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纵观各类武术套路比赛,我们发现运动员表现力水平的不同对其运动成绩起着至关重要的作用。然而,翻阅各类武术教材却很难找到关于表现力的论述。那么,表现力是否存在于武术套路运动中呢? 武术界自古就有一种片面的“惟技击论”。认为武术产生于技击,因而武术即搏斗技术,并由此斥追求演练效果的武术套路为“花拳绣腿”,失去了武术之本源。正因为“惟技击论”以“技击是武术的本质属性”作为排斥武术套路追求演练效果的理论依据,因而使人们回避对表现力的研究和实践,束缚了武术套路运动员技术水平提高的步伐。
Looking at all kinds of Wushu routine competitions, we found that the different levels of performance of athletes play a crucial role in their performance. However, it is hard to find a discussion of expressiveness by reading all kinds of martial arts teaching materials. So, is the expression of presence in the Wushu routine movement? The martial arts world has a one-sided “technical attack.” It is considered that martial arts originated from martial arts, so martial arts, that is, wrestling techniques, and thus denounced the pursuit of the effect of martial arts routines as “embroidery legs,” lost the origin of martial arts. It is precisely because the theory of “technical aesthetics” regards “the technical atrocity as the essential attribute of martial arts” as the theoretical basis for pursuing the rehearsal effect of the martial arts routine, thus avoiding the study and practice of the expressive force and restraining the pace of improving the technical level of the martial arts routine athletes.