The meaning of this sentence is

If words cannot be expressed, then sing to express it; before the song can express it well, dance to express it.

The content of Huayong's famous sayings: The shortcomings of Yongge are that you don't know how to dance with your hands and dance with your feet.

Explanation of the famous saying:

Yongge: Singing for a long time.

The general idea of ??these sentences is: long singing is not enough to express a person's mood, and it is expressed unconsciously by the tangible movements of dancing and jumping.

The original text of this passage is: "Emotions move in the heart and are expressed in words. If words are not enough, we sigh about them; we sigh because they are not enough, so we will always sing about them; ~". It means that if people's hearts are touched, they express it through language; if language expression is not enough, they sigh; if the sigh is not enough to express it, they sing a long song; if a long song cannot express it, they use dance to express it. It can be seen that both song and dance are meant to express people's emotions and are closely related to real life.

This theory had a great influence on later poetry creation and poetry theory. The idiom "dance with joy" is condensed from ~.

The famous quote comes from: "Preface to Poetry"

The artistic conception described by "no movement, no dancing, no sound, no singing" is the interesting beauty of "whole drama". As the famous musical expert Chen Weizhi said, the so-called "no movement, no dancing" here does not mean jumping from beginning to end, but means that every movement is carefully arranged and designed. There is "dance" and there is "not dancing". Dance”, which of course includes stillness! Similarly, "silent but not singing" does not mean singing non-stop like flowing water, venting for thousands of miles, but means that every sound produced has been carefully calculated and arranged. There are "singing" and there are "not singing" , which of course includes lines, speaking and silence!

So every movement looks like a part of "dance", and every sound sounds like a part of "song". All songs and all dances are " "Part of the play" and inseparable. All these "songs", "dances" and "drama" must go through the creation team led by the director at the beginning of the design and the end of execution

Based on the basic spirit and consciousness of creation, they must carefully Make all related and matching aesthetic choices, and all of these can only be developed and derived "organically" from "song", "dance" and "drama". This is the highest standard of integrated song and dance music. Drama, this is an ideal and a goal to strive for.

This high-standard overall integration and the organic integration that Chinese opera also emphasizes have the same requirements, but have different effects. Qi Rushan believes that the greatest principle of opera art can be summarized by the eight characters "singing when there is sound, and dancing when there is no movement". This is its essential stipulation. The so-called "sounds must sing" means that the voices produced by actors in opera performances must have the meaning of singing. Not only singing with musical accompaniment, but also dialogues, introductions, poems, and even every frown, smile, and sigh should be expressed in the form of singing. As for "no movement, no dancing", it means that all the actors' movements on the stage must be performed in a smooth and harmonious dance posture, giving people a dance-like aesthetic enjoyment, and should be similar to the real movements in daily life. the difference.

This principle of "singing when there is sound, and dancing when there is no movement" can be said to be Qi Rushan's greatest experience in studying opera throughout his life. It is also the core of his book "Huikao", a comprehensive summary with an outline. include meaning. The artistic rules and cultural connotations it contains not only have great reference value for us to appreciate, preserve and improve opera today, but also have positive epistemological significance in the comparison between Peking Opera and drama, traditional opera and Western musicals.