As a rule, thoughts about what we want to become come to us closer to high school. As for the choice of such a profession as a "ballet dancer", at the age of 14-16 it will no longer be possible. If on average a person studies a specialty for 4-5 years, studying at higher educational institutions, then a ballet dancer needs to spend more than 10 years. But what is its appeal, why do millions of children dream of becoming artists and dancing in performances, because this is hard work and often giving up personal life for the sake of a career?

Creativity as a way of life

Creativity is not schemes, theorems, algorithms, proven many centuries ago, it is diverse, multifaceted and is in constant development. In order to study one or more areas, it will take almost a lifetime! And if you are already doing something all the time (seriously), then it should be your favorite thing, to which you are ready to give most of yourself, and, perhaps, completely immerse yourself in it.

It is impossible to become a talented person, they have to be born. But, even under the condition of natural data, in order not to waste them, not to destroy them, by long oblivion and inability to apply, it is necessary to nourish, develop, increase one's abilities all the time. To do this, it is necessary to identify the direction where it is interesting for a talented child to develop, to assess his abilities and prospects in this direction. An important task for parents is to search for those mentors, masters, teachers, teachers who will not ruin talent, but will develop the inherent natural data. By their own example, they will teach you to love your work and give yourself to it. They will create comfortable conditions: moral and psychological support for a young talent, which, as a rule, is practically ignored, which can lead to sad consequences when the talent “breaks” already at the beginning of the journey. This should be a person who was also destined to be born under the lucky star "Creativity / Art" and absolutely and completely love his work. A parent can understand this in a personal conversation or in an open lesson - you only feel such people, no regalia and a huge amount of knowledge will help if a person:

1. Not a creative person.
2. Not a teacher (in the broadest sense of the word, not to mention the profession).

The education of a young talent begins at birth. Looking at the baby, it is not difficult to understand what his inner “I” gravitates towards. A child is a pure person who does not know how to deceive himself and others, therefore he sincerely reaches out for things that interest him and also sincerely refuses what does not captivate him at all. Developing creativity in childhood is freedom! Freedom of choice, freedom of action (of course, within the framework of education). A mentor for a small person is like a sculptor: first he must thoroughly knead, warm up, prepare the clay for work, and then, after a while, sculpt his own works of art.

Introduction to the world of dance.

How does the career of the future artist of the dance world begin? With the determination of abilities and a special love for dance and music by the child's parents themselves. Of course, there are quite a few families where from generation to generation children glorify their family with success on the stages of the whole world, but we know many examples when a child who grew up in a creative family achieves world fame. It is mothers who notice the first manifestations of talent in their child. And then a very important point arises - where to send the child, where he will be introduced to the world of art, not spoiled, but laid down by the knowledge that contributes to his possibly future profession. If the kid had a great opportunity in childhood to understand in which of the creative directions he wants to continue his development, then it is worth taking a responsible attitude, first of all, to teachers who will open and help him learn a new world! Yes, as a rule, when bringing a child to a dance school or studio, parents do not consider these classes as a matter of the future. The main reasons for choosing such a creative direction are physical development, posture setting (they even come to correct serious violations), the development of musicality and a sense of rhythm, the disclosure of a child as a person (dance as a way to express yourself - especially for closed children), aesthetic education, discipline, diligence and so on. The next step is the teacher's determination of special data and abilities that are not inherent in every child. Dancing, like any other activity, does not stand still. Every year the requirements for this profession are growing. If earlier the audience was delighted with the ability of the artist to easily sit on the twine, now this quality (stretching) has practically no limit, both for women and for men.

After numerous successes “in a leisure center not far from home”, a very important question arises for parents: where to continue a more in-depth education in a direction of interest? where he will be introduced to the world of art, where he will not be spoiled, but will be given the knowledge that will contribute to his possibly future profession?

When a hobby becomes a profession

When enrolling in a vocational school or a dance academy, there is always a careful selection of children: they choose the best of the best. Depending on the level of the educational institution, there are the most severe selections, when from ten to three hundred people apply for one place. What qualities and skills are very important for a future artist:

1. Physical data:

• eversion (general, active, passive)
• step is different stretching (active, passive)
• rise (special formation of the foot)
• flexibility (hulls)
• jump (elevation and balloon)

2. Psychomotor abilities (aplomb, vestibular apparatus, coordination)

3. Musicality, sense of rhythm

4. Stage data (appearance, artistry)

If everything is clear with physical criteria, without them the future dancer will not be able to get a profession in principle, then the “stage data” section baffles many people, although it is he who often becomes decisive when enrolling in a specialized institution. There are even teaching aids, where the criteria for selecting future students are strictly prescribed, which take into account such details as the distance in centimeters between the eyes and even the size of the nose. Yes, it is very reminiscent of the cruelest beauty contest, but without it in any way! External data is very important for an artist. In life, we mostly “meet by clothes”, and what can we say about art workers, who now and at all times have become role models for many.

After entering a professional choreographic school (academy), it is too early to relax, most of those accepted are conditionally enrolled. This means that they can be expelled at any time. The prestige of a diploma, for example, the Vaganova Academy, is so high all over the world that graduates must certainly meet the standard standards of the Russian ballet school.

Pupils study general education and special dance disciplines in turn, throughout the day. Such a schedule allows the child to physically relax on general subjects, but at the same time keep his concentration in good shape throughout the day. Subjects for the qualification "ballet dancer" include: classical, characteristic, historical and everyday, duet-classical and modern dance, acting, choreographic heritage. Children also learn solfeggio and the basics of playing a musical instrument, the history of music, theater, fine and choreographic art, the history and culture of St. Petersburg, human anatomy and physiology. The education of ballet dancers does not end with honing the technique of ballet steps; stage experience and participation in performances is more important. Therefore, their school day may end closer than seven o'clock in the evening, because. considerable time is devoted to rehearsals and preparation for performances. It often happens that the day ends with the performance itself, and this is around 10-11 pm. Already in the first grade of the school, the first exams are held, which lead to dropouts. In January and May, those students who could not withstand the loads or fell under the article “unsuitable” due to physical data that could not be developed or corrected (eversion, stretching, jump, endurance, form), and, most importantly, could not justify teachers' expectations. The next major expulsion occurs in the third grade, and the final one in the ninth. That is, almost before release. And sometimes hormones, extra pounds or health problems are to blame. A girl who has gained two kilograms or five centimeters in height is difficult to lift in supports, so she has to leave. As a result, out of 70 applicants, 25 people remain by the time of graduation. Representatives of the best theaters gather for state exams.

Some are invited to work immediately after the exams. Others enter a new life on their own.

Choreographic schools of the Russian Federation:

• FSBEI HPE "Moscow State Academy of Choreography"
• FSBEI HPE "Academy of Russian Ballet named after A.Ya. Vaganova"
• St. Petersburg GBPOU "Boris Eifman Dance Academy"
• SBEI SPOKI RB "Bashkir Choreographic College named after Rudolf Nureyev"
• GAOU SPO RB "Buryat Republican Choreographic College. L.P. Sakhyanova and P.T. Abasheev"
• GBOU SPO "Voronezh Choreographic School"
• GBOU SPO RO "Shakhty College of Music"
• SAEI SPO RT "Kazan choreographic school" (technical school)
• GBOU SPO "Omsk Regional College of Culture and Art"
• Regional GBOU SPO "Krasnoyarsk Choreographic College"
• Krasnogorsk branch of GAPOU MO "Moscow Provincial College of Arts"
• FGBOU SPO "Novosibirsk State Choreographic College"
• FGBOU SPO "Perm State Choreographic College"
• SBEI SPO "Samara Choreographic School (College)"
• GOU SPO "Saratov Regional College of Arts" (choreographic department)
• Yakut Choreographic School named after A.V. villagers
• Choreographic School at the Far Eastern Federal University (FEFU)
• OGBOU SPO "Astrakhan College of Arts"
• Moscow State Choreographic School. L.M. Lavrovsky
• Autonomous non-profit organization of secondary vocational education choreographic college "School of classical dance"
• GBPOU "Moscow Choreographic School at the Moscow State Academic Dance Theater "Gzhel" * Krasnodar Choreographic School

Unfortunately, in our country you can only get an education as a “classical ballet dancer”. Yes, with such a strong school, they retrain if they want to get into the troupes of modern theaters. But in addition to the classical in our country, there are more and more artists of modern trends, such as, for example, contemporary or modern. And in order to get an education, artists are forced to enter the dance academies of other countries, the most famous of them:

• Germany:

— Folkwang University of the Arts (Institute of Contemporary Dance)

— Hochschule fur Musik und Darstellender Kunst, Frankfurt am Main

• Netherlands

– Codarts University for the Arts, Rotterdam, ArtEZ University of the Arts (Arnhem)

• Switzerland L'école-atelier Rudra Bejart Lausanne

— (Lausanne)

• Belgium

— P.A.R.T.S. School for contemporary dance (Brussels)

• Hungary

– Budapest contemporary dance academy (Budapest)

• France

– Lyon Conservatoire National Supérieur Musique et Danse (Lyon)

Not everyone who is fond of dance can enter professional educational institutions, most of them study in private schools and dance studios. And they, too, can get a higher education, have the opportunity to be accepted into musical and dance theater troupes, and be in demand in the creative world.

