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Business qualities necessary for a ballet dancer. Kuznetsova I.A.

Business qualities necessary for a ballet dancer. Kuznetsova I.A.

25.03.2019

As a manuscript

SOBOLEVA OLGA SERGEEVNA

PRODUCTIVITY OF CREATIVE] ACTIVITIES OF BALLET ARTISTS

Specialty: 19.00.13 - developmental psychology, acmeology (psychological sciences)

dissertations for the degree of candidate of psychological sciences

Moscow - 2005

The work was carried out at the Department of Psychology of the Non-State Educational Institution "Humanitarian and Prognostic Academy"

Scientific adviser - candidate of psychological sciences,

Official opponents:

doctor of psychological sciences, professor Agapov Valeriy Sergeevich

Candidate of Psychological Sciences Badaeva Anna Vyacheslavovna

Lead Organization: International Independent

dissertation council D-502.006.13 in psychological and pedagogical sciences in Russian Academy public service under the President Russian Federation at the address: 119606, Moscow, Vernadsky Avenue, 84, building 1, room 3350

The dissertation can be found in the library of the RAGS. The abstract was sent out in 2005.

Associate Professor Gorobets Tatyana Nikolaevna

University of Ecology and Political Science

Defense will take place

hours at the meeting

Scientific secretary ^

dissertation council /U /U

doctor of psychological sciences /¿/bgc^! V.GLseev

GENERAL DESCRIPTION OF THE WORK The relevance of the research topic is due to the logic of the development of acmeology as a science and the solution of scientific and practical problems related to increasing the productivity of performing artistic and creative activities. The development of acmeology is associated with the development of new subject and object areas, among which artistic and creative performing activities stand out, in which there are many psychological and acmeological problems. Their solution is largely determined by the type and specifics of artistic performance activity, among which a special place belongs to ballet - the oldest type of performing art. Therefore, the development of acmeological problems of ballet creativity is relevant from a scientific point of view.

The state of development of the research problem The study of the essential characteristics of the performing arts of artists was carried out mainly on the examples of the creativity of artists of drama theaters. A great contribution to the development of this problem was made by outstanding theater practitioners (Stanislavsky K.S., Nemirovich-Danchenko V.I., Vakhtangov E.B., Meyerhold V.E., Tairov A.L., Zavadsky Yu.A., Zakhava B. E., Tovstonogov G. A. and many others).

Significant are psychological research in this subject area (Abramyan D.N., Berezanekaya N.A., Wilson G., Drankov B.JL, Ershov P.M., V.I. Kochnev, Markus S., Natadze R. G., Petrov V.V., Silantieva I.I., Simonov P.V., Tarasov V.I., Teplov B.M., Shpet G.G., Yakobson P.M., etc.). Among the applied psychological research, it is worth highlighting the works on the creative self-concept of artists (Borisov-Fishman B.M.), artistic introspection (Andreykina O.V.), the psychology of stage reincarnation (Kisin B.V.), transpersonal psychotechnics (Groysman A.L. , Rassokhin A.V.), artistic abilities and abilities for reincarnation (Rozhdestvenskaya N.V.), acting skills (Naidenkin S.M. and others).

Actually, psychological studies of personal and professional qualities, mental states, features of the creative activity of ballet dancers are very few (Vysotskaya N.E., Groysman A.L., Pozdnyakov V.A., Rozhdestvenskaya N.V., Sukhareva A.I., Fetisova E. AT.). [~P7"~ ~. Tn-

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Research hypothesis

The purpose of the study / to determine the psychological and acmeolotic characteristics of ballet dancers, as well as the features of the productivity of their creative activity.

Research objectives:

The theoretical and methodological basis of the dissertation research are works in the field of psychology of creativity (Abramyan D.N., Bogoyavlenskaya D.B., Ponomarev Ya.A., Prangishvili A.S., Savransky I.L., Semenov I.N., Stepanov S.Yu., Stolovich L.N., Tikhomirov O.K., Torrance E., Sheroziya A.E. and others);

performing psychology artistic creativity(Bochkarev L.L., Wilson G., Groysman A.JI, Ershov P.M., V.I. Kochnev, S. Markus, Natadze R.G., Rozhdestvenskaya N.V. and others); theory of acmeology, acmeological approach to personal and professional development and the formation of professionalism of a person and activity (Agapov V.S., Anisimov O.S., Bodalev A.A., Ganzhin V.T., Derkach A.A., Zazyyuan V.G., Kuzmina N. V., Laptev L.G., Markova A.K., Ognev A.S., Rean A.A., Selezneva E.V., Stepnova L.A. and others); acmeology of artistic creativity (Zazykin V.G., Fetisova E.V.); art and theater studies of ballet (Belova E.P., Belyaeva-Chelombitko G.V., Gaevsky V.M., Grishina E.M.. Vartanov A.S. Ilupina A.P., Krasovskaya V.M., Lvova-Anokhin B.A., Lutskaya E. Ya., Sabashnikova E.S., Surits E.Ya., Chernova N.M., Elyash H.A.).

Research methods: To solve the tasks set in the dissertation research, a complex methodological toolkit was used, including general scientific methods: a comprehensive analysis of the theoretical aspects of the problem under study, generalization, a systematic approach; psychological and acmeological methods - psychological examination, acmeological diagnostics (acmeological examination, acmeological assessment, acmeological analysis of the problem, tracing the process of development of psychological and acmeological characteristics), expert assessments, psychodiagnostic methods - psychological testing (Luscher's eight-color test,

projective tests, emotional hearing test, etc.), participant observation, interviewing.

Main scientific results obtained personally by the applicant, and their scientific novelty

their enrichment with their own creative solutions, expressive means that correspond to the general ideas of the choreographer and teacher-repetiteur. The range of co-creation depends on the scale of the gift ballet dancer, the creative position of the choreographer and can take the form from the complete acceptance of the concept by the artist to the proposal and implementation of his options.

2. It has been established that the most important abilities of a ballet dancer are: spsmeological - self-realization, self-development, self-realization, self-actualization, self-disclosure and self-affirmation; psychomotor - plastic expressiveness, muscular freedom and emancipation, the ability to control the body (accuracy of expressive movements), the ability to fill thoughts and feelings with movements, gestures and postures; musical (rhythmic) - ear for music, musical memory, sense of rhythm; autopsychological - self-attitude, self-acceptance, the ability to arbitrary self-regulation, self-identity; cognitive - intellect, developmental psychology and superconscious qualities peculiar only to man; cognitive | in the acmeological context of creative activity reflect the interaction of self-consciousness and professional activity; creative - the search for an extraordinary solution to a creative problem, reincarnation and the creation of new images; social-perceptual - in an acmeological context, reflect self-esteem in interpersonal interaction (overestimated, underestimated or adequate); artistic - a mental reflection of an affective nature, passion, sensuality, conscious expression in the facial expressions of the sign and modality of the emotional accompaniment of the action; empathic - emotional susceptibility, lability and plasticity of emotional reactions

3. It is proved that the productivity of the creative activity of ballet dancers depends on the level of personal and professional development, the skill of the subject of creative activity and individuality and acmeological potential, which includes a system of interconnected high-level potentials that have the property of resource replenishment as the basis for productive personal and professional development and progressive movement to acme. The development of personal professionalism and productivity of ballet dancers also largely depends on the level of general and special acmeological invariants of professionalism (autopsychological ability to reincarnate, self-regulation, self-efficacy, intellectual activity), musicality, psychomotor skills, productivity of the creative self-concept, accepted personal and professional standards and standards.

level of development, but also to the psychological and acmeological content: complex private abilities are larger and more diverse, more creative and characterological potential, higher personality strength and activity, more productive reflection, higher level of personal and professional standards, the need for creative self-realization.

6. The psychological and acmeological conditions for the productive development of the creative activity of ballet dancers are determined: the actualization of the need for professionalism in ballet creativity, the optimization of interactions in the process of co-creation, the development of psychological and acmeological competence of ballet masters and tutors, the development of autopsychological competence of ballet dancers, which makes it possible to build personal strategies -professional development from the reproductive level to the local modeling one.

7 Psychological and acmeological factors have been identified that contribute to the productive development of the psychological characteristics of ballet dancers, the movement towards acme in ballet creativity: increasing self-efficacy, competitiveness (in the acmeological sense), eliminating constraints and psychological barriers in the development of creative and acmeological potentials of artists, developing special acmeological invariants professionalism and psychological professionally important qualities.

The results of the dissertation research are used in the educational process at the NOU "Humanities and Prognostic Academy", when writing teaching materials, preparing teaching aids for the courses "Methods of arbitrary self-regulation", "Thinking and self-regulation as the basis of human health", as well as during consultations and development of individual recommendations for the subjects of ballet creativity

strength of personality, anticipatory competence, high level of self-regulation, decision-making ability, creativity, high and adequate motivation for achievements), creative self-concept productivity, personal and professional standards (knowledge, skills and abilities) and standards (ideal role models). The levels of productivity of creative activity (high and low), among the "stars" of ballet (high level) they are qualitatively different than those of "ordinary" artists (low level), not only in terms of the level of development of creative activity, but also in terms of psychological and acmeological content.

3 Levels of productivity of creative activity can be determined according to the criteria of success, activity in achieving acme and professional maturity - levels as the degree of completeness of implementation in creative activity can be defined as "high" - "low" in terms of development of the most important abilities High level of "stars" is determined by the corresponding indicators acme abilities, psychomotor, autopsychological, cognitive, cognitive, social-perceptual, creative, empathic, artistic abilities, productive reflection, success, focus of the activity vector on achieving acme and professional mastery. The low level of "ordinary" ballet dancers, unlike the "stars", has unexpressed acme abilities, autopsychological, cognitive, social-perceptual, creative, empathic and artistic; success is low, activity in achieving acme and professional maturity is not observed, reflection is unproductive.

4. The levels of psychological and acmeological characteristics of ballet dancers can be described from a systemic standpoint: from the standpoint of general and special psychological and acmeological characteristics of ballet dancers - personality models based on the levels of K.K. Platonov and V.S. Merlin, as well as positions of a systematic description of the psychological and acmeological characteristics of ballet dancers based on the methodological principle of complexity (individual, subject of activity and individuality) Acme criteria in artistic and creative activity were used as criteria for a level-by-level description.

The explication of these levels will make it possible to determine the conditions and factors for the productivity of the creative activity of ballet dancers.

5. The productivity of the development of the creative activity of ballet dancers depends on their acmeological potential, focus on self-realization in creativity. The revealed psychological and acmeological conditions and the leading factors of the productivity of the creative activity of ballet dancers provide the formation of images-goals in their advancement to acme.

Psychological studies of artists and their creative activity, despite their small number, are distinguished by object and subject diversity. Prominent domestic psychologists have repeatedly noted that the artist is the "subject, subject and instrument" of theatrical art, therefore, the more complex and significant the personality of the artist, the more multifaceted his abilities, the brighter his individuality and the more interesting his work. Drankov B.JI made a great contribution to the study of the psychological content of acting abilities. (the versatility of abilities in the work of artists), Bogoyavlenskaya D.B. (intellectual activity and intellectual needs in the personal development of artistic thinking), Rozhdestvenskaya N.V. (psychology of artistic creativity and creative activity), Petrov V.V. (readiness for performing artistic activity), V.I.

An important area of psychological research is the study of personal properties and qualities of the subjects of creative activity. In psychological studies, it was noted that many general personal and professional characteristics of artists as subjects of creative activity are inherent in creative individuals, regardless of the specific specifics of their creative activity. N.V. Rozhdestvenskaya, who studied the personality and creativity of artists for a long time, singled out the following special psychological characteristics of them: general emotionality; emotional susceptibility; excitability and plasticity of emotional reactions; the ability to reincarnate; empathy inner freedom; ability to self-regulation; performance; creative will. In psychological studies, the correlations of actor's emotionality with suggestibility, the level of voluntary self-regulation, anxiety (the so-called "a kind of actor's nerve"), which determines reflexive sensitivity and plasticity, were studied (Bakeev V.A., Zakharov A.I., Popova E.P., etc.). A special role was assigned to the imagination, the ability to create new images: it is necessary to easily "surrender to imaginary circumstances, believe them, live them as if they really existed" (Zakhava B.E.).

In recent years, psychological and acmeological studies have appeared related to the study of acmeological aspects of the professional skills of artists. The structure and specificity of the actor's skill involves the integration of various qualities, skills, and features of the personality's orientation towards development. The professional skill of an artist is directly related to the productivity of his self-concept (B.C. Agapov, V.K. Naidenkin, B.M. Fishman-Borisov, etc.), which ensure his self-actualization, self-disclosure and self-affirmation in creativity.

The psychological features of self-expression were studied by G. Wilson. It was noted that the artist's self-expression process is characterized by stages and heterochrony, there are a significant number of implicit

psychological factors that influence him, which are not always amenable to arbitrary regulation (emotional ups and downs, substituting experience, catharsis, audience understanding, individual characteristics, genre environment).

Specific psychological (mainly empirical) studies of the personal characteristics of ballet dancers, their mental states, some psychological aspects of creative activity began to be carried out from the second half of the last century and are being carried out to the present (Bochkarev L.L.: readiness for performing activities; Vysotskaya N.E. .: personal psychological qualitative characteristics; Groisman A.L.: creativity in the artistic and creative activities of artists; Pozdnyakov V.A.: creative performance and activity of ballet dancers, creative skills; Rozhdestvenskaya N.V., Soboleva O.S.: quality the life of ballet dancers and the conditions of their self-regulation, Fetisova E.V. and others).

AT theoretical works outstanding theater figures, choreographers, directors, ballet teachers R. Zakharov, F. Lopukhov, L.D. Blok, V.M. Krasovskaya, M. Fokin, K. Goleizovsky, M. Bejart and others. There is a lot of psychological and acmeological information used in this study.

From applied psychological research, the works of E.V. Fetisova should be singled out; she obtained results that, first of all, have an acmeological content. In particular, a comparative analysis of a number of the most important psychological characteristics of "stars" and "ordinary" ballet dancers was carried out in terms of indicators of low and highly productive creative activity.

