Difference Analysis Between Classical Ballet And Modern Dance.pdf

Luo Jianping (Department of Music, Gannan Normal University, Ganzhou, Jiangxi): Dance is an art with an ancient and long history. It reflects and expresses people’s social life, thoughts and emotions. Due to the differences in history, culture, and living habits of countries and regions around the world, The differences will inevitably produce many dances with different styles and characteristics. This article discusses the origin and formation, characteristics and characteristics of classical ballet and modern dance, as well as dance performances, so as to have a clearer understanding of classical ballet and modern dance. The key Words: Classical ballet; modern dance; dance CLC number: J705 Document identification code: Article number: 1004–0120-03 Dance is a plastic art that uses people's inner vitality to express the rhythmic movements and gestures of the human body. It It originated from the simulated reproduction of ancient human activities such as labor life and combat drills for survival, as well as the ritual activities of totem worship, religious witchcraft and the inner impulse to express one's own emotions and thoughts. It is generated in combination with music and poetry, and is used in dance In the development process, some of the practical functions have weakened or disappeared and evolved into entertainment content. Since dance reflects human social life, different social lives will produce different types of dance. The development of dance art to this day has been divided into refined and popular. There are classical and modern dances. Therefore, when learning classical ballet and modern dance, you must understand their style characteristics and grasp the differences between them, so as to achieve the purpose of better performance and appreciation. 1. Classical Ballet (1) The origin form of ballet is a transliteration of French. Classical dance dramas from various European countries are collectively called ballet. It is a dance variety that uses European classical dance as the main means of expression and integrates music, drama, stage art and other art forms.

Classical ballet is relative to modern ballet. It refers to a dance art form from the 14th century to the end of the 19th century. Ballet was originally a kind of mass self-entertainment or square performance dance in Europe. When it became a comprehensive stage art, it originated in Italy during the Renaissance in the 14th century. The ballet at that time was based on the folk dances of various European countries, taking the plastic arts of ancient Greece as its aesthetic style, absorbing dance materials processed from Asia and Africa, and integrating music, pantomime, and stage art to express a sequence. The dramatic art of plot or story was a popular art form in European countries at that time. Ballet was only formed in the French court in the 17th century. The world's first royal dance school founded by French King Louis XIV in Paris established the five basic foot positions and twelve hand positions of ballet (the five basic foot positions Still used today (the twelve hand positions are now simplified to seven hand positions), strict norms and structural forms have been formed in its development. Its most important feature is that the actress wears special shoes and dances on tiptoe. French court ballet combines dance, music, singing, recitation and drama. In the mid-18th century, Jeanya, the ballet master, first proposed the idea of ​​"plot ballet", which brought ballet to a new stage. Major changes have taken place in terms of subject matter, content, music, costumes, techniques, etc. Ballet has never been the same again. It is no longer bound by drama and becomes an independent art category. (2) Features and Characteristics) Opening: It refers to the extensor opening of ballet students from the five major joints such as shoulders, chest, hips, ankles, etc., in order to make the most scientific and optimal use of the huge movement potential contained in their bodies. Fully developed.

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Because only when the five joints such as shoulders, chest, hips, and ankles are partially "opened" can the body be more flexible, moldable, and stable, and can it be easier to change the direction of movements at any time, and can it better complete those graceful movements. , fascinating variety of changing skills on the ground and in the air. ) Stretching: It means that people who learn ballet need to "stretch" all parts of the lower limbs such as the hips, knees, ankles and insteps. Ballet is a linear art. Only when it is "stretched" can the original lines of the limbs be more effectively extended, making the dance postures and shapes more generous and stretched. Ballet is also an art with airborne activity. In order to make the body airborne and jump, the dancer must also rely on the power of "stretching" to quickly jump. Journal of Gannan Normal University 2003 Received date: 2002-11-18 About the author : Luo Jianping (1956—), male, from Ganzhou City, Jiangxi Province, lecturer in the Music Department of Gannan Normal University. The energy of tightening the muscles in various parts of the body is concentrated towards the center line of the human body, and then through the clever cooperation of the limbs, the vertical or front and back jumping movements and skills can be completed lightly. Only when the "tightening" is straightened, the dancing posture can be more upright and straight. moving. ) Straight: It means that people who learn ballet need to develop a straight and flexible back. Only with a straight and flexible back can you have an upright posture. With an upright posture, when practicing pointe, the toes can be completely upright. The toes support the entire center of gravity of the human body, causing the center of gravity of the entire body to converge and lift as much as possible. Try your best to launch energy into the air to give people a more prominent sense of space occupation. Ballet's rotations, jumps, and leg control postures are all perfect expressions of "straight" posture.