• Choreographic art in Russian universities (higher education):
• Barnaul. Altai State Academy of Culture and Arts
• Belgorod. Belgorod State Institute of Arts and Culture
• Vladivostok. Far Eastern Federal University
• Vladimir. Vladimir State University
• Volgograd. Volgograd State Institute of Arts and Culture
• Yoshkar-Ola. Mari State University
• Kazan. Kazan (Volga Region) Federal University
• Kaliningrad. Immanuel Kant Baltic Federal University
• Kaluga. Kaluga State University K.E. Tsiolkovsky
• Krasnoyarsk. Siberian Federal University
• Magnitogorsk. Magnitogorsk State Conservatory (Academy) named after M.I. Glinka
• Moscow. Moscow Pedagogical State University,
• Russian State Social University, Moscow State Academy of Choreography, Institute of Contemporary Art
• Nalchik. North Caucasian State Institute of Arts
• Omsk. Omsk State University F.M. Dostoevsky
• Permian. Perm State Institute of Culture, Perm State Choreographic School
• Saint Petersburg. Academy of Russian Ballet named after A.Ya. Vaganova.
• Russian State Pedagogical University. A.I. Herzen, St. Petersburg State Institute of Culture
• Stavropol. Stavropol State Pedagogical Institute
• Tambov. Tambov State University named after G.R. Derzhavin"
• Tula. Tula State Pedagogical University. L.N. Tolstoy
• Tyumen. Tyumen State Institute of Culture
• Khimki. Moscow State Institute of Culture
• Chelyabinsk. South Ural State Institute of Arts named after P.I. Tchaikovsky
• Chita. Transbaikal State University
• Yakutsk. North-Eastern Federal University named after M.K. Ammosova

Career

The dream of all students of choreographic institutions is the theater. Graduates of the Moscow School, as a rule, are invited to the troupe of the Bolshoi Theater, from the Vaganova Academy - to the Mariinsky, Mikhailovsky, Boris Eifman's ballet, etc. All young artists go the same way to becoming a “dancer” or “ballerina”, of course, there are exceptions when at the final exam they are immediately invited to theaters for the position of “soloist”, but basically everyone starts with the corps de ballet, having passed the casting in general view - lesson. Most of those enrolled in the troupe remain in the ranks of the corps de ballet. Only a few, the most talented achieve solo parts. To do this, you need to be a really bright, extraordinarily outstanding artist. The profession involves a strict hierarchy of positions, such as a corps de ballet dancer, prima ballerina, there are also qualification categories, of which there are only 17 (ballet dancer of the highest, first and second categories, leading stage master, etc.) Much, if not all, in the fate of anyone, and especially a ballet artist, depends on a combination of circumstances, on backstage relationships, the theater repertoire, places in competitions and personal charm.

If we talk about the theaters of St. Petersburg, then these are:

— State Academic Mariinsky Theater

— St. Petersburg State Academic Opera and Ballet Theatre. M.P. Mussorgsky - Mikhailovsky Theater

— St. Petersburg State Academic Ballet Theater named after Leonid Yakobson — Academic Ballet Theater of Boris Eifman — St. Petersburg Ballet Theater of Konstantin Tachkin

– Tchaikovsky Ballet Theater

– St. Petersburg Theater “Russian Ballet”

- Touring prefabricated corpses

Realization of a dream.

Everyone likes to be successful and in demand, this is especially important for artists on the big stage, because. it is ambition and the desire to be better than oneself that are the key to success in a dance career. When children are just starting to do choreography, they do not think about success and fame, they are attracted by this mysterious and enchanting world of the stage, and participating in a performance is something beyond their childhood dreams. This attitude to the profession does not disappear among established artists. Scenery, costumes, make-up, light, excitement before the start of the performance - become part of their lives, without which they think they can no longer feel happy. The love and gratitude of the viewer give a deeper meaning to ballet life, the artists feel their importance for the theater not only from an economic point of view, but also at the level of development of art and culture in general.

The most interesting part of the life of a ballet dancer is touring. It often happens that it is thanks to this profession that a person has the opportunity to get to know the whole world. The Internet is replete with vivid photographs of ballet stars in beautiful costumes, with celebrities against the backdrop of all sorts of "wonders of the world." The ability to travel around the world, and even get paid for it - isn't it a dream ?? But not many people know that touring means endless fatigue, continuous airports and transfers, and very little free time to immerse yourself and enjoy the culture of other countries and cities. True, this is still not an obstacle to the desire to work, improve, dance new parts, and give yourself completely to the viewer!

profession for young people.

Life for many ballet dancers develops in different ways. Someone works in theaters until retirement, someone tries to realize himself somewhere else, as soon as he feels the decline in the activity of his dancing career. By law, soloists retire after 15 years of continuous service to the dance world, corps de ballet dancers - at least 20 years. Most go into professions, one way or another related to art. For example, they teach in choreographic schools, work as tutors in the theater, in schools and ballet studios, and retrain as choreographers and choreographers. They create dance schools, and if you're lucky, they occupy leadership positions in the theater itself, in which he has worked all his life. In any case, everything depends on the person himself and his ambitions, and even after such a dizzying career, you can discover even more incredible abilities that will leave a bright mark on the history of dance and art.

Conclusion.

Awareness of himself as a ballet dancer does not come immediately, at first the child treats creativity as a pleasant pastime, then he realizes that this world is so close to him that he wants to devote his whole life to it, usually this is associated with entering a vocational school or academy. The feeling of being part of the cultural world appears closer to the peak of your career, when this whole world begins to speak the same language with you. Every day is a test and overcoming oneself, the fear of being unclaimed or getting injured, which will break a career. But at the same time, there is no more beautiful and attractive life that opens the door to the whole world, full of applause, flowers and admiration. If we talk about the difference in the perception of people, then in an independent life a person of any other profession is clearly aware, and a creative person feels it. A real servant of art does not care about the size of his salary and the number of working hours, it is important for him to be in demand, not to lose interest in his favorite business, and so that the ardent fire of creativity never goes out inside.

S.P. Mikheev

METHODOLOGICAL PRINCIPLES OF PROFESSIONAL TRAINING OF A BALLET ARTIST

The professional training of a ballet dancer has its own specificity, which dictates a number of methodological principles, proven by the practice of centuries of ballet art. This allows the future ballet dancer, along with knowledge, skills, to comprehend a whole range of phenomena related to the performing culture of dance, which determines its identity, which distinguishes the national school.

The main role in the preparation of a ballet dancer is played by classical dance. "It provides an education of the body in movement that can serve as an aid to any dance solution."

Classical dance (lat. s1siysh - exemplary) is a fundamental discipline in the choreographic school, it plays a leading role in the professional training of future ballet dancers. It is at the lesson of classical dance that the language of choreography is learned. “In order to master the high performing skills of classical dance, it is necessary to know and assimilate its nature, its means of expression, its school.” The school of classical dance is the basis of the foundations of a systematic, consistent, methodical training in the profession of a ballet dancer.

Loyalty to traditions, the strictest continuity of generations are the key to the unity of the school and its high professional culture, which determines the creative viability of the ballet school. "Today, the vocabulary of classical ballet is a multi-dimensional complex of elements of stage dance, formed by a successive plastic oral tradition and enriched by the work of outstanding choreographers of the past" .

Each student, or, as he is still called, pupil, of such a school passes the “test” of the classics - the main major subject in the professional training of a ballet dancer, which in the future allows him to become an organic dancer not only in the classical repertoire, but also in productions contemporary choreographers. "Vaganova's technique is such a foundation that you can build a house of any style on it, from classic to modern".

The profession of a ballet dancer is extraordinary and, as a result, training has its own specifics. Its essence lies in the exceptionally important role of the basic eight-year training and acceptance of children on a strict competitive basis. The specifics of teaching the profession of a ballet dancer dictates a number of methodological principles, proven by the practice of centuries of ballet art:

1) availability of relevant professional data;

2) the beginning of education from an early age (from the age of 10);

3) strict consistency;

4) the principle of oral-plastic education;

5) annual exams (with the right to drop out poor students);

6) training is conducted in parallel with stage practice (study of the classical heritage, participation in theatrical performances, concerts, etc.);

7) an integrated approach to teaching choreographic and general education disciplines based on their interaction and mutual enrichment.

Let's take a closer look at each of the above points.

1. “Ballet is perceived primarily by the eye. Unlike opera or drama, it cannot be broadcast over the radio. In this elementary truth, the pictorial essence of ballet is revealed. And this causes special requirements for many of its components, and first of all for the main character - the ballet dancer. “In the theory and practice of the cycle (8 years) of professional ballet performance education that has been established for centuries, in the process of which not only the professional potential of knowledge, skills, and abilities, including the creative potential of the ballet dancer, is created, but also his extremely complex and vulnerable professional tool - the body of the ballet dancer , unique, but necessarily meeting strict professional criteria.

Speaking about professional data, we note that it is they that largely determine the student's progress, and in the future - the qualifications and nature of the work of a ballet dancer in the theater. “Without innate talent, talent is not acquired,” says Augusta Bournonville (1795-1878), the founder of the Danish ballet. That is why "... the performance data of each student should be comprehensively assessed by a teacher of classical dance, since this subject is the leading one in the system of professional choreographic education" . History shows that the list of necessary external, physiological, psychophysical and other data was formed according to the requirements of the profession itself as a result of professional selection. Outstanding ballet theorist, choreographer and dancer of the 18th century. Jean-Georges Noverre (1727-1810) wrote: "Everyone who intends to devote himself to the art of dancing must first of all ... carefully weigh all the advantages and disadvantages of his physique."

