THE IMPORTANCE OF PURE DANCEThe mot

THE IMPORTANCE OF PURE DANCE
The mother postures, their patterns and choreographies.are called “pure dance.” The structure governs much of the skill in executing the dance. The execution of movement dynamics as well as the static postures must be controlled. Minute details of the body movement must correspond rhythmically to the drum pattern. This drum pattern, its sustainment of time in space, must synchronize perfectly with limb trajectories. The movement and music are complex and intricate. It is technically difficult to exectute the minute details of the dance movements. They are as subtle as the air and the wind are to the smallest particle of matter. When well executed, the structure is geometrical and compostionally clear.
In trying to explain kbach.some have indulged in the analogy of architectural and sculptural design patterns. Patterns that contain floral decoration and portray dancers ondulated arms.bent back fingers, curve of the waist, flexed knees and uplifting toes, continuously in pattern, are reminiscently analogous. So are poses which are in a series of sequences.
Young novices undergo extensive training in this technique, which concentrates on the perfection of pure line—kbach. Novices gain the acquired skill and proficiency within three to four years, obtaining a great mastery over the two fundamental mother postures. The series of postures or pure kbach contain only decorative value—line of aesthetic which is considered ground work to the Occidental ballet. It is the training dasis for timing.balance and equilibrium of the overall structure of the dance. The two fundamental kbach (one is slow movement and the other in fast movement) are well connected with a most imperceptible and smooth transition of music. The switch of tempo is dictated by the rhythmic pattern of the sampho without a break and is teasingly frustrating. While the kbach chha.its manipulation and mood revealed in a nuon [nuan] (sweet, tender, modest) fashion and seems to stretch its length.dancers are awaiting for a release after a long sustaining climax. Suddenly, when the sampho player striikes the first beat of the banhchos pattern.the resolution of the long suspense is reached. Along with the new tempo.dancers are enthusiastically revived and fall into a new form—kbach banhchos. It is like an awakening state or deliberation from meditation which expresses the blissful feeling upon fulfilling their task.feelings and expressions change from serenity to liveliness. Banhchos is characteristically playful in lak [lak] (vivacious, funny, playful, comic) attitude with elaborated moving floor pattern, while chha presents symmetrical poses in more stationary manners.
Chha banhchos contains no exact numbers of kbach. My research has yielded a very fruitful result. Hoever, there are much more to be discovered. Discovering them will be difficult and frustrating due to the lack of written document, time and the scarcity of living dance masters. Among the three dance masters living in the US and France with whom I have interviewed, Mrs. Kamel is perhaps the most knowledgeable and retains much of the past. Yet, with her. I am able to effectively produce only a 20-minute video tape on female kbach and another of the same length on male kbach. Each of these kbach normally lasts from one and a half to two hours.
This composite art is rich and has been evoled through modifications. According to Her Royal Highness Princess Bopha Deiv, there are approximately 300 kbach altogether (Personal interview, 1984). Mrs. Kamel assures me that there are probably 50 or 60 kbach only (Personal interview. 1984). Further reseach should be conducted to support this, and new findings might still be discovered.
Neang and neayrong perform to the same music and at the same time from the beginning to end. They contain ralatively the same number of kbach. But apparently, neayrong contains less symmetrical poses, less intricate and graceful movements and gestures than the neang. Therefore, it is taken for granted that the neayrong has less kbach than the neang.
Within the past decade, dance masters have composed new dance pieces and dance dramas utilizing kbach from the mother postures. They emphasize that dancers of all generations must have the knowledge of mother postures to be truly a dancer. They must understand the kbach.their nature.their purport, and their wide ranges of possibilities in other to be able to properly project the true expression behind them. The chha banhchos is the key alement in preparing a dancer to be fluent as a dancer. To further testify the importance of the chha banhchos, I have interviewed three of my former classmates and schoolmates at the University of Fine Arts.in Phnom Penh. Cambodia. Two of them are Mr. Sey Chan Ouk and Mr. Narom Mam; each received a fellowship to study the Chinese traditional opera in Taiwan.and are now living in France. The other, Mr. Phan Phoung.received a fellowship to study in India for ten years

Kết quả (Việt) 1:

TẦM QUAN TRỌNG CỦA TINH KHIẾT DANCECác tư thế mẹ, mô hình và choreographies.are của họ được gọi là "tinh khiết dance." Cấu trúc chi phối hầu hết kỹ năng trong thực hiện những điệu nhảy. Thực hiện của phong trào năng động và tĩnh tư thế phải được kiểm soát. Các chi tiết phút của chuyển động cơ thể phải tương ứng rhythmically với các mô hình trống. Mô hình này trống, sustainment của thời gian trong không gian, phải đồng bộ hoá hoàn hảo với chi hnăm. Phong trào và âm nhạc là phức tạp và phức tạp. Nó là về mặt kỹ thuật khó khăn để exectute các chi tiết phút của các phong trào khiêu vũ. Họ là tinh tế như không khí và gió để các hạt nhỏ nhất của vật chất. Khi thực hiện tốt, cấu trúc là hình học và rõ ràng compostionally.Trong cố gắng để giải thích kbach.some có indulged trong tương tự của các mẫu thiết kế kiến trúc và điêu khắc. Mẫu có chứa hoa trang trí và vẽ chân dung của vũ công ondulated arms.bent ngón tay trở lại, các đường cong của eo, flexed đầu gối và nâng cao tinh thần ngón chân, liên tục trong khuôn mẫu, là tương tự như reminiscently. Vì vậy, là đặt ra trong một loạt các trình tự.Young novices undergo extensive training in this technique, which concentrates on the perfection of pure line—kbach. Novices gain the acquired skill and proficiency within three to four years, obtaining a great mastery over the two fundamental mother postures. The series of postures or pure kbach contain only decorative value—line of aesthetic which is considered ground work to the Occidental ballet. It is the training dasis for timing.balance and equilibrium of the overall structure of the dance. The two fundamental kbach (one is slow movement and the other in fast movement) are well connected with a most imperceptible and smooth transition of music. The switch of tempo is dictated by the rhythmic pattern of the sampho without a break and is teasingly frustrating. While the kbach chha.its manipulation and mood revealed in a nuon [nuan] (sweet, tender, modest) fashion and seems to stretch its length.dancers are awaiting for a release after a long sustaining climax. Suddenly, when the sampho player striikes the first beat of the banhchos pattern.the resolution of the long suspense is reached. Along with the new tempo.dancers are enthusiastically revived and fall into a new form—kbach banhchos. It is like an awakening state or deliberation from meditation which expresses the blissful feeling upon fulfilling their task.feelings and expressions change from serenity to liveliness. Banhchos is characteristically playful in lak [lak] (vivacious, funny, playful, comic) attitude with elaborated moving floor pattern, while chha presents symmetrical poses in more stationary manners.Chha banhchos contains no exact numbers of kbach. My research has yielded a very fruitful result. Hoever, there are much more to be discovered. Discovering them will be difficult and frustrating due to the lack of written document, time and the scarcity of living dance masters. Among the three dance masters living in the US and France with whom I have interviewed, Mrs. Kamel is perhaps the most knowledgeable and retains much of the past. Yet, with her. I am able to effectively produce only a 20-minute video tape on female kbach and another of the same length on male kbach. Each of these kbach normally lasts from one and a half to two hours.This composite art is rich and has been evoled through modifications. According to Her Royal Highness Princess Bopha Deiv, there are approximately 300 kbach altogether (Personal interview, 1984). Mrs. Kamel assures me that there are probably 50 or 60 kbach only (Personal interview. 1984). Further reseach should be conducted to support this, and new findings might still be discovered.Neang and neayrong perform to the same music and at the same time from the beginning to end. They contain ralatively the same number of kbach. But apparently, neayrong contains less symmetrical poses, less intricate and graceful movements and gestures than the neang. Therefore, it is taken for granted that the neayrong has less kbach than the neang.Within the past decade, dance masters have composed new dance pieces and dance dramas utilizing kbach from the mother postures. They emphasize that dancers of all generations must have the knowledge of mother postures to be truly a dancer. They must understand the kbach.their nature.their purport, and their wide ranges of possibilities in other to be able to properly project the true expression behind them. The chha banhchos is the key alement in preparing a dancer to be fluent as a dancer. To further testify the importance of the chha banhchos, I have interviewed three of my former classmates and schoolmates at the University of Fine Arts.in Phnom Penh. Cambodia. Two of them are Mr. Sey Chan Ouk and Mr. Narom Mam; each received a fellowship to study the Chinese traditional opera in Taiwan.and are now living in France. The other, Mr. Phan Phoung.received a fellowship to study in India for ten years