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) Lifting: refers to lifting every joint and muscle of the human body, as if the human body becomes lighter and lighter. "Standing" gradually forms a feeling of upward lifting with the cooperation of training muscle quality and ability, which helps to complete the jumping, rotating, and lifting movements, so that the dance has direction and spatial changes without being dull and lifeless. Open, stretched, straight and upright are the basic postures of classical ballet, reflecting the rigor and standardization of basic classical ballet training. Basic Characteristics Lightness is a fundamental characteristic of ballet. Lightness in ballet can help actors shape and visualize their roles (such as the elf and the happy princess in "The Sleeping Man"), and enable actors to jump and take off powerfully. Accompanied by lightness, their feet seem to be flying in the air. Desire to fly (eg: "Ancient Clarity" is another basic characteristic of ballet. Dance is an ephemeral, non-verbal art that expresses plots or stories through actors' performances and music, so clarity is indispensable. In classical In ballet, music and actors can reflect the character's personality and emotions. Therefore, the clarity of the mental outlook shows whether the actor can integrate the music style and dance breath, giving people a beautiful enjoyment, using dance to see through a culture and express a culture. Spirit. It can clearly show the unique palace temperament of classical ballet. The basic nature of classical ballet is its graceful and elegant nature. The graceful and elegant style makes the dance steps look effortless, fully showing the demeanor of the aristocratic gentleman of the court. Graceful and elegant The dance movements are run through with a rigorous and silkless stream, which is the highest form of expression unique to classical ballet. (3) Stage performance Classical ballet is a kind of court art, which plays an irreplaceable role in dance types.

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Classical ballet is an aesthetic art, so the elegant dance postures and standardized straight legs, leg extensions, pointe dance skills, jumps, and whirls… all present a distinctive style, and the movements are perfectly smooth, delicate and complex in one go. The beauty. The high aristocratic demeanor, splayed shoulders, chest, hips, and feet, coupled with the graceful and luxurious clothing, plus the light and thin figures floating on the toes, are so ethereal and elegant, it will always make people crazy. fan. 2. Modern Dance (1) Origin and Formation Modern dance is a dance genre that emerged in Europe and the United States at the end of the 19th century and the beginning of the 20th century. Its main aesthetic point of view is to oppose the formalist tendency of classical ballet to be conservative, divorced from real life and purely pursuing skills; it advocates getting rid of the constraints of classical ballet's overly rigid movement programs, and using dance movements that conform to natural movement laws to freely express human reality. Emotion, emphasizing that dance art should reflect modern social life. By the 19th century, European classical ballet had shown a tendency to be rigid, stylized, and pursue one-sided techniques, and classical ballet began to decline. The end of the 19th century was the period when the bourgeoisie phase began to dominate. The social information of the era was complex. It affected artists from many aspects, thus forming their own artistic characteristics and theoretical schools. In terms of dance, at the beginning of the 20th century, the American Isadora Duncan challenged traditional ballet. She completely broke with classical ballet, advocated "returning to nature", fully used the human body as a means of expression, and bravely expressed her will. Let subjective emotions play a leading role in the art of dance. She dared to challenge traditional conservative ideas, and was therefore known as the "Father of Modern Dance." After analyzing the coordination of the brain, nerves and muscles, the Hungarian Rudolf Laban proposed a set of principles for expressing expressions and exploring human body movements. and the maximum limit of expression.

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He established the physical training method of modern dance with the purpose of enabling actors to use their own movements to fully express their inner motivations and feelings. Laban also created dance notation, and he is known as the "Father of Modern Dance Theory." Modern dance gradually took shape under the continuous creation and improvement of pioneers such as Duncan and Laban, but modern dance does not seek to create a fixed system, nor does it pursue eternity and immortality. It constantly denies others and constantly denies itself, so it is a "revolution" that is never completed and continues to move forward. (2) Characteristics and characteristics of basic postures The posture of modern dance is "returning to nature", but "returning to nature" is not an arbitrary natural movement, but a natural movement that conforms to objective laws. It is a contraction and relaxation technique based on breathing techniques and rhythm. It is based on the muscle and nerve responses generated by internal or external stimulation of the body, plus exaggerated, rough, and powerful rhythms to fully utilize the potential of the limbs. sports potential to reveal people’s inner world and convey various life experiences. Basic characteristics: Modern dance is an advanced thought and spirit. It is an art form that keeps pace with the times and transcends the times. Modern dance is opposed to traditional dance art. It reveals the mystery deep in the soul, that is, the spirit that transcends itself and develops infinitely. Under the guidance of this spirit, modern dance has both the originality and the classics of the times. It takes continuous innovation as its mainstream and continuously pushes the art of dance forward. The language of modern dance itself is characterized by ambiguity.