The great teacher of the 19th century, dancer, choreographer and dance theorist Carlo Blasis (1795-1878), whose works still arouse professional interest not only from a theoretical but also a practical point of view, wrote about the importance of professional data in training a ballet dancer in in his treatise Manuel complet de la danse (Complete Guide to Dance), written in 1830: “Those whose feet are not turned out will never become good dancers, despite their best efforts. From this it follows that it is necessary for the one who devotes himself to dance to study the constitution and possibilities of his body in the most careful way before proceeding to familiarize himself with an art in which one cannot excel without possessing certain natural gifts. A teacher who has experience and

long practice helped to cultivate a sublime taste in himself, before starting classes with a student, he must make sure how the addition of the latter is suitable for the postures and movements of the dance, and if the student still needs to develop, whether he has enough graceful bearing, whether the gait is beautiful and whether the limbs are flexible because without these natural data, the student will never be able to create a name for himself.

Today, after almost two hundred years have passed since the writing of these lines, when the art of ballet has more than once stepped to a new, higher level of development, the requirements for the professional data of ballet dancers have increased accordingly. One of the founders of the department of choreography at GITIS, professor and artistic director of the pedagogical department of the ballet master faculty of the now Russian Academy of Theater Arts, who worked as a classical dance teacher at the Moscow Choreographic School from 1923 to 1960, N.I. Tarasov in his book “Classical Dance” (1971) wrote: “The professional qualities of students are made up of external data: physique, proportional slimness of the figure, height; psychophysical data: attention, memory, will, activity, dexterity (free and precise coordination of movements), muscle strength, flexibility and endurance of the entire motor apparatus; musical and acting data: musicality, emotionality, creative imagination. Of course, - the maestro makes a reservation, - this distinction is very conditional, but it allows you to clearly imagine what factors make up the complex of a student's professional data. "The ABC of Classical Dance" (1983) by N. Bazarova, V. Mei defines the indispensable conditions for the comprehension of classical dance - eversion of the legs, a large dance step, flexibility, stability, rotation, light, high jump, free and plastic possession of hands, clear coordination of movements and lastly, stamina and strength.

Over the past decade, significant advances have again taken place in the art of dance, especially with regard to the amplitude of the performance of movements. In the light of the current established dance aesthetics, the demand for the quality of professional data continues to grow. This once again confirms the need for high professional and personal qualities from the teacher, in whose hands such students fall. After all, the more capable the student, the greater the responsibility lies with the teacher.

2. Professional training of ballet dancers begins at the age of 9-10 on the basis of primary general education.

N.I. Tarasov, asking at what age one should start learning classical dance: "... to learn its expressive means, its language, which, of course, the future ballet dancer must master technically perfectly, virtuoso, artistically freely, flexibly and musically", himself and answered: “We can safely say that for a future ballet theater artist, it is necessary to start mastering the school of classical dance from the age of ninety ... Missed childhood years, as the initial period of training for a future dancer,

will certainly be reflected in something and somewhere in his performing arts as a kind of shady and not fully disclosed side. It is no less important that “childhood is especially receptive to the beautiful - music and dance. It is childhood that is a time of great emotional saturation, impressionability, dreams and activity of action ”, which plays an important role in the training of a ballet dancer, especially during the period of primary education, when it is necessary to interest the child, excite and captivate his soul and creatively inquisitively begin to develop it.

In the work of Carlo Blasis we read: “Eight years is the most suitable age to get acquainted with the elements of dance. The young disciple is able to understand the instructions of the mentor, who, being able to weigh well the possibilities of the disciple, teaches him in the most suitable way for the case. Time only confirms the infallibility of this assurance and once again convinces of its correctness, as evidenced by the following fact. Pupils of the Imperial Theater School from the moment of its foundation were accepted there at the age of 7-10 years. Of course, here, first of all, physiological laws dictate their own rules. “It is in this age period that the student’s body is most pliable, flexible and receptive in its psychophysical development, which makes it possible to master the school of classical dance most naturally, thoroughly, without haste, in a more stable and in-depth plan. It is from childhood that the student must thoroughly delve into, get used to the technique of classical dance and its elements, so that later on the stage he does not think about overcoming the hardships of physical stress, but gives all his moral-volitional and mental strength to create an image in dance "- with this statement Tarasov, it is impossible not to agree.

3. Strict consistency accompanies the training of a ballet dancer from the first days. It is inherent in both the entire course of his professional training in classical dance, and each of his lessons separately. Classical dance is the basis of the foundations of a systematic, consistent, methodical training in the profession of a ballet dancer. Classical dance is a purely practical discipline, not a theoretical one. In the system of vocational training, a classical dance lesson is studied for 8 years for 2 academic hours daily. This number of hours allows the student to master the subject at the proper professional level within the framework of the program offered to him.

As an academic subject, classical dance is a strictly structured system of movements that can be mastered only “from simple to complex”, with daily (systemic) repetition and consolidation of what has been previously completed and is, as it were, the next, progressively more complex link in the system of the entire course of study. The repetition of movements is the dominant factor in the educational process.

The construction of the lesson is the same for both the first and subsequent classes, with the only difference being that in the first class the movements are performed separately and in the simplest combinations. The daily classical dance lesson consists of exercises at the stick and exercises in the middle of the hall, which are divided into exercise and adagio (combination of postures and positions of classical dance).

tsa), allegro (jumping) and finger exercises (female class).

The sequence of exercises at the stick: pIe, battements tendus, battements tendus jetes, rond de jambe par terre, battements fondus (or battements soutenus), battements frappes, battements double frappes, rond de jambe en "l" air, petits battements, battements developpes, grands battements jets.

Exercises in the middle of the hall are performed in the same sequence as for the stick. Then adagio is introduced into the exercises in the middle of the hall. The adagio is followed by allegro - small and large jumps, and in the women's class - at least two or three times a week, finger exercises instead of allegro, or the time allotted to jumps is reduced.

Classical dance is studied separately by pupils and pupils. differs in the material of the program, techniques and performing style. And this is also within the framework of a system developed and corrected by the practice of centuries.

In addition, there is a hierarchy of subordination of various substructures and elements included in the learning system, in which the methodology for compiling combined tasks is essential in building a lesson. The construction of combined tasks does not fit into the framework of a stable method at all. In the lessons of classical dance, a sequence of sections and the passage of individual movements was established, but the combined tasks mainly depend on the ability of teachers to bring educational material into a certain combination with each other. These tasks can be very diverse: large or small, elementary or complex; but all of them should work on the development of certain performing techniques of dance technique. At the same time, the personality of the teacher, his creative individuality, skill and experience play an extremely important role, which inevitably causes differences in the methods and manner of compiling combined tasks by individual teachers, although they are united by the same orientation of the educational process.

4. The principle of oral-plastic training is a key principle in the professional training of a ballet dancer - as continuity, as a tradition, as a necessity. Despite the history of almost three hundred years of vocational training, knowledge, skills and abilities in the educational process are passed on to students from generation to generation from “hand to hand”. It has already been noted above that classical dance is a purely practical subject. It is impossible for him to learn from textbooks or theoretical lectures. A classical dance teacher - "a living thread of transferring experience, traditions" - transfers his knowledge not only through a story, but also through an obligatory pedagogical demonstration, i.e. oral-plastic. "Every step, every posture and every movement comes from the teacher, is indicated by him and must be understood, learned, rehearsed and performed." Only in this way, along with knowledge, skills and abilities, it is possible to comprehend a whole range of phenomena associated with performing culture, which determine its originality, development trends, characteristic

style features, i.e. what distinguishes the national ballet school. The specificity of the teaching method once again emphasizes the role of a teacher - a personality, a high professional practitioner, whose importance is invaluably increasing and whose role cannot be replaced by any detailed recommendations and programs. That is why, teaching the same things and offering students the same requirements, we have classes that are so different from each other. There are other factors, but the main one is the teacher himself. Each teacher has his own methods, his own system, his own pedagogical gift, his own combination of pedagogical abilities and skills, and finally, each has his own language, the "language" of practical actions, the "language" of plasticity. “Showing a movement or correcting a student, the teacher sees his ideal image with his inner vision, constantly checking simultaneously with his motor sensations and a conceivable visual standard.” And therefore the personality of the teacher, the artist, his spiritual world, his values, his vision are of decisive importance both for the learning process itself and for the formation of the future ballet dancer in mastering the laws of classical dance.

5. Annual exams (with the right to drop out poor students). “The inexorable professional requirements for the future ballet dancer leave behind a huge number of children who dream of joining the performing arts of ballet. And not everyone who meets these requirements at 10 years old will be able to satisfy them throughout the entire eight-year study. That is why students must annually prove that they have outstanding ballet abilities in the form of an intermediate certification on a competitive basis. During the examination, the results of mastering the program of the corresponding year of study by students should be shown, which confirms or denies the further possibility of studying.

6. Within the framework of tradition (and the system at the same time), training is carried out in parallel with stage practice (study of the classical heritage, participation in theatrical performances, concerts, etc.).

One of the main components of the preparation of a future dancer is stage practice, which has been steadily introduced into the class schedule. The purpose of this subject is the comprehensive development and improvement of the performing skills of students on the basis of rehearsal work and stage performances, including theater performances. Stage practice is an integral, final part of the educational process.

Stage practice begins from the second year of study. The material chosen by the classical dance teacher must correspond to the educational goals and objectives of the corresponding class, the level of preparedness and the abilities of the students. It is important for the teacher to achieve coherence and complementarity of the educational and rehearsal processes. From students, in turn, are required already defined, albeit still elementary, but every year more and more advanced professional skills and abilities, quite accurate and well-developed. A well-chosen repertoire for stage practice helps to target and prepare students for more

free and technically perfect mastery of the performing culture of classical dance, as well as the development of their musicality, individuality and artistry. The final stage of such work is the stage, i.e. participation in concerts and performances of the school.