The psychological and acmeological characteristics of ballet dancers were determined by the levels of productivity of creative activity - the levels act as a different degree of completeness of self-realization in professional situations. The distinctive psychological characteristics of the "stars" were revealed - a higher level of personal potentials, personality strength and activity, a variety of special abilities (acmeological, psychomotor, musical, autopsychological, cognitive, cognitive, creative, social-perceptual, etc.), special acmeological invariants professionalism, productivity of reflection, high adequate motivation for achievements, focus on self-development and self-realization in ballet creativity, the presence of professional acme standards and standards. Distinctive psychological characteristics of “ordinary” ballet dancers are a low level of personal potentials and special abilities, “blurring” of acme standards and standards, unproductive reflection, manifestation of external properties, lack of personality strength.

A theoretical analysis of the problem of productivity in the creative activity of ballet dancers showed that the creative activity of artists is not "independent creativity", it is always co-creation. With regard to stage creativity, co-creation can be carried out within the framework of the following strategies: full acceptance by the artist of the director's creative concept; influence on the creative concept of the choreographer, its partial change; development of a common creative concept; proposal of his creative concept and its acceptance by the choreographer.

Aspects of the personal and professional properties of ballet dancers, which contribute to a productive movement towards acme, are revealed. The productivity of ballet dancers depends on the development of general and specific acmeological invariants of professionalism. Some of them were determined in the process of theoretical analysis of the problem.

Analysis of publications of well-known critics, art historians, culturologists and theater experts specializing in the field of ballet (Arkina N.E., Belova E.P., Belyaeva-Chelombitko G.V., Gaevsky V.M., Grishina E.M.. Vartanov A.S. Ilupina A.P., Konstantinova M., Krasovskaya V.M., Lvov-Anokhin B.A., Lutskaya E.Ya., Sabashnikova E.S., Surits E.Ya., Chernova N.M., Elyash N.A. and etc.) allowed in the context of the acmeological study of the problem to determine the psychological and acmeological factors of the productivity of the creative activity of ballet dancers.

The problem of acme in the creative activity of ballet dancers was considered in a number of works (Zazykin V.G., Fetisova E.V.). An analysis was made of the characteristics of the acme of outstanding ballet dancers of our time. First of all, those of them that are common (not dependent on the professional specifics of activity) acmeological invariants of professionalism are noted: the potentials of the individual, the strength of the individual; anticipation solvency; high level of self-regulation; ability to make decisions; creativity; high adequate achievement motivation.

It was revealed that the creative activity of ballet dancers depends on the level of development of their acmeological culture, which manifests itself in the following areas: spiritual (harmonization of the system of needs and development of spiritual abilities); existential (the ability to carry out self-analysis, self-assessment, correlate oneself and one's achievements with others, etc.); value-semantic (assertion of the value of self-development); cognitive (autopsychological competence, ethical thinking, etc.); creative (creative self-realization: Selezneva E.V.).

Thus, the psychological and acmeological study of ballet dancers is ultimately projected on the study of their psychological and acmeological properties as generalizing personal characteristics, stable features that affect behavior, activities and relationships. In acmeology, psychological and acmeological properties are considered as a set of personal and professional qualities, special complex private abilities,

motivational formations, features of the orientation of the individual as a subject of activity. Psychological and acmeological properties determine internal conditions that can arbitrarily and purposefully develop in a wide range (primarily in the form of self-development), transform systemic connections, which contributes to the productivity of personal and professional development, movement towards acme. Acmeological studies show that as it develops, this set begins to be characterized by systemic qualities, which are manifested in strengthening the regulatory role of standards and standards, "images-goals" of development, raising the level of acmeological, professionalism invariants, productivity of reflection (Derkach A.A., Zazykin

V.G. and etc.). These studies have become the basis for solving problems in studying the productivity of the creative activity of ballet dancers. « Carrying out a comparative analysis of "stars" and "ordinary" ballet dancers with

acmeological positions suggests that the "star" in ballet is a ballet dancer who is approaching or has reached his acme in this type of creative activity. At the same time, there are artists who had the potential to become a "star", but who have not yet become "stars". In other words, from an acmeological point of view, such artists have great acmeological potential. In acmeological studies, it is very common to the theoretical position that there is a direct relationship between the potential of the individual and the level of its self-realization in life, profession (N.I. Konyukhov, V.N. Markov, Yu.V. Sinyagin, E.P. Khodaeva). is a system of interrelated potentials (creative, characterological, natural, etc.) that have a high level, have the property of resource replenishment (resource recovery) and are the basis for productive personal and professional development, progressive movement towards acme.Accordingly, acmeological potential can have different levels (high, medium and low).

The theoretical and methodological analysis of problem 5 carried out in the first chapter became the basis for organizing and conducting phased applied psychological

acmeological empirical research. At the first stage, an expert psychological and acmeological analysis (assessment) of the problem was carried out. Fourteen experts took part in it: leading soloists of ballet troupes of famous theaters, awarded with honorary titles and state awards(four people), choreographers-tutors and teachers-tutors of leading ballet theaters (four people), art historians - recognized experts in the field of ballet creativity, author of several monographs (three people), psychologists, recognized experts in the field of psychology of performing artistic and creative activity, having experience in psychological work with ballet dancers (three people).

Professional ballet experts have consistently emphasized that an empirical study of the psychological characteristics of ballet dancers will

necessarily associated with the following significant factors of psychological complexity: high level reflection (mostly unproductive) for many artists; high level of image behavior; unwillingness to make contacts with a specialist psychologist; the characteristic vulnerability and touchiness of artists; a high need (often insufficiently satisfied) for social and professional approval; the presence of character accentuations; manifestation of negative features of professional mentality; fear that the results of psychological diagnostics will be made public. Experts have developed criteria for dividing artists into "stars" and "ordinary".

At the second stage, actual empirical studies were carried out using instrumental and non-instrumental methods of psychological diagnostics and other methods noted above. These empirical studies were carried out in the period from 2001 to 2005 in various professional ballet groups (ballet theaters and ballet troupes of opera and ballet theaters) in Moscow and St. Petersburg. A total of 187 ballet dancers were examined. Due to the complexity of the object, the empirical data obtained were predominantly of a qualitative nature.

The study is aimed at identifying the most important abilities of ballet dancers and their influence on the productivity of creative activity, the formation of acmeological and creative potentials.

For a psychological and acmeological study of the productivity of creative activity, experts proposed dividing ballet dancers into two groups - "a group of" stars "and a group of" non-stars ". The criteria were success, activity in achieving acme and professional maturity. "Stars", according to experts, are distinguished by: a high level of success and activity in achieving acme, a high level of professional maturity. "Private" are distinguished by a low level of success and activity in achieving acme and professional maturity. The study of reflexive abilities according to the same criteria confirmed the correctness of the experts’ proposal to divide ballet dancers into two groups of “stars” and “ordinary”, it was carried out using various elements of reflex practice (organizational-activity dialogues, brainstorming, synectics (I.N. Semenov). "Stars" showed significant high results of highly productive reflection (77.07 - 83.71%) - adequate to the objective assessments of experts, "ordinary" - average indicators (49-62%) - a discrepancy with the assessment of experts, which indicates unproductive reflection.

An analysis of the level of abilities of ballet dancers allows us to conclude that the productivity of creative activity has a linear determination with acme abilities, autopsychological, social-perceptual, creative, empathic and artistic, a high level of development of these abilities is a structural and functional component of the acmeological potential.

Significant psychological differences between "stars" and "ordinary" artists were identified and described during a survey of experts, observation of the use

projective test " fantasy creature"- a qualitative analysis of the 10 most important abilities of ballet dancers. The results by levels are presented in table No. 1.

tablesh

Levels of abilities of ballet dancers as a condition for the productivity of creative activity

No. Indicators Stars Private

1. Acmeological abilities High Low

2. Psychomotor abilities High High

3. Musical (rhythmic) ability High High

4. Autopsychological High Low

5. Cognitive High High

6. Cognitive High Low

7. Socio-perceptual High Low

8. Creative High Low

9. Empathic High Low

10. Artistic High Low

The levels of productivity of the creative activity of ballet dancers are directly dependent on the construction of an algorithm for an individual acme strategy focused on creative self-realization. Ballet dancers by level scale

distributed as follows:

1. Reproductive level of activity.............................. 0%

2. adaptive level of activity .............................0%

3. locally-simulating level .............................. 20%

4. level of system-modeling knowledge .................... 72%

5. level of system-modeling creativity............. 8%

There were no ballet dancers of the lowest level (reproductive). At the adaptive level of activity, artists adapt information to the characteristics of perception, and at the locally modeling ballerinas become the subject of cognitive activity, at this level there is a process of accumulating psychological knowledge and stimulation for self-development: among ballerinas, adaptive< уровень не определился, данный уровень достигается в процессе обучения. Уровень системно-моделирующий знания имеет целью определение профессиональной позиции и целенаправленности. Уровень системно-моделирующий творчество имеет целью преобразовать психологические способности в акме-способности -способность к саморазвитию, самопознанию, самореализации, самосовершенствованию - данный уровень в совокупности с акме-ориентированной стратегией самого артиста формирует акмеологический потенциал «звезд» балета, что является одним из базовых условий продуктивности творческой деятельности.

The criteria for the productivity of creative activity in the theoretical and applied aspect of the study define the criteria for acme in artistic and creative activity (Zazykin V.G): the humanistic orientation of the creative activity itself; the artistic value of the created works and images, the temporal imperative in the context of relevance for any era, the highest level of performance, public recognition, innovation in creativity. A high level of development of these characteristics is characteristic of "stars": it determines the algorithm for the self-fulfillment of stars in an acme-oriented life perspective in the context of the productivity of creative activity and is the structural and functional basis of the acmeological potential.

Acmeological invariants of the professionalism of ballet dancers were studied using observation, Luscher color test data and peer review. In the study of the productivity of the creative activity of ballet dancers, traditional expert assessment and acmeological examination are combined: methods of pair (group) comparison, projective and rating assessment - these methods revealed objective conditions and factors that contribute to productive personal and professional creative development. Descriptions of general and special invariants were described at a qualitative level and demonstrated a significant difference (high and low levels) in their severity and content in "stars" and "ordinary" artists.

Common acmeological invariants include: personal professional standards and standards; strength of personality; personal potential; self-regulation; anticipation, the ability to make decisions, the features of the motivation for the achievements of the "Star" have a high and very high level of all common acmeological invariants. "Ordinary" have a low level of personality strength and relative to the "stars" a low level of personal potential; other types of invariants for "ordinary" have a very wide range of spread.

The special acmeological invariants of the creative activity of ballet dancers in this study include: the level of musicality; psychomotor; figurative thinking; self-efficacy. "Stars" have equally high scores for all special invariants. "Privates" show a wide range of variation in the level of musicality and psychomotor skills, as well as insufficiently expressed figurative "plastic thinking" and a low level of self-efficacy.

Other empirical studies of reactions to frustration were also carried out - the Rosenzweig test, the determination of the cognitive-emotive characteristics of ballet dancers (according to Yu M. Orlov), personality relationships (the neurotic triad is determined on the main scales of LNSobchik), medical and biological ("big batman", serial dynamometry, haptic reflexes, neurodynamic, etc., which made it possible to identify functional disorders of the nervous system - the mobility of the nervous processes of fatigue and typological variants of the personal norm); A total of 107 people were examined. Their results

used in the development of systematic descriptions of the psychological and acmeological characteristics of ballet dancers, as well as for practical recommendations for optimizing the creative activity of ballet dancers using self-regulation and psycho-correction techniques used for the productivity of creative activity.

The theoretical and methodological analysis of the problem, the results of empirical research, made it possible to carry out a systematic description of the general and special psychological and acmeological characteristics of ballet dancers. A qualitatively strict linguistic description was chosen based on the personality models of K.K. Platonov and V.S. Merlin.

The first type of systematic description of the psychological and acmeological characteristics of ballet dancers, which influence the increase in the productivity of creative activity, reflects systemic ideas about personality traits (K.K. Platonov).

At the level of natural properties for ballet dancers, the temperamental characteristic of neuroticism plays the main role - the emotional instability necessary for the artist to reincarnate; with age, ballet dancers have reduced "motor capabilities" and increased artistry, the depth of penetration into the image. The personal potential of ballet dancers is a system of renewable resources, so the potentials of the individual can be multiplied. The activity and strength of the personality of ballet dancers dialectically combines dependence on the situation with overcoming its direct influences; psychopathological properties of ballet dancers are distinguished by a pronounced polarity of dyads in different types of activity: independence - conformism, seriousness - childishness, etc.

At the level of mental processes and functions - volitional qualities of ballet dancers (especially "stars") are manifested in the ability to arbitrarily control the processes of goal formation and overcoming - performances with injuries and during illness, negative mental states; the mental functions of ballet dancers are distinguished by well-developed attention, trained muscle memory, rich imagination; thinking is distinguished by imagery and the ability to insight; the emotional sphere and feelings provide the ballet dancers with the reincarnation in the created images, and the ballet dancers are capable of arbitrary regulation of emotional states

At the level of character - training in the art of ballet begins at early age and therefore the main features of ballet dancers are - respectful attitude towards the teacher, diligence, discipline, empathy, purposefulness and perseverance; in the process of creative activity, character accentuations develop, which, with arbitrary volitional regulation, are factors in increasing the productivity of creative activity (among the “stars”), and in the absence of internal locus control and volitional regulation of behavior, they reduce productivity and block the self-development of a ballet dancer.

At the level of experience - a high level of professional perception and thinking of ballet dancers; technical mastery is a prerequisite for achieving acme in ballet, self-efficacy in difficult creative situations among ballet dancers is manifested in the search for “reasons in oneself” and contributes to the rapid overcoming of emerging difficulties, and is also expressed in a constant desire for self-realization.

At the level of personality orientation, the content of the substructures of the worldview of ballet dancers is distinguished by the humanistic orientation of creative activity; personal and professional standards and standards are focused on specific famous performers in ballet art, artists are often self-centered, which is due to the high concentration on the subject of their work and the importance of self-realization in it; the main motive of ballet dancers is creative self-realization and achievement motivation; the interests of ballet dancers, as a rule, are concentrated in the sphere of the subject of their creative activity, which determines the productivity of their creative activity, even to the detriment of other aspects of human existence.