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However, the vague characteristics of language should not be the reason why the meaning of the work cannot be conveyed clearly. In other words, a specific dance movement of modern dance can be a "word" with multiple meanings, but the meaning of the work itself should be clear. What the choreographer hopes to convey to the audience should be clear, and it should be able to make the audience understand Somewhat understanding. In order to achieve this, choosing the most appropriate movements to express all the artistic connotations is the basic starting point of dance art creation, and it is also the most important point in artistic creation. The basic nature of modern dance breaks the old constraints of dance forms and the aesthetics of classical ballet, making full use of body language to express the inner spiritual world of the choreographer. Make dance not only an art for entertainment or appreciation, but also a noble art with profound content that can express human thoughts. (3) Stage performance Because modern dance uses movements that conform to natural movement laws as dance movements, it freely expresses people's sincere emotions and emphasizes the reflection of modern social life. Therefore, the stage art and lighting system called "freehand drama" in our country, as well as polymodal, atonal, and lack of melody music, appeared to serve modern dance performances. Under the changes of these factors, from the beginning to the end of modern dance, the movements cling to each other, depend on each other, and are indispensable. Therefore, many novel movements will appear during the performance, such as unique connections, transitional movements, and unique shapes. These are just to better and more uniquely reflect modern social life and the inner world of the author, so as to achieve the continuous innovation of modern dance. In summary, due to the social attributes of dance, it is not only for people’s entertainment and appreciation, but also It reflects different thoughts and life issues in different societies.

Classical ballet is a product of European classical dance and originated from the court. It is a kind of aestheticism that expresses perfect human nature and expresses the inseparability of human noble sentiments and will. It hides the pure inner emotions, this sincere emotion of the pursuit of a better life, which is the artistic charm of the fresh classical ballet genre. If today's classical ballet wants to be nationalized and mass-oriented, it is important to pay attention to the development of thinking, artistic conception, conception, vocabulary, music and other issues. Modern dance is a product of capitalist society after classical ballet and has a certain pioneering spirit. It is based on advanced ideas, pursues spiritual liberation, and uses its own body language to reflect society and one's own inner world. As modern science continues to penetrate into the field of art, modern dance is becoming more and more scientific. Therefore, it is necessary to create modern dance that is "contemporary" with a modern spirit and scientific attitude. The biggest difference between classical ballet and modern dance is that the former uses rigorous, standardized and perfect technical movements to restrain one's emotions, while the latter uses natural movement laws to reflect real life and express one's emotions, daring to innovate and make breakthroughs. The old model. Only by understanding and distinguishing them can we correctly grasp the style characteristics of the two and better perform and appreciate the two different styles of dance. Editor in charge: Han Shanshan-ping .. . Journal of Gannan Normal University 2003

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Of The Eighteen Kinds Of Weapons Used By Ancient Phalanx Infantry, Why In Modern Times Only Spears And Matchlocks Remain?

Author|Lengyan author team-Pilan Reading History

Word count: 3493, reading time: about 7 minutes

Editor's note: For many players who like medieval warfare-themed games, the different types and effectiveness of arms in medieval warfare are definitely one of the reasons and motivations that support them to keep playing. Historically, the composition of the armies of various European countries during the Middle Ages can indeed be said to be very different. Due to differences in economic levels, topographic environments, and even cultural beliefs and other factors, the arms types between countries vary greatly, especially the infantry, which has long hands. Spears, two-handed swords, contradictions, swords and shields, hammers and axes, crossbows, slings, etc. can be said to be in full bloom. But in modern times, this "letting a hundred flowers bloom" situation has been broken. In the modern infantry phalanx, there are basically only two types of arms: spearmen and musketeers. After the invention of the military bayonet, weapons such as spears It was also eliminated, and the infantry arms of various countries became more monotonous and consistent. So, how did this change in the modern infantry phalanx occur?