A special place in stage practice is occupied by the obligatory participation of students in performances of the theatrical repertoire. Where, no matter how on the stage of the theater, the future ballet dancer can have the opportunity to learn stage behavior, a sense of responsibility and the opportunity to feel the significance of being involved in the performance on a par with professional dancers, who always have something to learn. Since the beginning of the school, masters of choreography have included children's numbers in their performances, realizing the need to familiarize the younger generation with the art of dance. Thanks to this, students have the opportunity not only to observe the best examples of choreography, but also, taking direct part in them, gain experience in their future profession, thus becoming familiar not only with culture, but also with the manner and style of performance, which is so important in the work of an artist. ballet.

7. An integrated approach to teaching choreographic and general education disciplines based on their interaction and mutual enrichment.

The school day of students at the choreographic school is not like the school day of an ordinary student. As a rule, here it starts in the morning and ends in the late evening. The number, and the list of lessons themselves, is far from ordinary.

The choreographic school, as it were, unites three educational institutions under its roof. Here, a cycle of special subjects, including art history disciplines, is combined with a full course of a general education school and elementary music education. Therefore, the entire educational process is built in such a way that the subjects studied by students in the choreographic school are interconnected and work in complete unity for the main task, which makes it possible to train highly qualified ballet dancers who combine professional skills with a high artistic orientation in performing activities. After all, the main goal of professional choreographic education is the training of highly qualified ballet dancers who combine professional skills with the ability to create psychologically complex stage images.

One of the main traditions of the national school of classical dance is the education of not just performers, but independent artists, comprehensively developed personalities, creative individuals. Perfect dance technique has never been an end in itself in the Russian school. At the forefront has always been an artist-artist, whose main task was to create meaningful choreographic images by means of dance that meet the tasks of a choreographer, because only "artistic quality makes a dance exemplary, that is, the so-called classical." .

LITERATURE

1. Vaganova A.Ya. Soviet ballet and classical dance // Vaganova A.Ya. Articles. Memories. Materials. L., M.: Art, 1958. S. 67-68.

2. Tarasov N.I. Classic dance. School of male performance. 2nd ed., rev. and additional Moscow: Art, 1971. 479 p.

3. Bezuglaya G.A. The unity of music and choreography: the role of the expressive means of music in comprehending the iconic imagery of the lexicon of classical

dance / G. A. Bezuglaya, L.V. Kovaleva // Choreographic education at the turn of the 21st century: experience, problems, development prospects: Mater. and articles of the 1st All-Russian. scientific-practical. conf. / Rev. ed. M.N. Yuriev. Tambov: Pershina, 2005, pp. 107-111.

4. Asylmuratova A.A. Vaganova's technique - the foundation for a house of any style // Vestnik ARB im. AND I. Vaganova. 2001. No. 9. S. 8-10.

5. Karp P.M. About ballet. Moscow: Art, 1967. 227 p.

6. Isakov V.M. On recognition of the status of a non-standard educational institution for the ballet academy, teaching citizens with outstanding

abilities // Proceedings of the VIII International Conference "Modern Teaching Technologies". SPb., 2002. S. 190-192.

7. Classics of choreography. L.; M.: Art, 1937. 357p.

8. NoverrZh.Zh. Letters about dance and ballets / Per. A.G. Movshenson. L.; Moscow: Art, 1965. 376 p.

9. Bazarova N.P., Mei V.P. ABC of classical dance: Textbook-method. allowance. 2nd ed. L.: Art, 1983. 207 p.

E. V. Leibov in 1904. studied injuries among ballet dancers of the Leningrad Opera and Ballet Theater named after S. M. Kirov and partly among ballet dancers of the Bolshoi Theater of the USSR. He took 100 accident reports from ballet dancers and ran an injury analysis. The results of this method are unreliable, because accident reports are drawn up by safety engineers who do not have a sufficient understanding of the specifics of the work of artists; in the column about the cause of injuries, they most often write "but the fault of the artist."

However, some provisions of E. B. Leibov deserve attention and study. This is the creation of a medical ballet dispensary, uneven distribution of workloads among artists, sanitary and hygienic control over their work, diet and rest.

To reveal the same true causes of injury and disease the musculoskeletal system requires long-term monitoring of ballet dancers, the presence of a doctor in the classroom, the study of the movements of artists, the teaching methods of a particular teacher, the presence at rehearsals, behind the scenes during a performance. The doctor must work in collaboration with teachers and tutors, treat ballet dancers in a clinic and in a hospital.

In February 1965. Decree of the Presidium of the Central Committee of trade unions of cultural workers "On the state and measures to improve the working conditions of ballet dancers" was issued. After that, with the participation of professors M. V. Volkov (CITO)), S. P. Letunov (Research Institute of Physical Education) and the chief physician of the clinic of the Bolshoi Theater of the USSR and the WTO, Honored Doctor of the RSFSR M. I. Gorlovin, at the Bolshoi Theater was organized a prachebpo-balot dispensary with a staff of doctors, nurses and masseurs. Work on the study and prevention of injuries among ballet dancers began on the basis of this dispensary in 1967, which made it possible to reduce the number of injuries and diseases by more than 2.5 times compared to 1965.

In order to correctly interpret mechanism of injury and disease of the musculoskeletal system in ballet dancers, to provide correct medical assistance in order to quickly return the artist to the stage without losing the ballet form, it is necessary to know some elements of choreography, both classical and parodic.

The main means of coupling expressiveness in modern ballet- This is a dance that has a number of branches: classical, characteristic, folk, modern dance. Ancillary affinity is pantomime, that is, the art of expressing feelings and thoughts through facial expressions and gestures.

Every kind of dance imposes an imprint on the nature of the injury and the type of disease of a particular department of the musculoskeletal system; The shoes and clothes of the dancer are also of no small importance.

Knowledge of all kinds loads needed for doctors, involved in the treatment of artists . Depending on the type of injury or disease, on the duration of treatment, issues of general and professional rehabilitation are resolved.

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Introduction

Ballet is the kind of art that combines the beauty and melodiousness of music, the plasticity and rhythm of dance, the subtlety of acting and the diversity of literary plots. Ballet, according to V.V. Vanslova - "synthetic art".

The Russian ballet school is rightfully considered one of the best in the world. Suffice it to recall the names of B. Eifman, G.S. Ulanova, A.Ya. Vaganova, N.M. Dudinskaya and others.

A school is a certain set of ideas, directions, concepts, views. For it to exist and develop, a clear system of pedagogical support is needed, which allows taking the best from these ideas and directions, turning them into reality, supplementing them with new ideas. “We expect from the school well-trained dance virtuosos, technically strong and at the same time real artists who, in the most complex dance, can express thought and fiery feeling, capable of transforming each time into a new artistic image,” writes R. V. Zakharov.

Currently, the system of choreographic education in Russia is undergoing significant changes caused by global trends, such as Russia's accession to the Bologna Agreement, and the reform of the vocational education system in general. These trends are expressed in the training of specialists in the "bachelor-master" type, the introduction of practice-oriented education, and the widespread informatization of the HPE system.

Relevant in the system of training modern specialists is their ability to directly integrate into professional activities immediately after graduating from a university or secondary vocational institution. This is mentioned in the works of G.B. Golub, E.Ya. Kogan, V.A. Bolotov, A.V. Khutorskoy and others. In the case of choreographic education, this implies a smooth transition from the choreographic school, academy to the theater. To ensure this transition means to substantiate the essence of the pedagogical training of the future ballet soloist, to establish interaction between theaters and educational institutions, to be able to determine the level of readiness of yesterday's student for today's adult professional activity.

There are practically no works devoted to a comprehensive study of the processes of formation of the professionalism of a ballet dancer. There are only a few publications that consider one or another side of this vast issue. Nevertheless, there are precedents for the competent construction of a system of transition to professional activity in our country, and they require detailed study. One of such precedents can be considered the city of Krasnoyarsk, where one of the most famous Russian theaters operates - the Krasnoyarsk Opera and Ballet Theater, some of whose soloists were trained at the Krasnoyarsk Choreographic School. And these soloists occupy a leading position in the Krasnoyarsk ballet.

Concretizing all of the above, we highlight the problem of this study.

Problem: lack of research on the development of professionalism of ballet dancers, lack of models describing the formation of professionalism of ballet dancers.

Research hypothesis: the formation of the professionalism of a ballet dancer occurs under the following conditions:

§ the presence of pedagogical support for the entire process of becoming an artist from a professional in the field of ballet;

§ the possibility of real practice of professional activity at the early stages of education;

§ the presence of constant competition from other emerging professionals;

§ systematic physical, intellectual and psychological preparation and self-training of the future professional;

§ availability of basic readiness for professional activity of a ballet dancer and constant confirmation of readiness improvement throughout the entire process of becoming a professional.

The purpose of the study: analysis and description of the modern model of becoming a professional ballet dancer.

To achieve the goal, it is necessary to solve the following tasks:

§ to determine the specific features of the professional activity of a ballet dancer;

§ will reveal the requirements of the profession of a ballet dancer to the personality and psyche of a person;

§ determine the criteria for the professionalism of a ballet dancer, ways to measure and form it;

§ collect historical information about the development of the Krasnoyarsk ballet (on the example of the Krasnoyarsk Opera and Ballet Theatre, the Krasnoyarsk Choreographic School);

§ determine the trends of the modern system of professional education in general and the system of training ballet dancers in particular;

§ to develop guidelines for the development of the professionalism of a ballet dancer in the postgraduate period.

Object of study: graduates of the choreographic school - artists of the opera and ballet theater.

Subject of study: the process of professional training of a ballet dancer.