The second type of systemic description is based on the presentation of the psychological and acmeological characteristics of ballet dancers, according to the methodological principle of complexity as individuals, subjects of creative activity and individuals. In its implementation, the results were used

surveys to describe the general and special characteristics of ballet dancers as individuals: the integrity of the psycho-physiological organization, stability and activity; as subjects of creative activity - a source of knowledge and transformation, distinguished by self-organization and focus on development; as individuality - an integral property of the ballet dancer's personality, which makes the personality unique and unrepeatable. The acme of a personality is an individual way of self-realization (Derkach A. A.). These types of systematic description of the psychological and acmeological characteristics of ballet dancers made it possible to determine the algorithm for the productivity of their creative activity in the context of moving towards acme; The systematic description made it possible to use the method of comparative analysis of highly productive and low productive activities (Derkach A.A., Kuzmina N.V.) to identify common and specific acmeological invariants of professionalism and conditions and factors for increasing the productivity of creative activity.

The revealed psychological and acmeological conditions and factors of the productivity of the creative activity of ballet dancers determine the self-realization of the subjects of creative activity and the progressive movement towards acme in ballet creativity.

The following psychological and acmeological conditions are described (conditions as objective circumstances): social demand for professionalism and increasing the productivity of creative activity; the request should be formed at the state level in the context of the high prestige of professional achievements; the formation of standards and standards as psychological and acmeological attitudes is developed and achievements are currently

time, the suggestive influence of the media introduces into the subconsciousness standards and standards that do not correspond to the existing highly professional models of productive creative activity; the development of psychological and acmeological competence among the subjects of creative activity and the main component - social and perceptual competence; development of "counter adaptation" in the process of co-creative activity of subjects of interaction on the basis of subject-subject relations as an optimization of psychological compatibility; development of autopsychological competence of subjects of creative ballet activity based on self-development, productive reflection and introspection.

Psychological and acmeological factors (factors as causes) that affect the productivity of the creative activity of ballet dancers have been identified, namely: the development of self-efficacy as a personality trait, which is a module of self-governing and self-developing behavior in the context of increasing the productivity of creative activity; development of competitiveness in creative activity as an aggregate - anticipatory viability, the ability to make decisions and act effectively in compliance with the principle of responsibility, to be updated (to replenish and develop the resources of the individual as a subject of activity) and to use opportunities for self-development - to develop acmeological invariants of professionalism; the development of a reflective culture as the formation of a productive reflective multicomponent organization (components - perceptual, cognitive, affective, evaluative, regulatory); elimination or compensation of restraining factors and psychological barriers and restrictions (uncontrolled character accentuations, low or high self-esteem, low self-control, inadequate behavior and self-attitude, deep intrapersonal conflicts perceived as external and leading to partial or complete maladaptation. Psychological restrictions include high psychotism, external features, low self-efficacy and negative attitudes towards one's potentialities); formed normative regulations of activity and relations based on socially approved corporate social norms and ethics of behavior; optimization of communication and relationships in the "choreographer-artist" system in the context of increasing communicative competence and optimizing interactions.

In general, it should be noted that the theoretical and methodological analysis of the state of the research problem made it possible to substantiate the theoretical and practical significance of studying the psychological and acmeological aspects of the productivity of the creative activity of ballet dancers, the significance of the acmeological components of the development of their skills and professionalism.

In the course of the study, scientific and practical recommendations were developed for the development of the productivity of the creative activity of ballet dancers

1. The results of the dissertation research should be used in professional psychological selection for choreographic educational institutions.

2. The developed systematic description of psychological and acmeological characteristics can be used in the development of individual plans for the personal and professional development of ballet dancers, the disclosure of their creative potential.

3. Based on the identified characteristics of ballet dancers, it is advisable to implement psychological self-regulation and correction, which will contribute to the productivity of creative activity.

Prospects for further research are:

■ an in-depth study of psychological barriers and limitations at all levels of the personality structure that impede the productive disclosure of the creative and acmeological potential of ballet dancers;

■ study of changes in the creative individuality and creative orientation of the personality of ballet dancers in the entire range of their active creative activity;

■ development of acmeological models of professionalism of the personality of ballet dancers and their conditions practical application;

■ development of acmeograms for young artists with significant creative and acmeological potential;

■ development of an algorithm and technologies for psychological and acmeological support of processes creative development ballet dancers;

■ in-depth development of acme problems in ballet art

1. Methodology for determining creative indicators in the process of artistic and creative activity (on the example of the creative performance of a ballet dancer). - M: Kogito-Tseitr, 2002. - 0.5 p.l. (together with A.L. Groisman and V.A. Pozdnyakov).

2. Studies of the quality of life of ballet dancers. Toolkit. - M.: Kogiu-Teshr, 2003. - 1 sheet.

3. An empirical study of the psychological and acmeological characteristics of ballet dancers. - M.: International Academy Acmeological Sciences, 2005. - 1.5 pp.

4. Soboleva O S. Acmeological approach in the study of the psychological characteristics of ballet dancers. - M "International Academy of Acmeological Sciences, 2005. - 4.5 pp.

5. Psychological and acmeological characteristics of ballet dancers and their expert assessment. //Acmeological study of the potential of human reserves and resources, - M .: RAGS, 2005. - 0.5 p.s.

Dissertations for the degree of candidate of psychological sciences

Soboleva Olga Sergeevna

Productivity of creative activity of ballet dancers

Scientific adviser candidate of psychological sciences, associate professor Gorobets Tatyana Nikolaevna

Production of the original layout: Soboleva Olga Sergeevna

Signed for printing "Sh I2005. Circulation 100 copies. Conventional printed sheet 1.3

Printing house of the "Realproekt" Office 119526, Moscow, Vernadsky Avenue, 93, building 1. Tel. 433-12-13

RNB Russian Fund

Dissertation content author of scientific article: candidate of psychological sciences, Soboleva, Olga Sergeevna, 2005

INTRODUCTION

CHAPTER 1 THEORETICAL AND METHODOLOGICAL

RESEARCH BASIS

1.1. Psychological and acmeological studies of creative performing activity.

1.2. The problem of ACME, professionalism and productivity in the creative activity of ballet dancers.

1.3. Methodological and methodological foundations of the psycho-logo-acmeological study of the personal characteristics of ballet dancers.

Conclusions on the first chapter

CHAPTER 2. RESULTS OF RESEARCH OF PRODUCTIVITY OF CREATIVE ACTIVITY

BALLET ARTISTS.

2.1. An empirical study of the psychological and acmeological characteristics of the creative activity of ballet dancers: approach, methods, results.

2.2. A systematic description of the general and special psychological and acmeological characteristics of the creative activity of ballet dancers.

2.3. Psychological and acmeological conditions and factors of the productivity of the creative activity of ballet dancers. 132 Conclusions on the second chapter

Dissertation Introduction in psychology, on the topic "The productivity of the creative activity of ballet dancers"

The relevance of the research topic is due to the logic of the development of acmeology as a science and the solution of scientific and practical problems related to increasing the productivity of performing artistic and creative activities. The development of acmeology is associated with the development of new subject and object areas, among which artistic and creative performing activities stand out, in which there are many psychological and acmeological problems. Their solution is largely determined by the type and specifics of artistic and creative performing activities, among which a special place belongs to ballet, the oldest type of performing art. Therefore, the development of acmeological problems of ballet creativity is relevant from a scientific point of view.

The relevance of the problem is also determined by the presence of the following contradiction, namely: on the one hand, there is an orientation of ballet dancers towards successful creative activity, achieving acme in ballet creativity, on the other hand, there is insufficient knowledge of their resources and capabilities, the inability to create subjective prerequisites for the disclosure of creative and acmeological potentials, ensuring their resource replenishment.

The relevance of the study of the psychological and acmeological characteristics of the personality of ballet dancers is due to the lack of special studies on the development of creative activity in this profession.

The state of development of the research problem

The study of the essential characteristics of the performing arts of artists was carried out mainly on the examples of the creativity of artists of drama theaters. A great contribution to the development of this problem was made by outstanding theater practitioners (Stanislavsky K.S., Nemirovich-Danchenko V.I., Vakhtangov E.B., Meyerhold V.E., Tairov A.Ya., Zavadsky Yu.A., Zakhava B.E., Tovstonogov G.A. and many others).

Significant are psychological research in this subject area (Abramyan D.N., Berezanskaya N.A., Wilson G., Drankov B.JL, Ershov P.M., V.ShSochnev, Markus S., Natadze R.G. , Petrov V.V., Silantieva I.I., Simonov P.V., Tarasov V.I., Teplov B.M., Shpet G.G., Yakobson P.M., etc.). Among the applied psychological research, it is worth highlighting the works on the creative self-concept of artists (Borisov-Fishman B.M.), artistic introspection (Andreykina O.V.), the psychology of stage reincarnation (Kisin B.V.), transpersonal psychotechnics (Groysman A. JL, Rassokhin A.V.), artistic abilities and abilities for reincarnation (Rozhdestvenskaya N.V.), acting skills (Naidenkin S.M. and others).

Actually, psychological studies of personal and professional qualities, mental states, features of the creative activity of ballet dancers are very few (Vysotskaya N.E., Groysman A.JL, Pozdnyakov V.A., Rozhdestvenskaya N.V., Sukhareva A.I., Fetisova E. .AT.).

Thus, the problem of studying the productivity of the creative activity of ballet dancers in the acmeological context is not sufficiently developed, despite its obvious scientific and practical relevance.

Research hypothesis

Psychological and acmeological characteristics of the personality of ballet dancers are stable features that have an invariant character that affect behavior, activities and relationships, determine the productivity of creative activity and ensure the acmeological nature of personal and professional development, movement towards acme in this type of artistic stage creativity.

In the process of developing the psychological and acmeological properties of the personality of ballet dancers, their acmeological and creative potentials are revealed and multiplied. The most productive movement towards acme occurs among ballet dancers who have a large and largely realized acmeological potential (a system of interconnected potentials of a high-level personality that has the property of resource replenishment as the basis for productive personal and professional development and progressive movement towards acme). Productivity in advancing to acma is possible for ballet dancers who have the ability to increase their potential and carry it out in the process of creative activity.

The purpose of the study: to determine the psychological and acmeological characteristics of ballet dancers, as well as the features of the productivity of their creative activity.

Object of study: professional creative activity of ballet dancers.

Subject of study: the productivity of the creative activity of ballet dancers.

Research objectives:

1. Carry out a theoretical and methodological analysis of the research problem.

2. To develop a systematic description of the psychological and acmeological characteristics of ballet dancers.

3. Give an essential description of the creative activity of ballet dancers. Justify the criteria, indicators and levels of creative activity of ballet dancers.

4. To identify psychological and acmeological conditions and factors for increasing the productivity of the creative activity of ballet dancers.

Theoretical and methodological basis of the dissertation research are works in the field of psychology of creativity (Abramyan D.N., Bogoyavlenskaya D.B., Ponomarev Ya.A., Prangishvili

A.S., Savransky I.L., Semenov I.N., Stepanov S.Yu., Stolovich L.N., Tikhomirov O.K., Torrance E., Sheroziya A.E. and etc.); psychology of performing artistic creativity (Bochkarev L.L., Wilson G., Groysman A.L., Ershov P.M., V.I. Kochnev, S. Markus, Natadze R.G., Rozhdestvenskaya N.V. and others .); theory of acmeology, acmeological approach to personal and professional development and the formation of professionalism of personality and activity (Agapov

B.C., Anisimov O.S., Bodalev A.A., Ganzhin V.T., Derkach A.A., Zazykin V.G., Kuzmina N.V., Laptev L.G., Markova A.K., Ognev A.S., Rean A.A., Selezneva E.V., Stepnova L.A. and etc.); acmeology of artistic creativity (Zazykin V.G., Fetisova E.V.); art and theater studies of ballet (Belova E.P., Belyaeva-Chelombitko G.V., Gaevsky V.M., Grishina E.M.

Vartanov A.S. Ilupina A.P., Krasovskaya V.M., Lvova-Anokhin B.A., Lutskaya E.Ya., Sabashnikova E.S., Surits E.Ya., Chernova N.M., Elyash N.A.) .

Research methods: To solve the tasks set in the dissertation research, a complex methodological toolkit was used, including general scientific methods: a comprehensive analysis of the theoretical aspects of the problem under study, generalization, a systematic approach; psychological and acmeological methods: psychological examination, acmeological diagnostics (acmeological examination, acmeological assessment, acmeological analysis of the problem, tracking the process of development of psychological and acmeological characteristics), expert assessments, psychodiagnostic methods - psychological testing (Luscher's eight-color test, projective tests, emotional hearing test ”, etc.), participant observation, interviewing.

The empirical base of the study was the results of an expert assessment (14 experts - leading soloists, choreographers, tutors, psychologists, ballet critics in the field of ballet creativity), the results of psychological testing (187 ballet theater artists in Moscow and St. Petersburg) , data obtained in the course of interviews, participant observation, conversations, discussions, as well as the results of generalization and analysis of psychological and art criticism studies of ballet creativity.

The reliability and validity of the obtained scientific results is ensured by the theoretical and methodological study of the problem, the use of proven and reliable research methods, and the representativeness of the sample.

The main scientific results obtained personally by the applicant, and their scientific novelty.

1. It is substantiated that the creative activity of ballet dancers is co-creation with choreographers and tutors. In psychological terms, the content of co-creation is the adoption and stage implementation of the concept, creative solutions, characteristics of images and their enrichment with their own creative solutions, expressive means that correspond to the general ideas of the choreographer and teacher-repetiteur. The range of co-creation depends on the scale of the talent of the ballet dancer, the creative position of the choreographer and can take the form from the complete acceptance of the concept by the artist to the proposal and implementation of his options.