As many people have said, in medieval wars, cavalry was often the deciding factor in victory or defeat. With the disintegration and collapse of the Roman Empire, the traditional Roman legion-style heavy infantry system began to decline in Europe, and this "enabled the cavalry to be relatively more effective without increasing costs." This resulted in medieval wars often being called "knights' wars." It was difficult for infantry who lacked training and equipment to resist the impact of cavalry units formed by nobles and retinues. This situation did not change until the Hundred Years' War between England and France. The victories at the Battle of Crécy and the Battle of Poitiers showed that well-trained and high-morale infantry, working together, could defeat those seemingly invincible French knights. Although England at this time did not establish the spear phalanx we saw later, the tactics of relying on heavy infantry and projectile infantry for combat had begun to have an impact on the original status of cavalry.

The emergence of the modern phalanx is related to Switzerland. The prototype of modern European phalanx is the famous Swiss pike phalanx. Switzerland is a mountainous country. Due to inconvenient transportation and barren land, local people often make a living as mercenaries. The early Swiss infantry used long-handled hook axes of about 2.4 meters to fight. This weapon, which later evolved into the Swiss halberd, was not suitable for group combat. Therefore, in the early 14th century, the fighting methods of the Swiss mercenaries were different from those of the later Swiss pikemen. They are very different from each other. They are used to hiding on hillsides and jungles, leaving only a small number of troops to attract the enemy. In the Battle of Morgarten, the Austrian heavy cavalry suffered great losses from this tactic. Later, in order to adapt to frontal combat, they began to use long guns on a large scale. The characteristics of the mountain militia gave the Swiss greater mobility and impact. Since most of them came from the same village or tribe, they were familiar with each other and participated in training together. Therefore, they had a cohesion and training level that the regular army did not have at the same time. .

Different from the usual formations used by infantry at that time, Swiss soldiers were able to form Swiss infantry phalanxes with up to 2,500 people. In order to facilitate mobility, they formed in columns, with the captains of each team standing in the first row. During combat, the soldiers only needed to follow the captains. Actions can maintain the integrity of the formation. However, unlike the Greek and Macedonian ways of arranging large square formations in a straight line, the Swiss spearmen's formation method is simpler and rougher. They do not pursue a completely straight line, so they do not need to make the horizontal width of their own troops equal to that of the enemy. be consistent. They usually form three phalanx units. Once they are attacked by the enemy, they will choose to stop marching. The soldiers in the phalanx will level their spears in all directions according to their positions. In this way, the flanks will not become deadly shields like the Greek and Macedonian phalanxes.

Relying on this new phalanx, the Swiss' performance in foreign wars shocked the entire Europe. In the Battle of Saint-Jacques-de-Beers in 1444, 1,300 Swiss soldiers fought against 30,000 Almanian soldiers led by the French Dauphin. As a result, with such a huge disparity in strength between the enemy and ours, the Swiss army still wiped out 2,000 Almanians after experiencing a long-range attack by the French crossbowmen. Although the Swiss army was completely wiped out in the end, the Swiss army in this battle The courage and fighting power shown by the people made the crown prince Louis have to stop his troops sadly. Afterwards, the Swiss army acted like a cheat, defeating Charles the Bold, Duke of Burgundy, in three consecutive large-scale battles, and killed the Chosen Son in the third battle (the Skull Crusher achievement was achieved). This made the Swiss pikemen famous in Europe. After this, Swiss pikemen became the most sought-after mercenary fighters in various European countries.

However, although the Swiss mercenaries are eye-catching in combat effectiveness, due to Switzerland's good relations with France, for a long time, the mercenaries exported by Switzerland were almost controlled by France. Even if other countries are willing to pay to hire them, it is difficult to obtain contracts for these high-quality soldiers. The elite artillery trained by Britain and France during the Hundred Years' War, the well-trained traditional heavy cavalry, and crossbowmen, coupled with the highly mobile and impactful Swiss pikemen, during this period, the French army was almost the top of the entire Europe. match.

In the Swiss phalanx, in addition to the pikemen we mentioned earlier, some halberdiers are also retained. This may be the result of historical inertia. These halberdiers are often the elite of mercenaries. After an enemy breaks into the phalanx, He will use his halberd to chop down these intruders, and he is extremely fierce. It was not until the invention of the bayonet that the Swiss halberd was finally withdrawn from the army. Similar to the Swiss Phalanx, its two imitators, the Spanish Phalanx and the German Phalanx, both retained other weapons as auxiliary elements in the phalanx.

The Spanish phalanx was the first modern phalanx system to achieve close combat and long-range cooperation. When the Swiss deployed the phalanx, they often only arranged a small number of crossbowmen as skirmishers as cover, while the Spaniards were replicating the basis of the Swiss phalanx. On the front, a considerable number of musketeers were also deployed at the four corners of the phalanx. Although the production technology and lethality of muskets in the first half of the 15th century did not have an overwhelming advantage, during the Battle of Pavia, Spanish musketeers used the jungle and ravine terrain on the battlefield to defeat the French knights who broke into the battlefield. It also proved the huge lethality of firearms against cavalry armor. At this point, traditional long-range weapons such as crossbows, javelins, and bows and arrows were gradually declining.