Research methods:

Observation;

Description;

Theoretical analysis;

The theoretical basis of the work is the study of the psychology and pedagogy of professionalism by A.K. Markova, the psychology of creative activity of A.I. Sevastyanova, B.S. Meilaha, B.M. Runina, Ya.A. Ponomarev, the basics of ballet art V.V. Vanslova, M.M. Gabovich, N.I. Tarasova and others. Periodicals, memoirs, biographies and autobiographies describing the activities of the leading ballet soloists of the past and present were also used in the work.

The work consists of introduction, two chapters, conclusion, bibliography.

The introduction substantiates the relevance of the research topic, the purpose, tasks, object, subject of research, its theoretical and practical significance.

Chapter 1 "Theoretical aspects of the formation of professionalism of a ballet dancer (on the example of ballet dancers of the Krasnoyarsk State Opera and Ballet Theatre)" defines the specifics of the professional activity of a ballet dancer, the criteria for professionalism, and provides a historical background on the development of the Krasnoyarsk ballet.

Chapter 2 "Analysis of the ways of becoming a ballet dancer's professionalism in the postgraduate period (on the example of ballet dancers of the Krasnoyarsk State Opera and Ballet Theatre)" considers the main trends in the modern system of professional education, the features of the formation of a ballet dancer's professionalism, and presents the developed methodological recommendations for the development of a ballet dancer's professionalism in postgraduate period.

In conclusion, the general conclusions of the entire work are presented.

From a theoretical point of view, the work may be of interest to researchers in the field of psychology and pedagogy of creative activity, from a practical point of view, the work is interesting for the methodological recommendations contained in it on the development of the professionalism of a ballet dancer in the postgraduate period.

Chapter 1

1.1 The specifics of the professional activity of a ballet dancer

To determine the specifics of the professional activity of a ballet dancer, let's clarify the key concepts and, first of all, the concept of "ballet". Vanslov V.V. defines ballet as "a type of musical and theatrical art, the content of which is expressed in choreographic images" . The choreographic image, in turn, is “a dance-plastic embodiment of the life content: moods, feelings, states, actions, imbued with thought and finding their manifestation in a special system of human expressive movements” [ibid.]. Ballet, says Vanslov, is “synthetic art,” as it combines several types of artistic creativity: choreography, music, dramaturgy, and fine arts.

Shatalov O.V. By ballet he understands a type of theatrical art, where the main expressive means are the so-called "classical" (historically established, subject to a strict code of rules) dance and pantomime, accompanied by music, as well as a stage work belonging to this type of art.

As can be seen from these definitions, ballet is a rather multidimensional and systemic phenomenon. The structure of the ballet can be distinguished:

1. Scenario of the ballet - dramatic idea, libretto (it should be noted that there are also plotless ballets). He sets a brief verbal presentation of the ideas, plot, conflict, characters of the play. The script of the ballet must be composed taking into account its musical and choreographic embodiment. Very often, a ballet script is created on the basis of a literary work. The screenplay is usually written by a dedicated ballet playwright. But the script can also be written by a choreographer, a composer, an artist, or several creators of a ballet performance at the same time.

2. Choreography. In modern choreography, everyday dance (folk and ballroom), as well as stage dance (variety and ballet) are distinguished. Ballet is the highest form of choreographic art. Dance forms the active core of ballet. “The plastic possibilities of choreography are endless, it can express any feelings, including grief, depression, despair, etc. She has the means of plastic characterization not only of movement, but also of rest, the embodiment of not only beauty and goodness, but also ugliness and evil, ”writes Vanslov V.V.

3. Musical accompaniment. The commonality of figurative nature creates the possibility of an organic combination of music and choreography in a single artistic whole. The value of music for choreography in a ballet performance is primarily meaningful. “The choreographer stages the performance, relying not only on the dramatic outline of the script, but, above all, on the music that has translated this scenario outline and emotionally enriched it with content,” says Vanslov V.V.

4. Pantomime, elements of gymnastics and acrobatics. A ballet dancer is not only a performer of pre-prepared and planned dance movements. It is also a full-fledged theater actor. As for any actor, pantomime for a ballet dancer is an integral part of his work on stage. Small movements, the finest facial expressions convey a large amount of information, reveal the essence of the hero, convey his feelings and moods.

5. Artwork. Ballet is a full-fledged theatrical performance. In addition to the work of people on stage, it also includes the general artistic atmosphere that is created on stage and with the help of props, hero costumes, the play of shadows and light. All this is extremely important for the transfer of the ideas of the choreographer.

And yet the main role in ballet is assigned to people - ballet dancers. They are the executors of the idea of ​​the director of the ballet, actors, dancers, heroes. “Without an actor, there is not and cannot be a choreographic performance, there is no ballet as an art form. The best libretto, the most beautiful music, the richest imagination of the artist bear fruit only if the characters of the ballet come to life in choreographic images, as ballerinas and dancers,” says Gabovich M.M.

The specificity of the professional activity of a ballet dancer lies in the need to hold several positions at the same time, to convey artistic meaning with only movements, without uttering a single word.

1.2 Psychology of professional activity of a ballet dancer

Like any professional activity, ballet imposes certain requirements on the personality of the artist, the level of development of his mental functions. Thus, the active motor activity of a ballet dancer requires the full development of such mental functions as sensations. “The development of the kinesthetic or motor analyzer is of great importance, especially in the performing activity of a person, writes Sevastyanov A.I. Kinesthetic sensations are caused, for example, by irritation of nerve endings embedded in muscles, joints, ligaments and bones, as well as resulting from the movement of the body in space, and provide the body with the necessary information for the implementation of coordinated and complex motor acts of the performer.

It is also clear that such types of sensations as auditory, tactile, static, and visual are also important in the activity of a ballet dancer. It should be noted that the development of a particular mental function implies their qualitative state. Every healthy person has a certain set of mental functions, but the degree of their severity can vary significantly, and thus create individual mental characteristics of each person. In the case of sensations, we can talk about such qualitative characteristics as the absolute threshold of sensations - the smallest irritation that causes a barely noticeable sensation, positive or negative adaptation - adaptation of the sense organs to the stimuli acting on them.

Important in the activity of a ballet dancer is a high level of development of perception and attention. With a high activity of these functions, some people may develop creative observation, a characteristic feature of which is “the ability to notice subtle, but very significant, typical features of an object or phenomenon in objects and phenomena.”

A creative personality is manifested in the originality of capturing the phenomena of the surrounding reality. The most important for a creative person is the so-called figurative memory, "consisting in imprinting and subsequent reconstruction of the representation of previously perceived objects." Emotional memory is also extremely important, which consists in remembering, reproducing and recognizing emotions and feelings.

Sensitivity and emotionality are important for any creative profession. The peculiarity of emotions and feelings is determined by personal properties, the orientation of the personality, its motives, aspirations, intentions, individual mental properties, for example, character and emotional-volitional components. A person not only experiences emotions and feelings, they also have an external “bodily” design in the form of facial expressions, pantomimics, intonation and vegetative-vascular manifestations.

An integral element of creative activity is its awareness and mental study by a person. In ballet, as in art in general, the ability of a person to think creatively is important. The main properties of creative thinking are as follows:

§ flexibility of thinking (transition from one class of phenomena to another, sometimes distant in content);

§ freedom from the template (non-triviality, characterized by the search for new approaches to solving problems);

§ breadth of thinking (the ability to attract knowledge from various fields and the ability to apply this knowledge);

§ criticality (the ability to correctly evaluate the object of actions of one's own activity);

§ depth (the degree of penetration into the essence of phenomena);

§ openness (accessibility of thinking to various kinds of incoming ideas and judgments);

§ independence (the ability to independently and originally formulate and solve creative problems without being influenced);

§ empathy (the ability to penetrate into the train of thought of another person).

The process of staging a ballet is associated with a huge mental work of all the performers. The ballet dancer has to work with artistic images. Their formation and implementation lies with the imagination.

Thus, all the cognitive abilities of a person are involved in the work of a ballet dancer on stage. In addition to them, a person’s character traits and his temperament also have a significant influence. Leonhard K. introduced the concept of accentuated personalities, taking into account the accent as character traits, expressed in the features of the mental sphere, human motives, and temperament, which affects the reactive qualities of the personality, in particular, the pace and depth of emotional manifestations.

There are several different classifications of character accentuations, most of which are accompanied by special diagnostic methods that allow you to identify the type of accentuation. Without dwelling on specific methods, we note that the division of people into types is always rather arbitrary. It is possible to single out character traits and types of accentuation that are “favorable” to the profession, but this must be done with caution, paying attention to the holistic perception of the professional’s personality, his professional qualities, the reviews of colleagues, and the social environment in which he is included.

For a creative profession, in the work of a ballet dancer, such character traits as openness, friendliness, patience, responsibility, independence, activity, and initiative are important. This list is not complete, but in general it reflects the specifics of creative professional activity.

Describing the activity of a ballet dancer, it is impossible not to note such a feature of his work as collectivism. A ballet troupe is a large group of people, with their own individual characteristics, in which certain rules of conduct apply, a certain hierarchy of relations has developed. Communication as the ability to find a common language with other people is the most important character trait of a creative person and a ballet dancer as well.

1.3 The concept of "professionalism" in ballet, the study of its level and methods of formation

Under the professionalism of Markov A.K. understands "a set, a set of personal characteristics of a person necessary for the successful performance of work" . Professionalism, according to the author, consists of two elements: motivational and operational.