2. It has been established that the most important abilities of a ballet dancer are: acmeological - self-realization, self-development, self-realization, self-actualization, self-disclosure and self-affirmation; psychomotor - plastic expressiveness, muscular freedom and emancipation, the ability to control the body (accuracy of expressive movements), the ability to fill with thoughts and feelings of movement, gestures and postures; musical (rhythmic) - ear for music, musical memory, sense of rhythm; autopsychological - self-attitude, self-acceptance, the ability to arbitrary self-regulation, self-identity; cognitive - intellect, developmental psychology and superconscious qualities peculiar only to man; cognitive - in the acmeological context of creative activity, reflect the interaction of self-consciousness and professional activity; creative - search for an extraordinary solution to a creative problem, reincarnation and creation of new images; social-perceptual - in an acmeological context, reflect self-esteem in interpersonal interaction (overestimated, underestimated or adequate); artistic - a mental reflection of an affective nature, passion, sensuality, conscious expression in the facial expressions of the sign and modality of the emotional accompaniment of the action; empathic - emotional susceptibility, lability and plasticity of emotional reactions.

3. It is proved that the productivity of the creative activity of ballet dancers depends on the level of personal and professional development, the skill of the subject of creative activity and individuality and acmeological potential, which includes a system of high-level interconnected potentials that have the property of resource replenishment as the basis for productive personal and professional development and forward movement to acme. The development of personal professionalism and productivity of ballet dancers also largely depends on the level of general and special acmeological invariants of professionalism (autopsychological ability to reincarnate, self-regulation, self-efficacy, intellectual activity), musicality, psychomotorism, productivity of the creative self-concept, accepted personal and professional standards and standards.

4. It has been established that the psychological and acmeological characteristics of ballet dancers are largely related to their professional social status of "stars" and "ordinary" ballet "stars" they are qualitatively different in almost all parameters and indicators (expert assessments of acmeological invariants of professionalism, levels of emotional hearing , accentuations of character, levels of personal properties) than that of "ordinary" artists, and not only in terms of the level of development, but also in terms of psychological and acmeological content: complex private abilities are larger and more diverse, more creative and characterological potential, higher personality strength and activity, more productive reflection, a higher level of personal and professional standards, the need for creative self-realization.

5. The qualitative systemic level-by-level structure of the psychological and acmeological characteristics of ballet dancers is determined. At the level of natural properties, the influence of temperament, neuroticism, personal potentials, personality strength, activity, age, gender, physical development was determined; mental properties - will, mental processes, emotions, feelings; character - the most important personal and professional properties; experience - professional excellence, self-efficacy; orientation of the individual - worldview, individual preferences of acme, creative standards and standards, motives for creative self-realization. A linearly determined dependence of the productivity of creative activity on psychological and acmeological characteristics has been revealed. Unproductive is such creativity of ballet dancers, which is focused on the formal observance of the rules and canons of this type of professional activity; highly productive is creativity, focused on self-education, self-development, self-improvement and movement towards acme. b. The psychological and acmeological conditions for the productive development of the creative activity of ballet dancers are determined: the actualization of the need for professionalism in ballet creativity, the optimization of interactions in the process of co-creation, the development of psychological and acmeological competence of ballet masters and tutors, the development of autopsychological competence of ballet dancers, making it possible to build personal strategies -professional development from the reproductive level to the local modeling one.

7. Psychological and acmeological factors are identified that contribute to the productive development of the psychological characteristics of ballet dancers, the movement towards acme in ballet creativity: increasing self-efficacy, competitiveness (in the acmeological sense), eliminating constraints and psychological barriers in the development of creative and acmeological potentials of artists, developing special acmeological invariants of professionalism and psychological professionally important qualities.

The practical significance of the study is due to the possibility of using its results in the practice of training future ballet dancers in choreographic educational institutions, optimizing creative relationships in the system "choreographer-artist", "teacher-tutor - artist", developing individual programs for psychological and acmeological support of promising artists and author's programs creative growth of ballet dancers.

Testing and implementation of research results.

The results of the dissertation research were reported at the International Scientific Conference "Acmeology: Personal and Professional Development", Moscow, 2004; International Conference "Problems of Man and Society in the Conditions of Formation of the New Russia", Moscow, 2004.

The main theoretical provisions and results of the study were discussed at meetings of the problem group and the department of acmeology and psychology of professional activity of the Russian Academy of Public Administration under the President of the Russian Federation.

The conclusions of the dissertation research and practical recommendations were discussed and implemented in the creative teams of the Moscow State Academic Children's Musical Theater. N.I. Sats, Russian Academy of Theater Arts, Choreographic School of Moscow.

Provisions for defense

1. The psychological complexity of the creative activity of ballet dancers is due to the fact that this activity is co-creation with choreographers and tutors, which is largely determined by the creative individuality of the subjects, "the scale of their talent", the ability to make creative decisions, implement them through the prism of personal meanings, enrich own creative solutions, expressive means that correspond to the general creative ideas of the choreographer.

2. The productivity of the creative activity of ballet dancers depends on the levels of development of the most important abilities of ballet dancers (acmeological, psychomotor, musical, autopsychological, cognitive, creative, artistic, social-perceptual, empathic, etc.), their psychological and acmeological properties (as generalizing personal characteristics, sustainable features - a combination of personal and professional qualities, special private abilities, motivational formations in the context of the productivity of personal and professional development and movement towards acme) and acmeological potential, the ability for arbitrary self-development and multiplication of potential, the level of general and special acmeological invariants of professionalism ( the main qualities and skills of a professional that ensure high stable efficiency and reliability of the activities performed are the potentials of the individual, the strength of the individual, anticipatory competence, a high level of self-regulation, the ability to accept solutions, creativity, high and adequate motivation for achievements), the productivity of the creative self-concept, personal and professional standards (knowledge, skills and abilities) and standards (ideal role models). The levels of productivity of creative activity (high and low), among the "stars" of ballet (high level) they are qualitatively different than those of "ordinary" artists (low level), not only in terms of the level of development of creative activity, but also in psychological and acmeological content.

3. The levels of productivity of creative activity can be determined according to the criteria of success, activity in achieving acme and professional maturity - levels as the degree of completeness of implementation in creative activity can be defined as "high" - "low" in terms of the development of the most important abilities. The high level of "stars" is determined by the corresponding indicators of acme abilities, psychomotor, autopsychological, cognitive, cognitive, social-perceptual, creative, empathic, artistic abilities, productive reflection, success, focus of the activity vector on achieving acme and professional mastery. The low level of "ordinary" ballet dancers, unlike the "stars", has unexpressed acme abilities, autopsychological, cognitive, social-perceptual, creative, empathic and artistic; success is low, activity in achieving acme and professional maturity is not observed, reflection is unproductive.

The productivity of creative activity goes through five stages of development: reproductive, adaptive, locally modeling, system modeling knowledge, system modeling creativity.

4. The levels of psychological and acmeological characteristics of ballet dancers can be described from a systemic standpoint: from the standpoint of general and special psychological and acmeological characteristics of ballet dancers - personality models based on the levels of K.K. Platonov and V.S. Merlin, as well as positions of a systematic description of the psychological and acmeological characteristics of ballet dancers based on the methodological principle of complexity (individual, subject of activity and individuality) . Acme criteria in artistic and creative activity were used as criteria for a level-by-level description.

The explication of these levels will make it possible to determine the conditions and factors for the productivity of the creative activity of ballet dancers. 5. The productivity of the development of the creative activity of ballet dancers depends on their acmeological potential, focus on self-realization in creativity. The revealed psychological and acmeological conditions and the leading factors of the productivity of the creative activity of ballet dancers provide the formation of images-goals in their advancement to acme.

Dissertation conclusion scientific article on the topic "Psychology of development, acmeology"

Conclusions on the second chapter

1. As a result of the expert assessment (psychological and acmeological expertise), the specifics of empirical studies of the psychological and acmeological characteristics of the creative activity of ballet dancers were determined, the grounds for the stratification of artists by the level of acmeological potential were determined, the psychological factors of the complexity of ballet dancers as subjects of creative activity were substantiated and described.

2. In the process of empirical research using methods of observation, interviewing, psychological testing (Lusher, Dukarevich, Rosenzweig, "emotional hearing", control measurements of life quality parameters, performance parameters, etc.) when stratified into two groups of "stars" and "ordinary "The general and special psychological characteristics of ballet dancers, the levels of development of the abilities of ballet dancers (high, low), the dominant functional states in the process of creative activity and rehearsals, the levels of creativity, typical character accentuations, special acmeological invariants of professionalism, etc., influencing on creative productivity.

3. Based on the generalization of the results of theoretical and empirical studies, a systematic qualitative level-by-level description of the most important psychological and acmeological characteristics of ballet dancers was developed with a description of subsystems; the levels of productivity of creative activity are determined according to the criteria of success, activity in achieving acme and professional maturity; the levels of productivity of the creative activity of ballet dancers are determined according to the stages of its development (reproductive, adaptive, locally modeling, system-modeling knowledge and system-modeling creativity).

4.0 defines the most important psychological and acmeological conditions that contribute to the productivity of the creative activity of ballet dancers, the movement towards acme in ballet creativity. Among the conditions, one should single out the demand for professionalism in ballet creativity, optimization of interactions in the process of co-creation, development of psychological and acmeological competence of choreographers and tutors, development of autopsychological competence of ballet dancers.

5. The factors of the productivity of the creative activity of ballet dancers are determined - increasing self-efficacy, competitiveness (in the acmeological sense), eliminating constraints and psychological barriers in the development of the creative and acmeological potentials of artists, special acmeological invariants of professionalism, etc.

CONCLUSION

Summing up the general results of this dissertation research, I would like first of all to note its relevance and significance. The relevance is connected both with the solution of purely scientific problems related to the development of acmeology, the expansion of its object and subject space, and the use of psychological and acmeological knowledge in the development of the professionalism of ballet dancers, their productive movement towards acme in this art form. It is also important that acmeological knowledge turned out to be in demand in such an ancient form of art as ballet. The results of the psychological and acmeological research gave results that have obvious scientific and practical significance in the development of the productivity of the creative activity of ballet dancers.

Thus, based on the results of this dissertation research, the following conclusions can be drawn.

1. The theoretical and methodological analysis of the state of the research problem made it possible to substantiate the theoretical and practical significance of studying the psychological and acmeological characteristics of ballet dancers, the significance of the psychological and acmeological aspects of the development of their skills and professionalism for the development of the productivity of creative activity. The insufficient development of the problem in psychology and acmeology, despite its obvious relevance, is revealed.

2. As a result of the analysis, it was established that the most important psychological and acmeological characteristics of ballet dancers are determined by the uniqueness of this ancient type of stage art, in which expressive movements are the only "language". It is shown that expressive movements have a deep psychological content, the ability to convey all the nuances of the emotional aspects of human relations, which makes it possible to study them psychologically and acmeologically.

3. An important psychological feature of the creative activity of ballet dancers, which affects the productivity of creative activity, is their co-creation with a choreographer, director, tutor. The process of co-creation can be carried out in a wide range, determined by many psychological factors ("the scale of the personality" of the artist and choreographer, creative potential, ability to reincarnate, attitudes towards the creative process, established relationships, professional status of the artist and choreographer, etc.).

4. The most important abilities of a ballet dancer that affect the productivity of creative activity are: acmeological, psychomotor, musical (rhythmic), autopsychological, cognitive, cognitive, social-perceptual, creative, empathic, artistic. Their development levels (high - low) determine the productivity of creative activity.

5. The productivity of the creative activity of ballet dancers largely depends on the level of general and special acmeological invariants of professionalism, the productivity of the creative self-concept, arbitrarily adopted personal and professional standards and standards.

6. As a result of the theoretical analysis of the problem, the concepts of "psychological and acmeological properties of ballet dancers" and "acmeological potential of ballet dancers" are substantiated.

7.As a result of the expert assessment (psychological and acmeological expertise), the specifics of empirical studies of the psychological and acmeological characteristics of ballet dancers were determined, the grounds for the stratification of artists by the level of acmeological potential were determined, the psychological factors of the complexity of ballet dancers as subjects of creative activity were substantiated and described.

8. In the process of empirical research using observation methods, interviewing, psychological testing (Lusher, Dukarevich, Rosenzweig, "emotional hearing", control measurements of life quality parameters, performance parameters, etc.) when stratified into two groups of "stars" and "ordinary "general and special psychological characteristics of ballet dancers were determined; according to the criteria of success, activity in achieving acme and professional maturity, the levels of productivity of creative activity (high - low) and levels as stages in the development of productivity of creative activity (reproductive, adaptive, locally modeling, system modeling, knowledge and system modeling creativity) are determined; dominant functional states in the process of creative activity and rehearsals, levels of creativity, typical character accentuations, special acmeological invariants of professionalism, etc.

9. Based on the generalization of the results of theoretical and empirical studies, a systematic qualitative level-by-level description of the most important psychological and acmeological characteristics of ballet dancers with a description of subsystems was developed.

Y. The most important psychological and acmeological conditions and factors contributing to the productivity of the creative activity of ballet dancers, the movement towards acme in ballet creativity are determined. Among the conditions, one should single out the demand for professionalism in ballet creativity, optimization of interactions in the process of co-creation, development of psychological and acmeological competence of choreographers and tutors, development of autopsychological competence of ballet dancers. Among the factors are an increase in self-efficacy, competitiveness (in the acmeological sense), the elimination of restraining factors and psychological barriers in the development of the creative and acmeological potentials of artists, special acmeological invariants of professionalism, etc.

In the course of the study, scientific and practical recommendations were developed for the development of the productivity of the creative activity of ballet dancers.

1. The results of the dissertation research should be used in professional psychological selection for choreographic educational institutions.

4. The concept of "acmeological potential" justified in the dissertation research must be used in the co-creation of artists and ballet masters to form an image of the result to be strived for when advancing to acme.

Prospects for further research are: an in-depth study of psychological barriers and restrictions at all levels of the personality structure that impede the productive disclosure of the creative and acmeological potential of ballet dancers; study of the change in the creative individuality and creative orientation of the personality of ballet dancers in the entire range of their active creative activity; development of acmeological models of professionalism of the personality of ballet dancers and the conditions for their practical application; development of acmeograms for young artists with significant creative and acmeological potential; development of an algorithm and technologies for psychological and acmeological support of the processes of creative development of ballet dancers; in-depth development of acme problems in ballet art.

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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 is the assimilation of high standards, reproduction at a good level by someone previously created guidelines, 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.