Relying on the cooperation between musketeers and spearmen, the Spanish phalanx had almost become a killing force at that time. In addition to pikemen and musketeers, the Spaniards also used sword and shield bearers on a large scale before carrying out the phalanx reform. The origins of these sword and shield bearers can be traced back to the "Liberation Movement" period when Spain expelled the Moors. In short, the rugged The characteristics of terrain and surprise operations once resulted in nearly two-thirds of the Spanish army being light infantry such as sword and shield bearers, musketeers, and crossbowmen. Naturally, these sword and shield soldiers who fought hard in the Restoration Movement would not be ignored by the Spaniards. In the Italian wars, these experienced sword and shield players would attack when their opponents were in chaos, use their shields to block the thrusts of spears, and break into the opponent's phalanx to kill the enemy wantonly. However, after the reform of the phalanx in 1534, the sword and shield bearers disappeared from the Spanish phalanx.

The situation of the German mercenaries is somewhat similar to that of the Spanish phalanx. They also rely on spears and muskets to cooperate with each other. Thanks to the dividends of the development of German two-handed swords, there are many elite two-handed swordsmen among the German mercenaries. . It is worth mentioning that although many people believe that German two-handed swordsmen are "Dubler swordsmen" (Dubler is a transliteration, meaning "double salary"). But in fact, among the early German mercenaries, salaries were determined based on the equipment and weapon conditions provided by the mercenaries themselves. At that time, the price of a mercenary spearman's equipment was around 12 to 14 guilders, while a full set of armor cost 16 guilders. According to convention, spearmen who can purchase a full set of equipment or soldiers who purchase a full set of musketeer equipment including muskets can receive a monthly commission of 8 guilders. Ordinary mercenaries cost 4 guilders. This is the origin of double-paid mercenaries. Therefore, in addition to two-handed swords, many Doppler swordsmen also use two-handed weapons such as halberds and long-handled battle axes.

Back to the topic, during combat, two-handed swordsmen are often deployed at both ends of the square formation. They used two-handed swords and other weapons to cut off the enemy's spears, open a gap in the enemy's line, and lead the soldiers behind to expand it.

It can be seen that neither the Swiss nor the Germans gave up other infantry arms except spears and muskets when forming their armies. This was because, in the combat environment at that time, although muskets were powerful, they had to be loaded. It is difficult and the rate of fire is slow, so the battle between the two sides is often determined by the impact of close combat. Because of this, the Swiss Halberdier and the German two-handed swordsman, these elite warriors who have undergone rigorous training and are rich in valuable war experience, can Play an important tactical role in close combat. As the power of muskets increased, the status of infantry close assault tactics became increasingly low.

According to statistics from "The Art of Western War", before the Thirty Years' War began, the salary of spearmen was slightly higher than that of musketeers or musketeers, but by the end of the war, the salary of musketeers was nearly twice that of spearmen—— Before and after the Thirty Years' War, Morris's musket fire tactics became increasingly mature. The musketeers in Gustav's square formation were compressed from the original six rows to a more dense three horizontal rows, but the firepower of the unit columns increased. No less. At this time, people have discovered that a group of musketeers who are skilled in loading and cooperate tacitly can greatly increase the firepower density of the phalanx, but the role of the spearmen is relatively weakened. They have become a supporting role in protecting the musketeers, only in the enemy's attack. It only works when cavalry or spearmen are close.

To make matters worse, King Gustavus of Sweden improved the cavalry unit. The new cavalry no longer relied on pistols for semi-circling shooting. Instead, they resumed the shock tactics of the old cavalry and used shallow and deep formations to attack the weak links of the musketeers. Faced with these ghosts on the battlefield, commanders often can only further strengthen their own cavalry and use magic to defeat magic, and at the same time train the cooperation of spearmen and musketeers to shorten the response time of the phalanx to cavalry raids. In this way, many needs The status of the coordinated arms is even more embarrassing. Under such circumstances, it is naturally difficult for those infantrymen of different types and vastly different combat methods to return to the battlefield. After all, "the times are different."

references:

1. Xu Erbin "German Spearmen from the End of the 15th to the 16th Century" 2. Yang Zhen "The Infantry Revolution in Western Europe in the 14th Century" 3. "Western Art of War"