The motivational element means:

§ enthusiasm for the mentality, meaning, orientation of the profession for the benefit of other people, the desire to penetrate into modern humanistic orientations, the desire to remain in the profession;

§ motivation for high levels of achievement in one's work;

§ desire to develop oneself as a professional, motivation for positive dynamics of professional growth, use of any chance for professional growth, strong professional goal setting;

§ harmonious passage of all stages of professionalization - from adaptation to the profession further to mastery, creativity, to the painless completion of the professional path;

§ absence of professional deformations in the motivational sphere, crises;

§ the internal locus of professional control, that is, the search for the causes of success - failure in oneself and within the profession;

§ the optimal psychological price of high results in professional activity, that is, the absence of overload, stress, breakdowns, conflicts.

Operational element includes:

§ full awareness of the features and characteristics of a professional, developed professional consciousness, a holistic vision of the image of a successful professional;

§ bringing oneself in line with the requirements of the profession;

§ real performance of professional activity at the level of high samples and standards, mastery of skills, high labor productivity, reliability and sustainability of high results;

§ self-development by a person by means of a profession, self-compensation for missing qualities, professional learning and openness;

§ making a person's creative contribution to the profession, enriching its experience, transforming and improving the surrounding professional environment;

§ attracting the interest of society to the results of their work, because society may not know its needs in the results of this professional work, this interest must be formed.

Professionalism, according to Markova, is achieved through the following stages:

1. The stage of adaptation of a person to a profession, the primary assimilation by a person of norms, mentalities, necessary techniques, techniques, technologies of the profession; this stage can end quickly in the first 1-2 years of work or stretch for years, pass painfully;

2. The stage of self-actualization of a person in the profession; a person’s awareness of his capabilities to fulfill professional standards, the beginning of self-development by means of a profession, a person’s awareness of his individual opportunities for performing professional activities, a conscious strengthening of his positive qualities, smoothing out negative ones, strengthening his individual style, maximum self-realization of his capabilities in professional activities;

3. The stage of a person's free possession of a profession, manifested in the form of mastery, harmonization of a person with a profession; here there is an assimilation of high standards, a reproduction at a good level of previously created methodological recommendations, developments, instructions.

Significant developments in the field of studying the characteristics of professionalism helped to develop a whole diagnostic complex to determine the levels of its formation. Diagnostics is based on a number of principles:

1. The principle of the staged selection of applicants

The first stage - selection for medical reasons is carried out, as a rule, by general practitioners and is used mainly only as a means of detecting contraindications to training. The absence in the selection of specialists of a narrow profile - a psychologist or a psychiatrist-psychohygienist has a negative effect on the purity of professional selection.

The second stage is the identification of professionally suitable, conditionally suitable and unsuitable for training in a creative university. It is carried out in the process of working with applicants for masters and teachers of an educational institution.

The third stage is control. It reveals both favorable and unfavorable shifts in professional and educational activities.

2. The principle of taking into account the functional reserves of the psyche speaks of the great plasticity of the nervous system, the huge hidden potentials inherent in the creative personality, and the possibilities for the development and opening of the reserves of the human psyche. This implies the need to conduct selection according to the upper, middle and lower criteria in order to clarify the range of acceptability of professional selection methods and the variability of criteria.

3. Professional principle.

The professiogram is one of the main diagnostic tools. Professiogram, according to Sevastyanov A.I. it is "a system of requirements imposed on a person by a certain specialty, profession or group of them." A part of the professiogram is a psychogram - a brief summary of the requirements for the human psyche, which makes up a list of necessary abilities.

4. The principle of reliability, which underlies professiographic work, takes into account the complicated conditions for studying professional activity and the so-called "noise immunity" of the individual.

The above means help to determine the readiness of a person for professional activity in general. But creative activity has its own specifics, which should not be forgotten. You cannot determine the professionalism of a ballet dancer through a professiogram, just as you cannot identify a future master from among the applicants only by the results of a test, test, and other objective methods.

The professionalism of a ballet dancer is not so much objective factors of professional activity in general, but rather a set of requirements, expectations from the artist's actions on stage, formed by traditions, the history of ballet, its outstanding performers, ballet directors, and ordinary spectators. Therefore, let us turn to the understanding of the professionalism of the ballet dancer of those people who are directly connected with this art.

The work of a ballet dancer is everyday hard work. According to A. Ol, ballet should become the "lifestyle" of the artist. There is no time left for anything else. Therefore, first of all, a professional in ballet is a person who gives his all to this art without a trace.

The readiness to constantly learn from others and improve oneself is another important requirement for a professional. Here is what Alexander Butrimovich, one of the leading soloists of the Krasnoyarsk ballet, says about this: “... any hint is perceived as the shortest path to the best and is only beneficial. I try ... to listen more ... ". We find confirmation of these words in A. Ol: “After work ... you have to watch the video sequence of some classical productions almost frame by frame. And this is not to mindlessly lick someone's technique, but to understand and understand the full depth of performance.

The correlation of ballet and acting art is emphasized repeatedly: “When a ballet actor manages to combine a brilliant knowledge of the craft, dance technique with the mind, feelings and creative imagination, he rightfully owns the title of an artist,” says Gabovich M.M. . We find the same with A. Ol: “If there is no energy in the performance, lined up roles, neither beautiful music, nor luxurious costumes and scenery will save - it will be boring and unprofessional.”

Serious demands in ballet are made to the physical condition of the performer. “The structure of muscles and ligaments, and to some extent the bone skeleton of a human figure, first of all, depends on whether he can perform this or that movement ...”, - says Lopukhov F.V. . A professional in ballet is always in good physical shape, plastic and artistic. The individual physiological characteristics of the soloist determine his role on stage.

Professionalism is a complex characteristic of the skill level of a specialist. The professionalism of a ballet dancer is formed in the process of long-term training and everyday work. A professional in ballet is a physically and intellectually developed, creatively gifted person, psychologically resistant to all sorts of troubles. Achieving professionalism is possible only through the practical activity of a person, through self-development, the active help of already formed masters.

1.4 History of ballet in the city of Krasnoyarsk

The Krasnoyarsk Opera and Ballet Theater was established on the basis of the decision of the Council of Ministers of the RSFSR of December 30, 1976, by order of the Ministry of Culture of the RSFSR of January 17, 1977. The founder of the theater is the administration of the Krasnoyarsk Territory represented by the Department of Culture. The theater officially opened on August 12, 1978.

The building was built in 1966-78 according to the project of the laureate of the USSR State Prize, architect I.A. Mikhalev. The opening of the theater was timed to coincide with the 350th anniversary of Krasnoyarsk, located on the square of the same name (now Theater Square).

Eleven premieres marked the 1978-1979 season. The audience was shown wonderful works of opera and ballet repertoire. On December 20, 1978, the premiere of the opera by A.P. Borodin "Prince Igor". This performance has become a kind of hallmark of our theater. On December 21, 1978, the ballet "Swan Lake" by P. I. Tchaikovsky was shown, on December 22, 1978 - the opera "The Barber of Seville" by G. Rossini, on December 23, 1978 - the premieres of two one-act ballets "Carmen Suite" by J. Bizet - R. Shchedrin and "The Young Lady and the Hooligan" by D. Shostakovich, December 24, 1978 - opera by P.I. Tchaikovsky "Eugene Onegin", December 26, 1978 - A. Adam's ballet "Giselle".

In 1979, the theater's repertoire was steadily replenished with wonderful performances: operas - "Hurricane" by V.A. Grokhovsky, "Aida" by G. Verdi, "Iolanta" by P.I. Tchaikovsky and ballets - "Chopiniana" and "Paquita" by L. Minkus, as well as the children's play "The Tale of the Priest and His Worker Balda" by M.I. Chulaki. In just 30 years of the theater's existence, 53 operas, 2 mysteries, 57 ballets and 16 children's performances were staged.

It is necessary to note the names of outstanding masters who contributed to the formation of the Krasnoyarsk Opera and Ballet Theatre. These are production directors - M.S. Vysotsky, R.I. Tikhomirov, G. Pankov, B. Ryabikin, L. Kheifits, V. Tsyupa, E. Buzin; conductors - I. Shavruk, V. Kovalenko, N. Silvestrov, I. Latsanich, A. Kosinsky, A. Chepurnoy, A. Yudasin; artists - N. Kotov, T. Bruni, G. Arutyunov, V. Arkhipov, Cherbadzhi, M. Smirnova-Nesvitskaya; choreographers - N. Markryants, V. Burtsev, V. Fedyanin, A. Gorsky, S. Drechin, A. Polubentsev, Vl. Vasiliev, S. Bobrov. Foreign musicians J. Stanek, M. Pietsukh and others also worked in the Krasnoyarsk Theater.

The names of the leading opera and ballet soloists are widely known both in Russia and abroad. Among them are People's Artist of Russia V. Efimov, People's Artist of Russia A. Kuimov, People's Artist of Russia L. Marzoeva, People's Artist of Russia L. Sycheva, Honored Artists of Russia V. Baranova, Zh. Tarayan, S. Kolyanova, A. Berezin, S. Efremova, G. Efremov, N. Sokolova, I. Klimin, Honored Artist of the Republic of Tuva G. Kontsur. Bright and interesting are the works of young opera soloists A. Lepeshinsky, O. Basova, A. Bocharov, E. Baldanov, and ballet soloists A. Ol, E. Bulgutova, M. Kuimova, I. Karnaukhov, V. Kapustin, V. Guklenkov and etc. The names of the famous dancers N. Chekhovskaya and V. Polushin, the magnificent opera singer D. Hvorostovsky, who worked at the Krasnoyarsk Opera and Ballet Theater, are widely known to the Russian and world public.