Professional perspective of ballet dancers in pedagogical activity, specific features of pedagogy in the system of additional education for children; creative self-realization in the DOD system, tasks of the teacher-choreographer, methods of education and training of pupils, the use of a competency-based approach in additional education of children.

professional activity

teacher-choreographer

ballet dancer

additional education for children.

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PROFESSIONAL SELF-REALIZATION BALLET IN ADDITIONAL EDUCATION OF CHILDREN

Matsarenko T.N. one

1 Academy for Advanced Studies and Retraining of Education

abstract:

Professional ballet dancers perspective in educational activities, specific features of pedagogy in the system of supplementary education for children; creative self-realization in the DOD, the task of the teacher-choreographer, methods of education and training of students, the use of competency approach in further education of children.

keywords:

professional activity

additional education of children.

Additional education for children is an educational practice designed to realize creative potential in any professional field, including choreographic activities.

Ballet dancers can successfully continue their professional activities and successfully realize their goals. creative possibilities in the additional education of children, the features of which are: the informal nature of education, freedom of creativity, openness, which allows us to assert that this area is productive for the self-realization of ballet dancers as leaders of choreographic groups.

In science, there are a number of studies addressed to the activities of teachers of additional education (N.V. Anokhina, N.K. Bespyatova, L.N. Buylova, Z.A. Kargina, G.N. Popova, etc.); analysis of the pedagogical process and the work of teachers of out-of-school institutions (M.A. Valeeva, M.A. Uglitskaya, I.V. Chendeva, etc.); certain aspects of the activities of teachers of out-of-school associations (S.V. Saltseva, E.S. Starzhinskaya).

The activities of institutions of additional education for children take place in the free time of students. The specificity of this sphere lies in the possibility of a voluntary choice by the child, his family of the direction and type of activity. This is done taking into account the interests and desires, abilities and needs of the pupil. The student himself determines in which circle he will be engaged and chooses a leader.

Unlike school, in additional education institutions, the student voluntarily chooses the children's community in which he feels most comfortable. Often it is this factor that has a direct impact on the primary choice of students in a studio or circle. Students come to classes in their free time from the main studies, they are given the opportunity to move from one group to another (according to the age composition). The educational process takes place in an informal community of children and adults, united by common interests and joint activities. Voluntariness in institutions of additional education for children is also manifested in the fact that a student can change the circle or leave the institution at any time.

The success of the development of the system of additional education for children depends on the ability to attract new people from among creative workers who professionally own a craft (in our case, choreography) and wish to pass on its secrets to children. For a teacher of additional education for children, it is important to find new meanings for their activities. The search for meaning is carried out both at the level of worldview self-determination, and in solving situational pedagogical problems, when one has to make a choice, evaluate the factors that help the teacher to realize himself.

The professional choreographic training of ballet dancers is fundamentally different from the dance art of the general aesthetic orientation of additional education for children (amateur groups, clubs, circles). The main tasks of the institution of additional education for children:

Security necessary conditions for personal development, health promotion, professional self-determination and creative work of children;

Formation of a common culture;

Organization of meaningful leisure;

Satisfying the needs of children in creative activities.

N.A. Alexandrova, N.P. Bazarova, T.F. Berestova, G.V. Berezova, G.V. Burtseva, L.V. Bukhvostova, E.I. Gerasimova, G.A. Gusev, O.V. Ershova, T.I. Kalashnikova, O.G. Kalugina, E.V. Koronova, V.F. Kulova, L.N. Makarova, V.E. Moritz, V.P. May, V.I. Panferov, L.E. Pulyaeva, G. Regazzioni, V.Ya. Rushanin, E.G. Salimgareeva, V.I. Uralskaya and others.

In order to more accurately understand the difficulties of the transition of ballet dancers to pedagogical activity, it is necessary to consider the specific features of the activity of a teacher-choreographer of additional education for children.

An essential feature is the right of freedom of choice, independent determination of the content, methodology, organization of classes, professional self-expression in the author's educational program.

Teachers of additional education for children have the right to freedom of choice and use of teaching and upbringing methods, teaching aids and materials, textbooks, to the manifestation of creativity, public and pedagogical initiative.

In the system of additional education for children, the task of preparing students as professional dancers is not set, the teacher-choreographer needs to open the world of dance to the pupils, introduce them to this art form, teach the elementary basics of choreography, and create the foundation for a more serious hobby. Students receive initial choreographic training, including the dance alphabet: the main expressive means of classical dance (posture, dance step, eversion, jump, plie, flexibility); the main elements of folk, historical, everyday, ballroom, modern dances; knowledge about the characteristic features and history of dance of various eras and peoples. It is supposed to develop the musicality of students in choreography lessons, as well as mandatory stage practice, participation in school productions.

The methods of working with the choreographic team include:

Dance show method - a method of teaching in which the teacher-choreographer demonstrates a dance composition, individual figures and elements and analyzes them accordingly;

Oral presentation of educational material - the teacher-choreographer informs students about the history and current state of choreography, talks about dance music, thus helping students understand the nature of dance vocabulary and the features of dance music;

Reception of dance-practical actions - the dance lesson is built as practical lesson to learn dances and consolidate skills. Training exercises are a systematic repetition of dance movements that students, under the guidance of a teacher-choreographer, carry out each lesson. With the help of dance tasks, students reproduce dance vocabulary in order to further consolidate it;

Method of cognitive activity: illustrative and explanatory, problematic, research. The use of these methods by the teacher-choreographer contributes to a more conscious assimilation of the basics of dance training.

The teacher-choreographer is constantly faced with the task of improving the forms and methods of teaching, discovering new ways for himself and for others to explain the program material and interpret the plastic elements of dance. The formation of a new look, the identification of new characteristics in the vision of one or another plastic element is the direction of the creative search of the teacher-choreographer.

The programs, the authors of which are choreographers of additional education for children, are the result of comprehension and analysis of scientific and methodological literature and their own practical experience. The implementation of such programs in practice leads to the fact that in the process of pedagogical interaction the teaching methods and personal abilities of children are taken into account, conditions are created for the advanced development of more prepared students, and an individual rate of transmission of material is provided for children who have difficulties in mastering it.

. "Dance Rhythm for Children" - paired, characteristic dances, musical and rhythmic compositions for children of preschool and primary school age (author T. Suvorova);

. "Pearl" - aesthetic education of students in the process of choreography (O.A. Ryndina);

. "Journey to the Country of Choreography" - the development of the creative abilities of children by means of choreographic art (author A.A. Matyashina);

. "Rhythmic Mosaic" - musical movement aimed at the holistic development of the student's personality (author A.I. Burenina);

. "In the world of ballroom dance" - a program for teaching the elements of ballroom dance in a preschool institution (author N.P. Tsirkova).

The author's program "Artistic Movement" (author L.N. Alekseeva) is a natural form of movement, in which there is a complete internal emancipation of the body and spirit and gives awareness of power over the movement of one's body. At the same time, it is also an organic connection between movement and music, the harmonious combination of which is achieved by a special approach to processing the material of the classes. The result is a work of art - a dance study.

One of the key issues of teaching choreography in the additional education of children is the problem of the style of the teacher-choreographer, communication between the student and the teacher.

In choreographic schools, professional choreographic groups, a certain trend of an authoritarian leadership style has developed, since the teacher-choreographer must first take place as a dancer, traditionally in conditions of strict (sometimes harsh) discipline. In the field of additional education for children, a democratic style of communication prevails, the interaction in the team of the teacher-choreographer and students allows them to complement each other, the teacher-choreographer helps to realize the position of a teacher, mentor, older friend, specialist with a wide range of professional interests. In the process of organizing joint activities, personally equal relations between the teacher and pupils are established. Communication in this system has its own specific features - it is a joint activity of like-minded people who live by common interests.

For students, in the first place is the personality of the teacher and the head of the choreographic team (the style of his communication, enthusiasm and interest), and then the subject of interest itself (choreography).

The head of the choreographic team is:

A professional who is a model for students in their chosen type of creative activity;

A person who can help the student become an independent and creative person;

An educator who can have a significant positive impact on the formation of the student's personality.

The creative enthusiasm of the teacher-choreographer and students leads to informal communication, which is attractive in the eyes of students, as it not only contributes to the establishment of a friendly atmosphere, but also to the growth of self-esteem, a sense of social significance and adulthood. A feature of collective life is the existence of a specific language that structures the communication between the teacher-choreographer and students. Teachers-choreographers introduce specific vocabulary related to the peculiarities of choreographic classes into communication with students. The inclusion of pupils in their speech of elements of a special language used by teachers - choreographers introduces pupils to the choreographic culture.

The specific features of pedagogical interaction in institutions of additional education contribute to compensating for the lack of attention experienced by a certain part of students in school and family. Pedagogical interaction is aimed at helping to solve the problems of pedagogically neglected students by creating conditions for them to do interesting work that raises their status in the children's community. The issues of interaction between the teacher-choreographer and the student in the process of choreographic classes were considered by A.V. Dolgopolova, T.G. Sevastyanina and others.

For successful social and professional adaptation of ballet dancers to pedagogical activity in the system of additional education of children, one of the most effective ways is to organize and hold mass events where students are involved in the world of games, competitions, competitions, festivals, holidays; mastering the traditional and innovative experience of organizing leisure through knowledge, education, communication.

Each event is an independent link in the pedagogical process and solves specific educational goals and objectives. It is these forms that enable choreographers to show their strength in teaching, earn approval, compare the achievements of their choreographic team with the achievements of other teams. Such activities become a kind of advertising for leisure activities, and also stimulate pupils to achieve new results and, finally, become a test indicator of the effectiveness of the activities of children and teachers of additional education for children.

The system of additional education for children provides former ballet dancers with unlimited opportunities for creative self-realization, creates an atmosphere of artistic and creative search, the opportunity to implement creative ideas and pedagogical ideas. The specificity of pedagogical interaction makes it possible to more fully use the potential of an individual approach in working with students, since in the field of additional education there is no attachment to state educational standards and the number of students with whom the teacher-choreographer works is less than in school class. Problems are solved in the process of classes in improvisation, composition. The teacher-choreographer leads the student to independent research and search. These classes require the student's creative understanding, his active involvement in communication with the teacher-choreographer and the team of students.

Additional education of children allows choreographers to develop creative activity, to realize their personal qualities, to demonstrate those abilities that were unclaimed in stage activities: the ability to communicate effectively, the ability to freely present educational material, win students over by democratic communication, organizational skills, formulating specific goals.

The educational process in the choreographic group of additional education for children is the learning of dances, when communication is established and maintained between the teacher-choreographer and students, which is based on both a common love for dance and common cultural values, interests, mutual sympathy. The ability to emotionally support and stimulate students in the realization of their potential determines the dynamics of the successful development of children. Using the art of dance, the interest of students, choreographers:

They use the ethical features of dance to educate morality, discipline, a sense of duty, collectivism, organization;

They teach dance etiquette, form the ability to transfer the culture of behavior and communication in dance to interpersonal communication in everyday life;

Provide emotional relief to students;

Form the correct posture, develop natural physical data;

Satisfy the need for physical activity as the basis of a healthy lifestyle.

Requirements for teachers-choreographers in the system of amateur art, qualification "leader dance group” are based on the specifics of the specialty - the leadership of a dance group - which involves not only creative (staging) work, but also managerial and organizational functions. The State Standard for this specialty provides for the following aspects of activity: “organizational, staging and rehearsal, concert and performing, teaching and educational work.

The use of a competency-based approach in the activities of a choreographic teacher involves the use of professionally oriented knowledge and skills of working with a children's choreographic team, the ability to solve certain managerial tasks, and perform the following functions of the leader of a choreographic team (Fig. 1):

Organizational and managerial (the teacher-choreographer acts as the organizer of the choreographic team, contributes to its functioning);

Teaching and educational (the teacher-choreographer teaches performing skills, increases the level of knowledge of students, provides spiritual and aesthetic education);

Developing (equivalent physical, emotional, aesthetic, intellectual development);

Tutoring (the teacher-choreographer carries out the rehearsal process in the choreographic team, contributes to the build-up of dance technique, combination of movements);

Staged (the teacher-choreographer is the choreographer of dance numbers - embodying the artistic conception, creates a composition and drawing, selects music and costumes).

One of the main functions of the teacher-choreographer is the function of the organizer and leader of the choreographic team, in this regard, the communicative competence of the teacher-choreographer should be highlighted. The effectiveness of communication, which is of great importance, is substantiated in the works of many famous scientists (A.A. Bodalev, E.S. Kuzmin, V.N. Kunitsyna, A.A. Leontiev, B.F. Lomov, A.A. Rean and etc.). One of the central places is occupied by the problem of effective pedagogical communication (I.I. Zaretskaya, I.A. Zimnyaya, V.A. Kan-Kalik, Ya.L. Kolominsky, S.V. Kondratyeva, N.V. Kuzmina, A. A. Leontiev, A. V. Mudrik, A. A. Rean, G. V. Rogova and others).

I.I. Zaretskaya notes that the humanistic position of the teacher of additional education is manifested in the acceptance of the child, respect for his individual abilities, focus on developing the abilities of everyone, taking into account the motives for participating in specific creative activities. It is not for nothing that one of the indicators of the effectiveness of the work of a teacher of additional education for children is the safety of the contingent.

The dissertation research reflects various problems related to the role of the head of the choreographic team (N.M. Chernikova, V.D. Shakhgulavri), the formation of the individual style of activity of the teacher-choreographer (T.M. Kuznetsova) .

According to N.I. Tarasov, the teacher-choreographer should choose the most effective methods and forms of organizing the educational process, formulate and solve pedagogical tasks, taking into account the level of dance training of students, choose the optimal physical activity for the student's body, promote the creative manifestation of the student's dancing abilities, encourage him to self-improvement and growth of performing skills. skill.

Rice. 1. Functions of the head of the choreographic team

For successful social and professional adaptation to teaching activities, former ballet dancers must use the following forms of conducting choreography classes:

Educational lessons. The dance movement is analyzed in detail. Training begins with learning the exercises at a slow pace. The technique of performing a dance movement is explained;

Reinforcing lessons. Assume the repetition of dance movements or combinations. The first repetitions are performed together with the teacher-choreographer. When repeating, one of the students is selected who performs the movement correctly or better than others, and this student acts as an assistant to the teacher;

Final lessons. Students practically independently should be able to perform all the movements and dance combinations mastered by them;

improvisational work. In these classes, students perform variations they have invented or compose a dance on a theme given to them by a teacher-choreographer.

