运动员的武术运动技术水平具有重要作用。
Wushu is one of the unique Chinese traditional sports items,which is treasured as the magnificent Chinese cultural heritage. Wushu routines are combinations of numerous offensive and defensive movements, among witch are transformational patterns and set patterns. The changes of the movements can be slow or fast; the power of them can be a combination of softness and hardness. the change of the movements’direction can be exterior or virtual, and the range of them can be modest or full. All these transformations predicate rhythm. The rhythm of Wushu is the regulated alternation of power and speed in this sport which is an organism of training skills and body developments which consists of power, speed, flexibility, quickness and endurance. Rhythm of Wushu is also known as the application of all kinds of physical ability and training skills.
Chinese Wushu owns rich diversities, each of them are unique. Therefore seldom school routines practice the same training style. One action can appear in many different routines but experiencing different training principle and practicing rhythm.
With the development of the cultural communication between the east and west, competitive Wushu emerged, which represented the future of Wushu. It is endowed the characteristics of advanced, challenging, beautiful and creative, which can be observed in the two basic form: Sanda and Wushu routine. The rules of Competitive Wushu are updating and the competitor is pursuing better improvement while the trainer and trainees tends to concern too much about the difficulty instead of the rhythm of the movement. This essay illustrates the skill of the rhythm change in Wushu drilling in the respect of competitive Wushu, which can not only improve the practicer’s performance but also bring great visual and mental impact.
Rhythm is the manifestation of Wuhu’s law of nature, which can only be shown by the changes of movements. The main factors of rhythm are still or active, slow or fast, intentional or allocational, hard or soft, modest or full, which represent the different variability of rhythm.
The rhythm of still and active focuses on the gesture of Wushu. There are stable movements and concessive ones, between which the alternations resemble the important consistence of Wushu’s rhythm. The feature can be observed: movement should be conducted as concussively as waves, rhythmically and dash along.
The changes of the movement’s speed are considered as the rhythm of speed.“Fast movement”should be performed as a gust of wind,“slow movement”should be performed as soaring eagle, which is not the lax one but attentively. The rhythm of speed should be with sudden stops and steady starts. The "fast'' and "low" are features of time, they are comparatively, correlated and in a sort of interdependence.
Intention or allocation of rhythm started form the activation of inner world and end with the performance. The distinction of the intention and allocation can facilitate the conscious to direct the performance. "Intention" is the transformational process of the movement and "allocation" is the final point and result of the transformation. They are also interdependent.
From the point of the movement’s power, attacking means powerful and defense means soft. The variation of power shows the rhythm of strength. Tension proceeds relax and powerful proceeds softness. A powerful attack and swift slipping make wonderful rhythm.
The extension of the movement shows another kind of rhythm which was observed from the range of the movement, the up and down of the posture and the relaxant of the body. There are fully stretching or curl and crouch of body, among which the transition is rich of variations.
Although the rhythm of Wushu has a Varity of expressions it follow certain laws which can be called relativity and inversin. Relativity means the steady, speed, power, intention and tension are all dimidiate, none of them are isolated. While invversin means all of the elements are interpenetrated. The rhythm of Wushu can only be acquired in constantly practice and training. It can only be fully achieved as a unique style when the changes of rhythm are intake. Therefore the traits can be shown in one’s performance and improvements can be boost. Great significance is attached to the evolution of competitive Wushu, consequently, it is crucial important to balance the counterparts of the rhythm and figure out the key points of specific routines.
中国武术源远流长,武术流派林立,拳种多样,而且不同的拳种、不同的套路各有其独特的演练风格,所以我们不可能找出演练风格特点一样的拳种,尽管许多拳种中都含有相同的动作,但不同的拳种其演练要求、节奏的处理也是不一样的。
伴随东西方文化不断地交流融合,代表现代武术发展方向的竞技武术应运而生,它以高、难、美、新为发展方向,主要包括散打和套路两种运动形式。由于竞技武术是为了最大限度的发挥个人运动潜能和争取优异成绩而进行的武术训练竞赛活动,它的主要特点是专业化、高水平、超负荷,尤其突出竞技性,在武术套路训练中运动员为取得优异的比赛成绩,往往注重难度动作的训练而忽视了套路演练的节奏。本文从武术套路竞赛的角度出发,准确把握住武术套路演练中动作节奏变化的技巧,不仅提高了运动员的技术水平,而且给观众带来强烈的视觉冲击。
武术套路中动作的节奏,是武术动作自身运动变化规律的外在表现形式。武术套路的演练节奏,只有通过动静、快慢、虚实、刚柔、起伏相互间的变化才能表现出来,而动静、快慢、虚实、刚柔、起伏在武术运动中代表了不同的节奏形式,是武术动作节奏变化的主要因素。
动静节奏在武术套路姿态中,有静止的定式动作,也有变化的连贯动作,连贯动作与定势动作间的转换变化,体现出了武术套路的动静节奏,动静节奏在武术演练中要求动作做得象大海的波浪那样激荡,滔滔不绝有韵律,有节奏,动静节奏的变化是武术动作节奏的重要表现形式。
武术套路演练中完成动作的速度体现了快慢节奏。“快如风,缓如鹰”要求快的动作就要象一阵风那样迅速,缓的动作要象鹰在空中盘旋飞翔一样,这种缓慢是慢中有快,快与慢是相对而言,而不是持续不变的慢。动作节奏的快是相对与慢的动作而言的,如果没有先前的快也无所谓慢,同样慢也需要快来衬托,快与慢主要体现了动作节奏在速度方面的变化。