Krasnoyarsk Choreographic School was founded in 1978. Its opening is associated with the beginning of the activities of the Krasnoyarsk Opera and Ballet Theater and the Krasnoyarsk Dance Ensemble "Siberia". The first director is I. G. Shevchenko.

Artistic direction at different times was carried out by: G. N. Gurchenko, R. T. Khakulova, V. I. Burtsev, B. G. Fedchenko.

Over the entire period of its existence, more than 150 specialists have graduated from the school, who successfully work in theaters and dance groups of the country.

Leading teachers: G.N. Gurchenko, T. A. Dzyuba, Khakulova, L. V. Vtorushina.

Among the students and graduates of the school are laureates of all-Union, Russian and international ballet competitions (S. V. Dauranova, A. V. Yukhimchuk, E. Koshcheeva, etc.).

conclusions

In the first chapter, we managed to identify the essential features of ballet as an art and as a sphere of professional activity.

The profession of a ballet dancer is versatile and multifaceted. It requires a sufficiently long and high-quality training in the learning process, constant self-improvement after graduation. The work of a ballet dancer is everyday physical training, it is a high level of moral and aesthetic education, intelligence, self-awareness. The profession of a ballet dancer requires the development of a person's personal qualities, the constant activity of cognitive functions, and creative abilities.

The definition of professionalism is a dual process. On the one hand, there are objective tools for measuring physical, intellectual and psychological readiness for a profession. On the other hand, even the highest rates in these areas do not guarantee the emergence of a true master as a result of becoming a professional. What is decisive in the process of preparing a ballet soloist? What are the factors behind its success? The second chapter is devoted to the disclosure of these issues.

Chapter 2

2.1 Trends in the modern system of choreographic education

2.1.1 Current state of the vocational education system

An analysis of legal acts and other regulatory documents allows us to formulate the following characteristics of vocational education in the Russian Federation.

For a long time in our country there was a clear division of vocational education into secondary, which was carried out in technical schools, colleges, lyceums, and higher education, which was carried out at institutes and universities. Since the adoption of the Bologna Agreement by Russia, this approach has been gradually abolished.

Since 2007, higher professional education in Russia has been carried out at the following levels:

§ higher professional education, confirmed by the assignment to a person who has successfully passed the final certification, qualification (degrees) "bachelor" - bachelor's degree;

§ higher professional education, confirmed by the assignment to a person who has successfully passed the final certification, qualification (degree) "specialist" or qualification (degree) "master" - training of a specialist or master's degree.

Bachelor's programs last four years, specialist's programs - at least five years, master's programs - two years.

Secondary professional institutions are planned to be brought under the format of applied bachelor's degree in order to bring disparate educational programs and institutions into a single system of professional education.

In addition to the division into levels, Russia's entry into the Bologna Agreement brought a system of credit rating assessment, the possibility of integration into a single European educational space. The credit-rating system of assessment involves the allocation of credit as a unit for assessing the success of mastering an educational program and calculating the rating among all students enrolled in this program.

The Bologna Agreement also implies the possibility of a student's unhindered transition from one educational institution to another throughout Europe thanks to a unified system for evaluating educational programs and actually similar ranking of the credit "burden" of each educational course.

It should be noted that Russia's entry into the Bologna Agreement is assessed by many educators as extremely ambiguous. So it is practically impossible to rebuild the national system of training medical workers, famous all over the world, according to the Bologna principles. Certain difficulties also arise in the training of specialists in the field of culture and art. In this area, the professionalism of an individual teacher and the traditions of training in a particular institution that have developed over many years are of great importance. Over the years, the experience that has been developing over the years cannot simply be translated into credit units and cannot be divided into universal training courses. Meanwhile, the reform process cannot be stopped and the transition to the “bachelor's + master's” system is inevitable. And all educational institutions have to adapt to these trends. So, for example, the Russian Academy of Russian Ballet named after A.Ya. Vaganova".

Another characteristic feature of modern vocational education in Russia, repeatedly mentioned in the "Concept of long-term socio-economic development until 2020", in the "Program for the development of Russian education for 2010-1015", is the focus on practice as the main tool for professional training. For a long time, the Russian education system was too overloaded with fundamental knowledge, absolutely useless for a specialist in real life: “Russian fundamental education, writes F. Yalalov, was created on a knowledge paradigm. The educational process in the system of general and vocational education for several decades was built on a deductive basis in accordance with the didactic triad "knowledge - skills - skills", with the main attention being paid to the assimilation of knowledge.

Recently, there has been a revision of the educational content, avoidance of excessive theorizing, creation of great opportunities for students to practice in real professional activities.

The above documents enshrined the concept of "competence" as a basic unit for measuring the quality of education.

In the Glossary of Labor Market Terms of the European Training Foundation, competence is defined as:

§ the ability to do something well or efficiently;

§ compliance with the requirements for employment;

§ the ability to perform special labor functions.

Ivanova T.V. competence is considered as “... an independently realized ability based on the acquired knowledge of the student, his educational and life experience, values ​​and inclinations, which he developed as a result of cognitive activity and educational practice” .

The peculiarity of competence as a result of education is that, in comparison with other results of education, it:

§ is an integrated result;

§ allows you to solve a whole class of problems;

§ exists in the form of activity, not information about it;

§ appears consciously.

A significant trend in modern domestic vocational education is its active informatization. Educational institutions are equipped with modern computer technology, electronic educational environments are used as one of the learning tools, network technologies make it possible to establish distance education, expanding the educational opportunities of people with disabilities, people living far from densely populated cities.

2.1.2 Contemporary ballet education in Russia

The training of professionals in the field of choreography in our country is carried out at three levels:

1. Initial level - ballet schools.

2. Average professional level - choreographic schools.

3. The highest professional level - academy.

4. Atypical educational institutions engaged in comprehensive and systematic training (combination of all three previous levels).

As a result of vocational training (at the middle and higher levels), you can get the following professions:

1. Ballet dancer - a creative worker of the theater, a professional dancer who, in accordance with the job description and qualifications, performs the parts assigned to him in ballet performances and other works of ballet art.

2. Artist of a dance group (ensemble) - a creative worker, a professional dancer who, in accordance with his job description and qualifications, performs the parts (roles) assigned to him in works of choreographic art (with the exception of ballet).

3. Choreographer - a creative worker, in accordance with the job description under the guidance of a choreographer (choreographer), participating in the work of creating (composing) new, resuming previously staged choreographic works, and releasing them on stage.

4. Choreographer (choreographer) - a creative worker who, in accordance with the job description, creates (composes) his own choreographic works, resumes previously staged choreographic works and implements a set of organizational measures for their release on stage.

5. Tutor - a creative worker who, in accordance with the job description, works on learning parts in new and previously created performances with the artists, rehearsing the performances of the current repertoire.

6. A teacher is an employee of an educational institution who trains students in various forms and develops certain competencies in them.

7. Teacher-tutor - an employee of an educational institution, a professional teacher who performs the functions of an assistant, consultant, mentor, confidant of a student, who is the organizer of his life and accompanies him in his desire to independently solve the problems of education.

8. Ballet teacher - a specialist in the field of ballet art research, a ballet historian, a ballet critic, who often combines these functions with teaching in the relevant field.

9. Choreologist - a specialist in the field of complex and interdisciplinary studies of choreography in its entirety (including ballet), an art critic who often combines these functions with teaching in the relevant field.

10.Kinesiologist - a doctor, medical worker, specialist in the field of kinesiology.

12.Dance therapist - a doctor, psychologist, health worker, specialist in the field of dance therapy.

The goals of professional education of a ballet dancer are set by a list of competencies identified in the Federal State Educational Standard of Higher Professional Education in the direction of training "Choreographic Art".

Thus, in the third generation FSES HPE project, bachelors in this area must have:

Socio-personal and general cultural competencies;

General scientific competencies;

Instrumental competencies;

Professional competencies.

The latter are divided into general professional and profile-specialized competencies (according to the type of professional activity).

Among the professional competencies that a bachelor should have:

Knowledge of the choreographic repertoire;

Practical experience in performing choreographic repertoire;

Knowledge of the basics of drawing, painting, composition, etc.

The list of competencies is quite extensive. It remains unclear how it is possible to check the formation of each, and whether it is possible to judge by the totality of their formation about the professionalism of a student as a future ballet dancer.

In the future, in the most general form, we will characterize the content of the professional training of the future ballet dancer in educational institutions in Russia.

As already noted, training in ballet art begins at the age of ten in ballet schools. N.I. Tarasov, asking at what age one should start learning classical dance: “... to learn its expressive means, its language, which, of course, the future ballet dancer must master technically perfectly, virtuoso, artistically freely, flexibly and musically”, he himself and answered: “We can safely say that for a future ballet theater artist it is necessary to start mastering the school of classical dance from the age of nine or ten ... The missed childhood years, as the initial period of training for a future dancer, will certainly affect his performing art as a kind of shady and not fully disclosed side.

It is no less important that “childhood is especially receptive to the beautiful - music and dance. It is childhood that is a time of great emotional saturation, impressionability, dreams and activity of action” [ibid.], which plays an important role in the training of a ballet dancer, especially during the period of primary education, when it is necessary to interest a child, excite and captivate his soul and start creatively inquisitively. develop it.

“Everything starts with simple things,” writes E.A. Menshikov. The movements that are honed daily in the lesson and which seem boring and non-dance, being included in the text of the choreographic composition, are already perceived by children as an integral part of the dance ... the sooner it becomes possible to put the letters of the ballet alphabet into words ... the more organic the existence on stage will be. At the initial stage, the author suggests paying attention to the physical preparation of the child, to the development of plasticity, a sense of rhythm: "... without teaching children the initial elements of choreographic literacy, you cannot teach them to dance, otherwise teaching loses all meaning" .