When preparing choreographic lessons, it is necessary to design possible teaching aids (a system of exercises) based on the intended goals and objectives. For example, a choreographic lesson on the topic "Music and Rhythm", where the purpose of the lesson is to develop students' rhythm and musicality.

Lesson objectives:

Learn to distinguish between strong and weak beats in music;

master time signature 2/4;

Develop general physical fitness (strength, endurance, agility);

Develop dance data (position and position of the legs, raising the extended and shortened foot, the position of the leg at the ankle, exercises to develop the mobility of the foot).

The purpose of the choreographic lesson on the topic: "Physical training in choreography" is the development of the physical qualities of students, since modern trends in choreography, they make more demands on physical fitness. Lesson objectives:

Formation of correct posture and strengthening of the musculoskeletal system;

The development of stage expressiveness in pupils;

Development of flexibility, stretching, eversion, stability, endurance;

Mastering somersaults, handstands, wheels, splits.

The peculiarity of additional education of children is its educational dominant, which contributes to the development of "cultural talent" in leisure conditions, creates organizational, pedagogical, methodological conditions in which the education of dance culture takes place on the basis of an organic combination of many forms of activity: rehearsals, recording concert activities, participation in holidays. The educational aspects of choreographic activity are devoted to the research of V.V. Gerashchenko, S.B. Zhukenova, L.D. Ivleva, E.A. Koroleva, Yu.M. Churko, M.Ya. Zhornitskaya, N.M. Yatsenko. Teaching and educational work is an integral part and an indispensable condition for the creative activity of a choreographic group. The level of performance, viability, stability, prospects for creative growth primarily depend on the quality of educational and educational work.

Theoretical provisions on the pedagogical possibilities of choreography are formulated: the art of dance is available for study by any child, regardless of his natural talents and age; the choreography has a huge educational and training potential, which is practically not used in a general education school.

Special role in development moral personality student belongs precisely to the art of choreography. Solving the specific tasks of education by means of dance, the teacher-choreographer considers them as an integral part of the complex educational process that is conducted in the institution of additional education for children. The systematic practice of dance art lays the foundation on which the “building” of the moral and aesthetic values of the individual is built in the future. An educational moment is also the full employment of students in the repertoire of the team, which gives an incentive for classes, as students know that none of them will be left behind.

Traditions in the dance group are an educational element - this is both dedication to choreographers, and the transition from junior group to the older one; education of discipline, which instills the skills of organization in the process of work, brings up an active attitude towards it, internal organization and purposefulness.

The task of the teacher-choreographer in the additional education of children is the harmonious development of the intellect, will and emotions of students. Dance classes not only aesthetically develop students and form artistic taste, but also contribute to physical improvement, discipline and increase the level of culture of behavior, develop imaginative thinking, fantasy, and provide harmonious plastic development.

Like any kind of art, dance contributes to the moral education of the student, reflecting the surrounding life in artistic images. It is with the system of artistic images that the ability of choreographic art to perform a specific function is connected - to awaken in the student an artist who is able to create according to the laws of beauty and bring beauty to life.

Education by means of choreography in additional education of children is understood as:

Formation moral qualities by introducing to the choreographic art;

Formation of the need for a healthy lifestyle;

Moral educational interaction between the teacher-choreographer and the student;

Acquaintance with the world artistic culture;

Formation of creativity.

In the process of joint creative activity of the teacher-choreographer and students, dance practice turns out to be an essential factor in the overall intellectual growth of children. THEN. Bilchenko conducted a study in children's choreographic groups with more than 300 students of different ages. The results showed that the majority of students involved in choreography have the ability to "understand themselves", the ability to manage their emotions.

The social and professional adaptation of former ballet dancers to teaching includes the ability to conduct a rehearsal process, which is the main link in educational, organizational, methodological, educational and educational work with a choreographic team. The effectiveness of a rehearsal largely depends on a skillfully drawn up work plan. The knowledge of the teacher-choreographer of the creative abilities of students allows you to draw up a plan for each rehearsal quite accurately and in detail. This requirement applies to both beginners and fairly experienced managers. The rehearsal plan includes the main activities and tasks to be solved by the team. Based on the plan, the teacher-choreographer preliminarily puts before the students specific tasks: learn movements, present the figurative content of the performance, its artistic and performing features, etc.

The structure of the choreography lesson is classical: preparatory, main, final parts. In the preparatory part of the lesson, the tasks of organizing students, preparing to perform the exercises of the main part of the lesson are solved. The means by which these tasks are solved are varieties of walking and running, general developmental exercises, various dance elements based on folk dances. Such exercises help to mobilize attention, prepare the joint-muscular apparatus, the respiratory system for subsequent work. The next part of the lesson, in which the main tasks are solved, is the main one. The solution of the tasks set is achieved by using a large arsenal of various movements: elements of classical dance, elements of folk dances, elements of free plasticity, acrobatic and general developmental exercises.

There are three types of the main part of the classes:

The first is built on the basis of classical dance;

The second is based on elements of folk, ballroom, modern dances;

The third one is based on free plastic movements.

In most cases, mixed options are used, where various means of choreographic training alternate in various combinations. Most simple form- a set of exercises at the barre and in the middle of the hall.

In the final part of the lesson, it is necessary to reduce the load with the help of specially selected exercises: relaxation, stretching.

The mastering of movements by students in a choreography lesson is carried out under the direct influence of a teacher-choreographer, since a feature of mastering this type of activity is the repetition and reproduction by the student of the movement seen (arms, legs, turning the head, tilting the body, etc.), technique or combination, when the teacher-choreographer shows and explains, and the student repeats.

Conducting rehearsal classes by a teacher-choreographer forms his style of presenting choreographic material for students: the manner and nature of the transfer of the image, polishing the technique of movement, each element of the dance. Passing through the physical stress of the lesson, the head of the choreographic team must accurately feel the dosage of the allowable load, which makes it possible to change the pace of the lesson and the nature of the presentation of the material in time. This is how the conditions for a comfortable psychological climate are formed, which means positive and stable emotions, in which students have an interest and a desire to come back to choreography classes.

Referring to the experience of current choreographers, one can find such methods and techniques of conducting classes that are currently in demand, interesting, able to help master the dance, understand it from the inside, for example, the method of one “pas”, which is the main link in the development of coordination movements. The essence of applying this method is as follows: a new movement is included in each combination, which allows you to carefully work out this "pas". If one of the students does not have time to master it in the first combination, then by the end of the lesson it is already acquired methodically correctly.

The teacher-choreographer V.D.Tikhomirov argued that “there are two main parts in preparation for mastering the art of choreography: this is the technique of art and artistry. There are two factors in the work of a teacher-choreographer - this is the desire to achieve the best result in performing activities (taking into account the different preparation of children) and the need to correct the composition in time, taking into account their attendance.

Conducting a dress rehearsal has its own characteristics, determined by the fact that it is a rehearsal, but at the same time bears the signs of a concert performance (costumes, makeup, light, sound). The general rehearsal is the final one for a certain stage of preparing the repertoire for the concert, so it is important to prepare students psychologically for the concert.

Social and professional adaptation to pedagogical activity includes the ability of former ballet dancers to engage in choreographic productions, which is a complex aspect of the work of a choreographer teacher, requiring imaginative thinking, creative imagination, communication and organizational skills, performing, pedagogical and rehearsal and production skills. A teacher-choreographer needs not only professional knowledge of his subject, but also the ability to work with a creative team.

The development of amateur artistic creativity has led to diversity in the thematic focus of choreographic groups. Unfortunately, the novice leaders of choreographic groups do not have a clear orientation in the work of the group, and therefore the repertoire is of a random nature. And only the arrival of an interesting creative person as a leader allows us to clarify the direction of training of the choreographic group itself. In choreographic amateur performances, quite clear directions of groups have developed: folk dance (one people, different peoples), classical, ballroom, variety, sports, modern, etc. These are the most common, frequently encountered directions of choreographic groups, but not only the direction determines the choice of repertoire. What makes the team unique and interesting is its individual style. For example, if there are two folk dance ensembles nearby, while one performs well-known and well-learned dances, the other has a special direction that can individualize the handwriting of this group.

Staged work is an individually unique process of creating a choreographic work, which is carried out in stages:

Selection of musical and choreographic material;

Formation of the idea and concept of a choreographic work;

Genre definition (tragedy dance, dramatic dance, comic dance, lyrical dance, educational dance, etc.);

Construction of a dramatic line of a choreographic work; work with musical material;

Definition of vocabulary, the language of movements, with which the director will create a work. Vocabulary is largely determined by the choice of the style of the future dance: classical dance, folk stage dance, social dance, jazz dance, modern dance, etc.;

Rehearsal and production work with performers.

The skill of the teacher-choreographer includes the creation of the composition of the plot, which streamlines the visual and semantic series of the performance, and the viewer perceives what he sees not only from the point of view of choreography, but also from the point of view of interest in the storyline. The composition of the visual, physical form (the plastic picture that the viewer sees) is part of the staging process, which is thought out by the choreographer.

Proposed by G.V. Burtseva in the study “Management of the development of creative thinking of students-choreographers in the process of university training”, the development of an idea at the level of “concept-understanding-implementation” corresponds to the essence of staging activity. This idea is designed to combine all the variety of types of independent choreographic tasks (educational and creative choreographic task - UTHZ). The list of types of UTKhZ includes the simplest tasks for composing training combinations using a variety of vocabulary (dance movements), creating a holistic choreographic work, and developing fragments of rhythm lessons.

One of the criteria in the selection of repertoire for a children's choreographic group is its reality, the correspondence of the repertoire to the abilities of students. When creating the repertoire of a choreographic group, it is important to take into account certain requirements:

Compliance of productions with the age and level of development of students, dance numbers should be understandable to students;

The use of productions of different genres: game, plot;

Statements take into account educational and training goals;

Performances are designed for the entire team.

The process of creativity is expressed in the creation of new, non-standard ways solving choreographic problems, striving to realize their creative potential, improvisation. Thanks to the creative activity, originality of the dance director's thinking, new directions of choreography are developing. Dance is currently acquiring a new meaning, a new role: it is becoming a sport (sports and ballroom dancing), part of therapy (dance therapy), the basis of social (youth) self-identification (hip-hop), etc.

The sphere of additional education for children provides an opportunity for self-realization to former ballet dancers in the status of the head of a choreographic group, where they can use the accumulated experience they acquired earlier in stage activities. Additional education for children helps former ballet dancers expand their pedagogical knowledge, get acquainted with the specific features of teaching choreography in the system of additional education for children, and see creative opportunities in pedagogical activity.

Features of the social and professional adaptation of former ballet dancers during the transition to teaching

The specificity of choreographic art in the narrowest sense lies in the motor (dance) performance, that is, the ability to convey ideological concept the author of the work through the body and acting.

The educational environment of a professional choreographic educational institution, in which ballet dancers studied, has its own characteristics, different from the upbringing and personal development of students by means of choreography in the additional education of children.

Features of choreographic education are a special competitive admission procedure, which includes the identification of the parameters (abilities) of the body. The presence of a competitive procedure for intermediate certification, as a result of which students who are not capable of continuing choreographic training are excluded not only on the basis of the results of mastering a professional program, but also on bodily (physical) parameters. Education in a choreographic educational institution (choreographic school, ballet academy) is considered as professional training from the first steps, from the age of 10, and is distinguished by specific features:

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

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

Direct transfer of skills, knowledge, experience from generation to generation (“from hand to hand - from foot to foot”, bypassing material information carriers);

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

Mandatory 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.

The activity of the head of the children's choreographic group in the system of additional education of children is characterized by the presence of its own specific features, which causes difficulties in the social and professional adaptation of former ballet dancers to this activity.

Currently, there are many studies devoted to the study of the change of profession and the reorientation of people in adulthood. The results of these studies indicate that a conscious departure from the profession can be carried out at any stage of professional development.

Some former ballet dancers consider the activity of a teacher-choreographer and head of a choreographic group as one of the forms of work focused on the continuation of choreographic activity in the system of additional education for children. The motives are:

Desire to continue doing choreography (interest),

Pedagogical opportunities (availability of abilities),

Attractiveness of choreography for children, teenagers, youth (popularity).

Former ballet dancers do not just “choose a profession”, but to a large extent predetermine their future lifestyle and social circle. The socio-professional adaptation of former ballet dancers to the pedagogical field of activity is the need to adapt to the conditions and requirements of a new profession. This is a period of acquiring a new social status, active entry into the profession, a period of transition to a new situation and living conditions, getting used to a team of colleagues, students and their parents, a new measure of duty and responsibility not only for oneself, but also for others.

E.P. Ermolaeva in her study “Identification Aspects of Social Adaptation of Professionals” (2007) indicates that professional identity is the basis of successful professional adaptation, and the degree of its implementation depends on the type of the leading motivation of the individual. The transforming function of professional identity depends on the range of changes in professionally important qualities and the degree of self-identification with the profession - the possibility of adaptation is higher for people with a broad identification. Distancing the image of one's profession from others - professional self-isolation makes it difficult to adapt to changing conditions when moving to a different professional space. All these factors make up the transformative potential of a professional. How successfully and in what form it is implemented in practice is determined by the leading type of incentive-activity activity of the individual.

Former ballet dancers are sincerely interested in choreographic activity, consider it their vocation, are confident in the correctness of their professional choice and are not inclined to change it, but experience difficulties during the period of adaptation to pedagogical activity. Studies show that out of 100 ballet dancers of professional choreographic groups of the Academic Song and Dance Ensemble of the Moscow Military District, the Moscow Regional State Theater “Russian Ballet”, the Ensemble of the Airborne Troops, the State Academic Choreographic Ensemble “Beryozka”, the Plastic Ballet Theater “New Ballet” , Choreographic school-studio of dance choir named after. Pyatnitsky, St. Petersburg State Music Hall Theater, 55 people who came to additional education for children during the first three years of teaching practice, faced with difficulties and unpreparedness, stopped teaching.