“实中含虚”、“虚中含实”是对虚实节奏变化的基本要求,武术套路演练中要表现出动作的外部形态,必须先有身体的内动,唯有虚实分明,才有利于内在意识引导外部形体动作,“虚”与“实”指的是在武术训练中动作变化的过程和结果,没有过程就不可能有结果,没有实就不可能有虚,没有虚也无所谓实,二者是一个相互矛盾的统一体,相辅相成。有的武术动作讲究勇猛快速,这体现了动作刚的一面,有的动作注重松缓柔化,这表现出了动作柔化的特点。刚柔节奏的变化体现出动作有松有紧,有刚有柔,欲紧先松,欲刚先柔,发力有大小,进攻的动作发力勇猛,防守的动作闪避柔化,使武术节奏变化清晰。
在武术套路中动作运动幅度的大小高低变化,体现了动作的起伏节奏,也就是我们常说的含展节奏。起伏的动作突出表现为有舒展大方的动作与紧缩小巧的动作;有身体外展的仰身动作,也有缩身内含的动作,通过在演练中的相互转换,体现出武术动作的幅度有大有小、有高有低,动作招势有上有下,欲起先伏,展后必缩的节奏变化形式。
武术套路动作的节奏虽然有动静、快慢、虚实、刚柔、起伏等不同的表现形式,但它们都含有相对性和逆反性的变化规律。在武术套路训练中动作的变化有动才有静,有快才有慢,有刚才有柔,有虚才有实,有含才有展,孤立的任何一面是表现不出动作节奏的变化,动作的动、快、虚、刚、起是相对静、慢、实、柔、伏相对而说的,在动作演练中要想更好的表现动静、快慢、虚实、刚柔、起伏的节奏变化,必须掌握欲动则先静,欲快而先慢,欲刚则先柔,欲实则先虚,欲起则先伏的节奏变化技巧。动静、快慢、虚实、刚柔、起伏都是相对而言的,快中再快也显不出快,慢中再慢则显不出慢,同样动静、虚实、刚柔、起伏等节奏的变化也是如此。武术动作的节奏,只有通过运动员在具体的练习中不断的体会、研究、心领神会,才能形成自己独特的演练特点,才能真正掌握动作节奏的变化技巧,从而在武术训练与比赛中表现出自己与众不同的风格,取得优异的比赛成绩。处理好武术动作节奏变化的各对主要矛盾,从中认识到动作节奏变化的要点和规律,对于提高运动员的武术运动技术水平具有重要作用。
Wushu is one of the unique Chinese traditional sports items,which is treasured as the magnificent Chinese cultural heritage. Wushu routines are combinations of numerous offensive and defensive movements, among witch are transformational patterns and set patterns. The changes of the movements can be slow or fast; the power of them can be a combination of softness and hardness. the change of the movements’direction can be exterior or virtual, and the range of them can be modest or full. All these transformations predicate rhythm. The rhythm of Wushu is the regulated alternation of power and speed in this sport which is an organism of training skills and body developments which consists of power, speed, flexibility, quickness and endurance. Rhythm of Wushu is also known as the application of all kinds of physical ability and training skills.
Chinese Wushu owns rich diversities, each of them are unique. Therefore seldom school routines practice the same training style. One action can appear in many different routines but experiencing different training principle and practicing rhythm.
With the development of the cultural communication between the east and west, competitive Wushu emerged, which represented the future of Wushu. It is endowed the characteristics of advanced, challenging, beautiful and creative, which can be observed in the two basic form: Sanda and Wushu routine. The rules of Competitive Wushu are updating and the competitor is pursuing better improvement while the trainer and trainees tends to concern too much about the difficulty instead of the rhythm of the movement. This essay illustrates the skill of the rhythm change in Wushu drilling in the respect of competitive Wushu, which can not only improve the practicer’s performance but also bring great visual and mental impact.
Rhythm is the manifestation of Wuhu’s law of nature, which can only be shown by the changes of movements. The main factors of rhythm are still or active, slow or fast, intentional or allocational, hard or soft, modest or full, which represent the different variability of rhythm.
The rhythm of still and active focuses on the gesture of Wushu. There are stable movements and concessive ones, between which the alternations resemble the important consistence of Wushu’s rhythm. The feature can be observed: movement should be conducted as concussively as waves, rhythmically and dash along.
The changes of the movement’s speed are considered as the rhythm of speed.“Fast movement”should be performed as a gust of wind,“slow movement”should be performed as soaring eagle, which is not the lax one but attentively. The rhythm of speed should be with sudden stops and steady starts. The "fast'' and "low" are features of time, they are comparatively, correlated and in a sort of interdependence.
Intention or allocation of rhythm started form the activation of inner world and end with the performance. The distinction of the intention and allocation can facilitate the conscious to direct the performance. "Intention" is the transformational process of the movement and "allocation" is the final point and result of the transformation. They are also interdependent.
From the point of the movement’s power, attacking means powerful and defense means soft. The variation of power shows the rhythm of strength. Tension proceeds relax and powerful proceeds softness. A powerful attack and swift slipping make wonderful rhythm.
The extension of the movement shows another kind of rhythm which was observed from the range of the movement, the up and down of the posture and the relaxant of the body. There are fully stretching or curl and crouch of body, among which the transition is rich of variations.
Although the rhythm of Wushu has a Varity of expressions it follow certain laws which can be called relativity and inversin. Relativity means the steady, speed, power, intention and tension are all dimidiate, none of them are isolated. While invversin means all of the elements are interpenetrated. The rhythm of Wushu can only be acquired in constantly practice and training. It can only be fully achieved as a unique style when the changes of rhythm are intake. Therefore the traits can be shown in one’s performance and improvements can be boost. Great significance is attached to the evolution of competitive Wushu, consequently, it is crucial important to balance the counterparts of the rhythm and figure out the key points of specific routines.
引文
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