My experience with martial artists is that each person has their ‘thing’
Bhassler wrote:. One teacher I had said that certain types of movements were included in form demonstrations because anyone with the goods could see if the performer had the goods or not-- it saved having to cross hands, and thus injuries. I don't know how accurate it is, but it's an interesting notion to me, and speaks to the theme of forms as communication, either directly to an audience or to students through time.
Given that theater, and Chinese Opera in particular, uses movement as storytelling and that both evolved in the same cultural background, it's not a big jump to think that a look at one might inform the other.
Andy_S wrote:
I would also ask how widely known among the general Chinese public the Zhang theory actually was: Would it have made sense to perform a mini opera about an obscure, legendary Taoist that few peasants would ever have heard of, when there were so many more fierce, colorful and famous figures from Chinese legend who could have been appended to Taiji?
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