The difficulty of the social and professional adaptation of ballet dancers is an unformed attitude towards pedagogical activity. The installation ensures the appropriate attitude of the specialist to his pedagogical activity, serves as the basis for the formation of a professional and pedagogical orientation of the individual (A. Kossakovsky, A.K. Markova, D.N. Uznadze, etc.).

The formation of an attitude towards pedagogical activity proceeds as a result of passing through several stages.

First stage. In order for ballet dancers to be included in the pedagogical process, their interest in new ways of working is necessary. The stage is related to the development cognitive interests, with a focus on self-development, involves the formation of the ballet dancers of the necessary knowledge about pedagogical activity and includes the solution of the following tasks:

Strengthening the motivation for choosing a profession;

Activation of independence, initiative;

Awareness of the social significance and creative potential of the teaching profession.

The activities of the head of the choreographic team attract former ballet dancers with the opportunity to implement creative ideas and pedagogical ideas.

The second stage is aimed at mastering the techniques, skills and abilities of pedagogical activity. This stage is based on the following theoretical prerequisites: knowledge becomes attitudes if they are realized as practically and personally significant, a pedagogical attitude is formed if a person activates pedagogical activity.

Ballet dancers should form a system of ideas about their capabilities and skills to implement them in a children's choreographic team. Research shows that new ways of using developmental opportunities are currently being implemented:

. "Psycho-gymnastics" - mimic and pantomimic studies;

. "Fitball" - a program that includes exercises that are performed while sitting or lying on a special gymnastic ball;

. « Rhythmic exercises» raising children with various developmental disabilities;

. « Correctional dance"- a special complex lesson, in which the psycho-emotional states of students are corrected by means of music and special motor exercises.

When carrying out pedagogical activities, beginning leaders of choreographic groups feel the need for self-development, the acquisition of new information, replenishment of their own theoretical baggage of pedagogical knowledge, which in turn contributes to the improvement of pedagogical skills.

The peculiarity of the third stage of the formation of an attitude towards pedagogical activity lies in the direction of the novice leader to motivate the success of the choreographic team under his control and solves the following tasks:

Independent mastery of the methods of pedagogical activity, communication and behavior;

Self-assessment of own results of professional growth;

Orientation of the individual in professional values;

Designing your own professional development.

This component of the pedagogical attitude must be developed among ballet dancers, since they have a dominant rehearsal orientation, which implies success in stage activities and is difficult if there is no motivation to achieve success in pedagogical activity.

According to A.K. Markova, for successful professional activity, the motivation for success, the mood for positive results of one's work is extremely important. Achieving success is a personality motive, manifested in the desire for success, which is a particularly important quality for the successful activity of the head of a choreographic team.

Individuals with a high level of achievement motivation have distinctive characteristics:

Perseverance in achieving goals;

Dissatisfaction with what has been achieved;

Passion for your work;

The need to invent new methods of work in the performance of ordinary affairs;

Willingness to accept help and give it to others.

The formation of an attitude towards pedagogical activity is directly related to the disclosure of the possibility of personal growth. With the help of the installation, the need of ballet dancers in the status of the head of the choreographic group, demonstration of their creative experience, readiness to manage the actions of the group is satisfied.

The difficulties of social and professional adaptation to pedagogical activity in the system of additional education of children are due to the fact that former ballet dancers do not realize the peculiarities of working with the children's choreographic team of the institution of additional education for children and face ignorance of the specific features of the work.

A study of the activities of the leaders of choreographic groups shows that the transition to teaching profession performed by ballet dancers in conditions of ignorance of the content of this activity. This is predetermined by the insufficient development of methodological literature for choreography classes with students in the system of additional education for children. The specifics of choreographic classes here is general development students, rather than professional mastery of choreography.

The basic component of the educational process in the additional education of children is to attract students to the world of dance, the development of the foundations of musical culture, dance, coordination of movements, artistry, emotional sphere, the formation of the artistic and aesthetic culture of the child. The orientation of the training and education of the choreographic team depends primarily on the qualifications of the choreographers who directly manage the educational activities. The successful activity of the choreographic group largely depends on the skillful and competent leadership.

Among the most significant professional and personal qualities of the leaders of choreographic groups of additional education of children are:

Research abilities, involving self-knowledge, self-development, the ability to analyze and make forecasts of one's own activities;

Organizational skills, that is, the ability to activate students, give them a charge of their own energy, understand the psychology of students, initiative, purposefulness, responsibility;

Communication skills that help to establish relationships with students, their parents, colleagues, the ability to cooperate, business communication;

Creative abilities, expressed in the ability to see a problem, quickly find original ways to solve it, flexibility of thinking;

The ability to empathize, that is, the ability to empathize, get used to the experience of another person;

Openness and emotional responsiveness, the ability to accept another person, a friendly attitude towards another, building informal relationships with children and adults.

A prerequisite for the successful social and professional adaptation of former ballet dancers to pedagogical activity is effective pedagogical guidance for the development of the personality of students of a choreographic group in the system of additional education for children, the ability of the leader of a choreographic group to set goals, plan their activities, determine the forms of organization of activities. Planning is the initial stage of management, on which the success of the choreographic team in the future depends. It involves interconnected, deliberate decisions with the maximum use of the capabilities and abilities of both the head of the choreographic team and the students.

The main tasks in the choreography classes are the activation of the motor activity of students, the development of the elementary foundations of dance, the prevention of common deviations in physical development students (violation of posture, flat feet, obesity, etc.), disclosure of creative individuality and identification of abilities for this type of activity, followed by a recommendation to engage in one or another type of choreography in amateur dance groups.

Pedagogical aspects The work of A.N. Brusnitsyna, G.V. Burtseva, E.I. Gerasimova, V.T. Giglauri, I.E. Eresko, L.D. Ivleva, T.I. Kalashnikova, O.G. Kalugina, T.M. Kuznetsova, B.V. Kupriyanova, V.N. Nilova, L.E. Pulyaeva, O.A. Ryndina, E.G. Salimgareeva, N.G. Smirnova, E.V. Sytovoi, T.V. Tarasenko and others. The problems associated with teaching choreography are reflected in the works of A.O. Dragan, Yu.A. Kivshenko, L.A. Mitakovich, Zh.A. Oncha, S.M. Parshuk and others.

The specificity of additional education for children is that students who do not have special data (poor sense of rhythm, lack of musical-motor coordination, etc.) come to classes.

It is important for the teacher-choreographer to take into account that classes should be designed for the level of development of students, for their specific capabilities and abilities. The organization of classes should be at a level accessible to students, at an acceptable pace. The main goal is not to memorize information, but to comprehend the practical significance of the knowledge gained by the student, so that the student can say: "I can do it."

The first acquaintance with dance occurs in the classroom with the help of dance exercises, music games. In the first year of work, there is an intuitive perception of the material, and it is impossible to present especially complex requirements for students. At the initial stage of training, more attention and time is given to parterre exercise and musical-rhythmic exercises. According to choreographers, at the initial stage, the task is not to teach a student to dance. First of all, it is necessary that students orient themselves in space, interact with other students. At the next stage, students are given more complex elements, both game (adding improvisation) and dance (movements for coordination).

For a certain time in the course of the lesson, the teacher-choreographer pays attention to musical and dance games, which contributes to a more vivid disclosure and development of the musical and emotional expressiveness of students. Learning dance movements that require concentration and physical effort, which is combined with game exercises, helps to keep students' involuntary attention and interest. This develops the ability to listen and feel music, to express it in motion. Specially selected and organized dance-games contribute to a faster assimilation of dance elements, the development of the ability to hear and understand music. The next stage contains a complete set of basic elements of choreography: setting the body, positions of arms, legs, stretching, jumping.

Teacher-choreographer of additional education for children of MDST (Moscow House of Amateur Creativity) Shikhanova N.Yu. uses outdoor games in his work to make them an organic component of the lesson, a means of achieving the goal set by the teacher. Using the example of such a lesson, one can see how traditional exercises of the parterre barre acquire animated forms in the form of animals, plants, natural phenomena, objects, which helps to make them clearer, more interesting, and also develops imagination and emotionality.

The main goal of choreographic classes for students in the additional education of children is the formation of initial choreographic skills and abilities, the assimilation of simple dance movements and etudes. The disclosure and development of the creative potential of students occurs through the use of the method of learning dance combinations "from simple to complex". This method includes:

Visual component (visual presentation of the material by the teacher-choreographer, video material of ideal examples of dance culture);

Theoretical component (explanation by the teacher-choreographer of the rules for performing movements, taking into account the age characteristics of students);

Practical component (learning a dance combination, strengthening by repeated repetition, muscle memory training).

Teacher-choreographer, teacher of the Shchelkovo municipal school of choreography, author of the book “Components of staging and performing work in the art of movement” (2011) V. Giglauri emphasizes that a person is given by nature certain limits of his capabilities, above which he cannot rise, but great indulgence nature lies in the fact that it does not give a person the slightest hint of where these boundaries are located, giving him the opportunity to improve depending on his desire. Faced with choreographers who support the system of limitation according to the principle “this is impossible, because no one has been able to do it yet”, students either follow it, or, overcoming this inertia, sometimes suddenly discover some “incredible” abilities in themselves and skills. The teacher-choreographer, who has managed to find ways to develop natural data in students, pushes the boundaries of his pedagogical individuality, becomes a more popular teacher, quickly comprehends the secrets of pedagogical skill.

To form students' sustainable motivation for choreography, the teacher-choreographer uses various individual-group forms of work, depending on the preparation of students:

Group form (groups are formed taking into account the age of the students, the group may consist of participants in any dance or sketch);

Collective form (used for joint rehearsals, ensembles, dance performances, where several age groups are involved);

Individual form (used for students who have not mastered the material covered).

Such an integrated approach makes choreographic classes meaningful, diverse, interesting, and also provides an opportunity to determine the abilities of students for their subsequent development.

The learning process in choreographic groups of additional education for children is based on the general pedagogical principles of didactics:

Activities - methods of educational work in a choreographic team contribute to motor activity, develop the creative activity of pupils;

Visualization - before staging dances, with the help of illustrations, photos and videos, pupils get acquainted with the culture, traditions, national costumes of a particular people. When learning new movements, visualization is an impeccable practical demonstration of movements by a teacher;

The principle of accessibility and individualization provides for taking into account the age characteristics and capabilities of the student, determining tasks that are feasible for him;

Systematicity - the continuity and regularity of classes. Otherwise, there is a decrease in the already achieved level of knowledge and skill;

Openness - joint activities of like-minded people (the head of the choreographic team and students) who live by common interests;

The principle of phasing - consists in setting up and performing more difficult new tasks for the pupil, in a gradual increase in the volume and intensity of loads. The transition to new, more complex exercises should occur gradually, as the emerging skills are consolidated and the body adapts to the loads.

Former ballet dancers experience difficulties in interacting with students, which is associated with the involvement of children in the team, their consolidation, the formation of sustainable motivation for classes.

Students at any time can change the circle or leave the institution altogether, which is associated with voluntariness in attending classes. To keep them, a teacher of additional education cannot use the arsenal of disciplinary techniques that choreographers have in choreographic schools, studios at Academic ballet theaters. Therefore, the teacher-choreographer of additional education for children should be a fan of two aspects: the world of classes into which he introduces students, and the world of raising children. The requirement of fanaticism or enthusiasm is explained by the fact that without this above-standard attitude to classes, it is impossible to infect students with this practice. Only the attractiveness of the activity itself, the forms and methods of its organization, the comfortable atmosphere in the children's community, the bright personality, sincerity and friendliness of the teacher contribute to the fact that the child spends his leisure time in an institution of additional education for a long time.

The practical activity of the head of the choreographic team in the system of additional education of children is realized through building subject-subject relationships, creating a dialogue with students, which requires special artistry, the ability to organize the pedagogical process so that it is bright, original and at the same time personally significant for students . The structure of pedagogical artistry was considered by M.G. Grishchenko in his study "The Formation of Artistry in artistic directors choreographic groups in universities of culture and arts” (2009) based on verbal (sounding speech, intonational and semantic accents) and non-verbal (gestures, facial expressions, plasticity) means of influencing students. These means are interrelated, have a dynamic nature and change depending on the specific situation at various stages of the professional development of the head of the choreographic team.

The solution of creative tasks in cooperation with the head of the choreographic team in the system of additional education of children changes the psychological structure of the educational process as a whole, a system of internal stimulation of the widest range of interactions, relationships, communication between all participants is created (I like to be with everyone, captivates a common cause, ambition is satisfied, shows pride in oneself, etc.)

Involving students in systematic choreography, the leaders of choreographic groups should be aware that the peculiarity of working in the system of additional education for children is not only the identification of creative abilities, the development of an ear for music, a sense of rhythm in students, but also the ability to help closed, uncommunicative, emotionally unbalanced students. The need to support children with physical disabilities, to form a sense of responsibility and striving for certain achievements, to compensate for the lack of attention from school teachers and parents.

The leader can influence the formation and development of the choreographic team:

Through a friendly and comfortable atmosphere in which each student feels necessary and significant;

Creating a "success situation" for each student to teach him to assert himself among his peers in a socially appropriate way;

The use of various forms of mass educational work, in which each pupil acquires social experience.

The specifics of additional education for children is that if ballet dancers, as leaders of choreographic groups, do not have the ability to win over students, arouse interest in choreography, convince, motivate them to study, then groups are not recruited from them.

Analyzing the features of social and professional adaptation and the entry of former ballet dancers into pedagogical activity, it should be noted that they are fixed in this profession through self-education. Many leaders of choreographic groups working in the system of additional education for children do not have a special pedagogical education, and their professional development in the field of pedagogical work begins simultaneously with their implementation in independent practical pedagogical activity. Various forms of retraining, advanced training of the cultural level of people are needed.

The subject of retraining (specialist) differs from the subject of primary vocational training in the presence of previously formed professional self-awareness, life and professional experience. Obviously, the learning process should be built not as a broadcasting or training process, but as a transformative, personality-changing process that helps the subject of retraining to carry out professional reorientation within himself, within his consciousness.

