芭蕾舞训练中,一般是躯干与四肢有机结合的动作,伴随着音乐旋律的高低长短而进行的,这些动作又与呼吸相结合,形成各种律动姿态,即:动作的柔韧性、延伸性、流畅性、爆发性练习等,相随的呼吸也各异,有吸气到呼气、吸气再提气、慢吸快呼、快吸慢呼等等。表现以上各种动作的特性都是由力度而得以体现的,而这些力度又受呼吸深浅的影响。如动作的爆发性就需要深沉及快速的呼吸配合,这样做可以使肌肉的内在紧张度增大,由于力的反作用关系,通过外表更加凸现出来。而动作的柔韧性,在律动过程中,因力的相对减弱,要配合以轻的呼吸,肌肉的紧张度也不明显的外显,只在其“中”进行。正是由于这样的呼吸相组合,使芭蕾舞在从一个动作向另一个动作过渡时,在其中形成韧性,动作过程如流水,流而不断,具有独特的流畅性,即使在舞姿的瞬间停顿时,也同样因为呼吸的延绵不绝,造成“余音”相连的效果。 Ballet training, usually the trunk and limbs with the organic combination of movement, accompanied by the level of music melody length and length, and these actions and breathing combine to form a variety of rhythmic posture, namely: action flexibility, extensibility, smooth Sexual, explosive exercises, accompanied by different breathing, there is inspiration to expiration, inspiration and then mentioning gas, slow breathing fast, slow breathing slow and so on. The performance of the above various actions are reflected by the intensity, and these efforts are affected by the depth of the breath. Such as the outbreak of action requires deep and rapid breathing cooperation, this can make the muscles of the inherent tension increased, due to the force of the reaction, through the appearance of a more prominent. The flexibility of action, in the rhythm process, due to the relative weakening of the force, with light breathing, muscle tone is not obvious obvious, only in its . It is precisely because of this combination of breathing, the ballet in the transition from one action to another action, in which the formation of toughness, the action process such as water, flow and continuous, with unique fluency, even in the moment of dance paused, Also because of breathless stretches, resulting in “sound ” connected effect.