Particular attention should be paid to the education of patience, discipline, instilling love for music and art. “In the lesson it is necessary to develop will, character, discipline,” writes N.M. Dudinskaya". Also, the emphasis is on the development of imagination, memory, attention, perception, emotionality.

Training is conducted in the following disciplines: rhythm, gymnastics, choreography, dance, general school disciplines. Classes are held in groups of 10-12 people.

It should be noted that students of ballet schools from an early age are involved in professional activities, take part in productions. “The evening always began with a class-concert… Each dancer had one or two solo numbers, which I selected according to their individuality and preparedness,” writes N.M. Dudinskaya. The choice of the theme of the productions is determined by the peculiarities of the development of children in a particular age period: “Children of each age have their own dances. The younger ones dance "Polka", "Polonaise". The middle ones - "Geese", "Rock and Roll", the older ones - "Salute of Victory". “Performances should correspond to the age and level of development of children, they should be understandable to them, then the viewer will understand and accept them.”

Training in choreographic schools lasts from five to eight years. The selection to these institutions, as well as to ballet schools, is quite strict. Strict requirements are imposed on the physical readiness, health of the child, the level of his intellectual and psycho-emotional development. Exams at the school are held in three stages:

Checking professional data, body features (external data) - addition of proportions, stage presence, eversion, rise, step, jump, flexibility;

Medical commission - vision, hearing, internal organs, nervous system, apparatus. Russian language testing;

Artistic Commission - musical and rhythmic data: rhythm, hearing, memory; professional data, dance.

The main methods and means of teaching are (on the example of the OOP used in the Academy of Russian Ballet named after A.Ya. Vaganova):

Seminar;

Independent work;

Consultation;

Practical lesson;

Excursion;

Educational and industrial practice;

Course work;

Graduation work.

Among the basic disciplines in choreographic schools: classical dance, folk stage dance, historical and everyday dance, jazz, step, rhythm, gymnastics, acting, makeup, foreign languages, the history of theater, music, fine arts, musical literacy, philosophy, fundamentals law, economics, sociology, anatomy, etc.

The main role in the preparation of a ballet dancer is played by classical dance. "It provides an education of the body in movement that can serve as an aid to any dance solution."

Classical dance is a fundamental discipline in the choreographic school, it plays a leading role in the professional training of future ballet dancers. It is at the lesson of classical dance that the language of choreography is learned. To master the high performance skills of classical dance, it is necessary to know and assimilate its nature, its means of expression, its school. The school of classical dance is the basis of the foundations of a systematic, consistent, methodical training in the profession of a ballet dancer.

One of the main components of the preparation of a future dancer is stage practice, which has been steadily introduced into the class schedule. The purpose of this subject is the comprehensive development and improvement of the performing skills of students on the basis of rehearsal work and stage performances, including theater performances. Stage practice is an integral, final part of the educational process.

Thus, the following can be attributed to the features of training a ballet dancer in Russia:

§ Due to the physiological characteristics of the human body, there are strict deadlines for the professional activity of a ballet dancer: the beginning of professional training at the age of 10, the beginning of professional activity at 18-19 years old, the end of professional activity at 38-40 years old;

§ training in a ballet educational institution (choreographic school, ballet academy) is considered as professional training from the first steps, from the age of 10;

§ the special regimen and level of workload of a student are comparable to the regimen and workload of an adult artist, which corresponds to the physical activity of the sport of high achievements;

§ general (school) education and vocational (primary, secondary, higher) education are combined in a single educational process, often it is impossible to draw a clear distinction between them;

§ the need to advance the development of humanitarian and art history disciplines leads to the inclusion of elements of higher education in the program of a secondary vocational educational institution;

§ direct transfer of skills, knowledge, experience from generation to generation (“from hand to hand - from foot to foot”, bypassing material media);

§ the functioning of the choreographic school (ballet academy) both as an educational institution and as a theater group, the unity of the actual educational process and practice;

§ obligatory interaction of the choreographic school (ballet academy) with a professional, “basic” ballet troupe (theater): the troupe mostly consists of graduates of this educational institution, and most of its teachers are former and current artists of the troupe; orientation of the educational process to the style features and repertoire of the troupe; the opportunity for students to participate in professional performances from the first years of study.

2.2 Pedagogical activities for the preparation of a ballet dancer

“The role of the teacher is enormous, the creative growth of artists largely depends on him,” wrote N.M. Dudinskaya.

We conducted a study to determine the specifics of the formation of the professionalism of a ballet dancer.

Research base: Krasnoyarsk Choreographic School and Krasnoyarsk Opera and Ballet Theatre.

Research methods:

Observation;

“The only possible way to accumulate and preserve socio-cultural experience in the context of the continuity of generations is the system of continuous humanitarian education,” says V. M. Zakharov. In the most convincing, visual form, this system was developed within the framework of continuous choreographic education "school - choreographic school (university) - theater". Teachers of the Krasnoyarsk choreographic school adhere to similar positions.

The school was founded in 1978. To date, 56 teachers work in it, 18 of them are part-time. Since 2010, the school has been preparing bachelors in the direction of "Choreographic Art". The professional activity of bachelors in this area is carried out in the field of culture and art, related to choreographic art and the ways of its functioning in society, in institutions of education, culture, art and management.

The institution has established fairly close ties with the Krasnoyarsk Opera and Ballet Theatre. Students of the school constantly perform reporting performances on the stage of the theater, their future mentors - theater choreographers - regularly meet and work with students.

In ballet, students are required to have good preparation, the ability to meaningfully apply the complex of acquired knowledge and skills, to understand a certain interdisciplinary range of issues. The teacher must manage the process of training, development and education, and for this “you need to be competent, you need to fully and accurately know all the conditions of production, you need to know the technique of this production at its modern height, you need to have a well-known scientific education. Knowledge, competence, education cannot be replaced by any other, even the best human qualities.”

The current conditions of education impose an immutable requirement on the modern teacher - knowledge of the fundamental sciences. Moreover, “not only the amount of knowledge is of decisive importance, but also their accuracy, systematicity, and mobility. Not a maximum of knowledge, but their mobility and manageability, flexible adaptation to the conditions of an educational institution, makes a specialist suitable for pedagogical activity.

Based on these provisions, we analyzed the level of fundamental training of teachers from the Krasnoyarsk Choreographic School. All teachers have higher professional education, regularly attend refresher courses, participate in conferences and symposiums, prepare and publish their own articles.

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N. E. Vysotskaya (1979) revealed that all the characteristics of the success of mastering the choreographic art are more pronounced in those students of the choreographic school who have high emotional reactivity (Table 10.2).

Table 10.2

Expression of professional characteristics in students of a choreographic school with different emotional reactivity (points)

In the educational process (during the formation of a ballet dancer) there are many psychological difficulties: 1. Mismatch of expectations (the idea of ​​ballet in general and the real educational process), which often leads to disappointment, decreased motivation. It is possible to single out 2 aspects of "deception of expectations": a) between the typical children's ideas about ballet as a "holiday" (taken from watching TV shows) and real "rough work"; b) between the habit of children (especially younger schoolchildren) to be guided in motor activity by the “principle of pleasure” and the real requirement to work through “I can’t” and “I don’t want to”. 2. The need to positively prove oneself from the first lessons with a complete lack of professional training. 3. For a significant part of students, the problem of overcoming fears is relevant, the most typical of which are: “fear of a teacher”, “fear of professional exams”, “fear of being considered unpromising”. Sosnina I. G., 2004. P 499-500.

E. V. Fetisova (1994) high neuroticism was found in 84.4% of ballet dancers. They were also characterized by high levels of anxiety. Obviously, this is no coincidence. NV Rozhdestvenskaya (1980) showed that low anxiety can interfere with creativity. And the artists themselves pointed to the need for emotional uplift and anxiety. This was also confirmed in the work of N. E. Vysotskaya: only students with poor emotional expressiveness had low neuroticism. Those with high emotional expressiveness most often had moderate neuroticism.

A. X. Pashina (1991) identified 2 groups: knowledgeable soloists" and "ordinary artists". The so-called "ordinary" artists were characterized by high anxiety and emotional instability. These features of the emotional sphere correlated with excessive mental tension, which causes difficulties in self-expression and creative transformation on stage. The emotional hearing of the "ordinary" artists corresponded to the norm. They also revealed some emotional retardation, excessive limitation of feelings.

The "leading soloists" had anxiety at the upper level of the norm or slightly higher, and emotional hearing was highly developed.

In both groups, the emotion of joy and a neutral state were better determined by ear, worse - anger and sadness. This was specific for ballet dancers compared to doctors and engineers, who also best determine the neutral state, but the second most determined they have fear, then sadness and anger, and joy comes last in terms of the number of correct identifications (Pashina, 1991 ).

L. N. Kuleshova and T. Yu. Gorbushina (2003) revealed that ballet dancers have a high degree of internality.

According to L.Ya. Dorfman (1988), extrovert dancers choose parts that induce them to experience anger, and introvert dancers choose to experience sadness and fear.

The study of the relationship between the properties of the nervous system and the severity of professionally important qualities in students of a choreographic school showed that emotionality, artistry, and “dancing” are most pronounced in people with mobility of nervous processes and with a predominance of excitation according to the “external” balance. Coordination of movements, vestibular stability, jumping ability are largely associated with the inertia of nervous processes and with the predominance of inhibition according to the "external" balance. Weakness of the nervous system was found primarily in students with good "dancing", coordination, with good rotation.