The leaders of children's choreographic groups are increasingly convinced that they need deep knowledge of the pedagogical process for successful professional activity. In accordance with the state educational standard of secondary vocational education, a teacher of additional education for children in the field of choreography, the organizer of a children's dance group must have knowledge of:

History of choreographic art;

Fundamentals of various types of dance: classical, folk, modern, ballroom;

Techniques for performing various movements;

Structures and content of training exercises, methods of their implementation with children in the conditions of additional education of children;

Folk dance culture of the region, region, city;

Means of musical expressiveness, the nature of their influence on the performance of dance movements;

Techniques for composing small and large forms of dance compositions;

Dramaturgical development of dance images;

Features of a dance costume for performing modern dances of various types.

Such high requirements for the head of the choreographic team are explained by the fact that they are the key to the successful development of the choreographic team and their professional activities.

The heads of choreographic groups choose their own educational route, taking into account their educational level, teaching experience. Participation in seminars, workshops, round tables shows that today the topical issues for the teacher-choreographer of additional education for children are: "Organization of the pedagogical process to maintain students' interest in classes", "Organization of the activities of the choreographic team for the result."

The participation of the leaders of choreographic groups in "master classes", trainings provides an opportunity for a deeper assimilation of the choreographic material and workshop, as well as projecting it onto specific pedagogical experience.

The result of the activity of the head of the choreographic team has some relativity. On the one hand, the result can be considered the sum of achievements: titles, places, awards, results of competitions and competitions in which the team participated, on the other hand, the level that students achieve when studying in a choreographic team (the level of general culture, discipline, knowledge, skills ). In the first case, the leader and students count on official recognition, victory at reviews and competitions. Others are guided, first of all, by joint leisure activities, communication, acquaintance with the art of choreography, and collective involvement in creativity.

N.S. Poselskaya, a teacher-choreographer, Honored Worker of Culture of the Russian Federation and the Republic of Sakha (Yakutia), the initiator of organizing a choreographic school in Yakutia, based on surveys among dance teachers, reveals their lack of knowledge of the history of pedagogy and the theory of choreographic education in their region. A variety of forms and methods of choreographic education associated with the pedagogical activities of choreographers in the region, unfortunately, are not used in the practice of teaching choreography. Meanwhile, reliance on the traditions of folk dance is one of the sources of creativity of the head of the children's choreographic group. If the repertoire is dominated by local folklore dances in own processing, the role of such groups is increasing.

Folk choreographic culture is presented in the studies of A.G. Burnaeva, E.V. Zelentsova, V.G. Schukina and others. scientific works dedicated to the training of choreographers based on folk choreography (G.Ya. Vlasenko, G.P. Gusev, N.I. Zaikin, K.S. Zatsepin, A.A. Klimov, M.P. Murashko, T.N. Tkachenko, N.M. Tolstaya, T.A. Ustinova and others).

There are works of interest for the formation holistic perception folk culture. “Russian Folk Round Dances and Dances”, compiled by the teacher-choreographer of the Moscow House of Amateur Creativity V.V. Okunev, which describes the results of research work on the study of Russian folk dance in a children's choreographic group, during which a system of training and education was found by means of Russian folk dance. Master class of the teacher - choreographer of the All-Russian Center for Children's Creativity L.N. Kornileva - the study of the traditional vocabulary of Russian folk dance in the main forms of building round dances, dances, quadrilles.

Teacher of additional education in choreography S.A. Mongush (Kyzyl) conducts Tuvan folk dance classes, which are characterized by dance elements for boys, and elements performed only by girls. Jumps, tricks, somersaults predominate in male dance, the dance is distinguished by expression and mobility. All this can be noted in the dance "Jumps" (horse riding is a favorite pastime of Tuvans), which is performed only by boys. Temperamental, tempo dance well conveys the moment of the horsemen's competition. For the female Tuvan folk Ghana, movements of the hands are characteristic (inward and outward rotation; flexion and extension at the wrist; slight "shudder" of the hands), they perform it while sitting on the floor on their knees, smooth hand movements should be continuous, should not be interrupted. Women's dance is characterized by slow and smooth movements in space, maintaining the correct posture, grace in movements.

Choreographic classes are the sphere of direct contact of the child's personal creative experience with the artistic experience accumulated in folk art. This circumstance explains the importance of introducing students to folk choreographic culture.

In order to carry out the activities of the head of the children's choreographic group, former ballet dancers need to form an attitude towards pedagogical activity, knowledge of the specific features of pedagogical activity in the system of additional education for children, search for an author's method of working with the children's choreographic group. All these features are necessary components of the organization of a choreographic team in the system of additional education for children.

Bibliographic link

Matsarenko T.N. PROFESSIONAL SELF-REALIZATION OF BALLET ARTISTS IN THE SPHERE OF ADDITIONAL EDUCATION FOR CHILDREN // Scientific Review. Pedagogical Sciences. - 2016. - No. 1. - P. 35-52;
URL: http://science-pedagogy.ru/ru/article/view?id=1508 (date of access: 04/06/2019). We bring to your attention the journals published by the publishing house "Academy of Natural History"

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. The work of a ballet dancer, like any kind of activity, requires the performer to possess specific qualities that determine his suitability for it and ensure a certain level of success in its implementation.

Possession of the profession of a ballet dancer is impossible to imagine without a daily lesson and rehearsals, improving skills that are laid down from childhood. Strict cleanliness, lightness and airiness are achieved by long methodical work.

The immediate prerequisites for achieving the goals are competencies. Competences describe a person's behavior at work, which is predetermined by his mental state, abilities, experience, knowledge and motivation.

The connection between the educational process and the formation of competencies is traditional. At present, the issue of the formation of "general cultural competencies" has been most fully, deeply and thoroughly studied. Meanwhile, the complex concept of "professional competencies" in the theory and practice of specialized choreographic education is in the process of being developed.

To reveal creative abilities, instill a high artistic taste, which includes a sense of proportion and a sense of style, musical sensitivity, the ability to penetrate not only the content of the performance, but also its mood, awaken love for the theater, for the future profession, develop a sense of artistic duty - these and other tasks are facing teachers. That is why the main feature of the education of future ballet dancers is the interconnection of special disciplines. The complex impact of all objects contributes to the development of the technical level of performance, plastic expressiveness and general culture.

It should be noted that there is some contradiction in the specifics of the transfer of knowledge and skills in professional choreographic education, because the practical side of the learning process cannot even be partially replaced by any detailed recommendations and programs. The most important factor here is the style and handwriting of a particular teacher, who reveals his vision, creative personality, skill and experience. As a result, each teacher has his own methods. This approach gives the teacher the right to independently solve the most pressing and relevant issues of the pedagogical process.

Artistry as professional meaningful competence.

In dance, a person uses his own body as a means of expression, as an instrument that he makes sound plastic. That's why ballet theater virtuosity is inherently demanding, and the work of a ballet dancer to improve his choreographic technique continues throughout his acting life. In various opinions about professional choreographic education, there is a strong and stable dominant about the need to improve choreographic technique. Let's agree that the performance of a dancer who is not self-confident and not free in combinations is far from art, here all the artist's attention is directed only to keeping the form. Undoubtedly, good technical training expands the competence of the ballet dancer, represents the development of his performing language, enhances the possibilities of revealing the inner content of the image. At the same time, all the attention of a ballet dancer cannot and should not be focused on technical performance.

Why do the poses, gestures, facial expressions of some actors create the necessary illusion of the complex psychological experiences of the hero, while the performance of other artists looks unconvincing? How many artists, who know the school perfectly, lack something important in their performance. What distinguishes a bright expressive ballet dancer from a "pale" and "indistinct" one?

Artistry is a professionally significant competence that gives the activity a pronounced aesthetic and emotional character. This opinion was substantiated by the ideas of the classics of choreography: J. Nover, Ch. Didelot and others.

There is no language barrier for the art of ballet, its inner significance is accessible to the consciousness and sensations of all people of the world. This is the main reason why a ballet dancer must master the skill of creating an atmosphere around him. If an artist is really a person, if he is internally rich and extraordinary, he is interesting to the audience.

It is important for a future ballet dancer to realize that art opens up endless spaces for the self-expression of his personality. According to the basic principle of stage culture, an artist, showing his work on stage, simultaneously demonstrates his intellectual level to the public. The creativity of ballet dancers, oriented towards the formal observance of rules and canons, is unproductive; only creativity oriented towards self-education, self-development, self-improvement can be fruitful.

Formation of competencies of the future ballet dancer during the training period.

The professional competencies of the future ballet dancer are formed for a long time, intensely and persistently. The dancing abilities revealed in a child are by no means a guarantee that the child will be a ballet dancer. For this to happen, special training is needed. The path to the stage is harsh: it subjugates the entire way of life of the student, requires all his strength. In order to reach the heights in any art in the future, you need a special temperament, ability to work, love for your work, spiritual wealth, intelligence and a bright personality.

The ability to classical dance is expressed not only in the motor, physical and musical abilities of the child, according to which he is tested at the entrance exams, but also in the ability to apply these abilities in the formation of creative skills. Without the perseverance shown by the teacher and the child, good health and many other conditions, abilities can freeze without developing.

That is why during the training period, priority is given to the formation of internal motivation in students for their future profession, the formation of personality, and orientation towards professional activity. In building the educational process, the student initially takes an active position. And the factor of a conscious choice of a future profession gives training a purposeful character.

In the analysis of the choreographic educational process, a number of mental properties are distinguished that are necessary for mastering the profession of a ballet dancer: attention, memory, will, etc.

One of the main higher mental functions of the creative nature of the actor, his ability to master the profession is attention. The ballet dancer should develop a concentration of attention on the whole body, while all the sensations in general should be used as much as possible - visual, auditory, and muscular, with the maximum inclusion of analytical thinking.

Proper professional control over the work of your muscles is the key to the free execution of choreography. Therefore, from the first days of training, the teacher of "Classical Dance" pays the most attention to instilling a culture of muscular understanding. He makes sure that the students not only learn and perform, but also analyze each movement, develops in them the desire to work with maximum efficiency, consciously, with an understanding of “why” and “why”. As a result of such training, students not only acquire the experience of performing, but are also able to explain the laws of performing movements themselves.

One of the most valuable skills of a future ballet dancer is the speed of perception and memorization of various combinations. The reproduction of movements is associated with the controlled work of consciousness and a high level of motor memory, the most important feature of which is the ability to maintain the learned movements for a long time. Gradually, as a certain degree of professionalism, students develop an automated execution of movements, which makes it possible to free their attention for creative tasks.

When performing a dance, the objects of attention are choreography with its inherent technical difficulties, music with its melodic and rhythmic content, movement in the stage space, communication with partners, etc. By instantly shifting his attention from one object to another, the artist, however, must be able to keep the rest in his zone of control. Moreover, all learned objects of attention should always be perceived by him as fresh. Thus, during the stage performance, full concentration of all mental processes is achieved.

Another important quality of creative activity is an act of will. “Will is the ability of a person to consciously control his behavior, to mobilize all his forces to achieve goals.” In the process of learning, the development of the will occurs through the education of attitudes towards difficulties and the mechanism for overcoming them. Thanks to volitional efforts, the learning process itself becomes much more effective: concentration on muscle work improves, the speed and dexterity of muscle reactions change.

The education of the internal state of a ballet dancer is also impossible without influencing his emotional sphere, since with all the external conventionality of ballet, it is precisely the psychological reserve that makes it a fully-fledged artistic form of art.

In order for each movement to become picturesque, “speaking”, to get its own logic, it must be understood, felt, felt. Any movement can be performantly intoned with a different emotional or characteristic coloring. For example, pas de bourree can be bubbly, light, flirtatious and whimsical or metallic, hard, chased. A slight change in posture, turn of the head, direction of gaze leads to a change in the character and mood of the image. Such nuances of plasticity open wide possibilities for the performer. To teach to give the same poses, movements different content, shades, nuances means to instill the skill of an actor's consciousness.

The relationship of special disciplines.

The high quality of the professional choreographic educational process will be revealed only in the analysis of the entire amount of knowledge acquired by students at different levels of special training.

So, for example, in the lessons of "Historical and Everyday Dance", students absorb the rules good manners, originality of posture, features of wearing a suit. The main task here is to learn how to reproduce the style features of historical dances and the behavior of characters from different eras.

Each ballet dancer in the theater must know and be able to perform various dances of the past centuries. “Not a single choreographer, working on staging a new ballet, will teach the artist to dance the waltz necessary in the course of the action: it is understood that the ballet dancer knows how to dance it well.”

A set of movements, taken by itself, most often does not present a technical difficulty, the whole difficulty lies in mastering the style. An artist who possesses stylistic features will easily be able to plastically embody the acquired behavioral skills in a specific historical setting with taste.

The discipline "Character dance" reveals the peculiarities of national color, draws the attention of students to the differences in manner, temperament and plastic characteristics. Without the development of nobility, elegance and chic in the staging of the body, a sensitive sense of movement and posture, breadth of gesture, expressiveness of the hands, an inner impulse, professional performance of the stage character dance impossible.

At the lessons of "Duet Dance" students comprehend the culture of communication of partners. Only precisely executed support, when both performers work in sync, gives a beautiful stage effect. At the same time, internal contact, attentiveness of partners to each other help to reveal plastic images more deeply.

It is the structure of the full complex of special items that ensures the manifestation of the developed culture of a ballet dancer, who is able to fulfill any creative requirements of the theater, gives the future artist a chance to realize his potential to the fullest.

Formation of self-education, self-development, self-improvement.

The learning process cannot be based on coercion and mechanical repetition. Modern requirements put before the ballet teachers the task of forming in students the ability for independent activity. Effective personal development is possible only under conditions of high activity and independence.

“Self-realization is the main condition under which creative activity manifests itself as the main factor in the harmonious development of the individual. The desire of a person to realize the creative forces and abilities inherent in him is the most profound need of the individual, a need that determines the meaning of his life and the significance of his Self in the eyes of other people. The task of pedagogy is to provide an opportunity to reveal one's Self. Expressing your inner world through outward manifestation is the most important feature of any artist.

Self-education is a person's activity aimed at changing his personality in accordance with consciously set goals, established ideals and beliefs. The principle of students' independence in the educational process implies orientation in such a way that they are directly involved in the preparation for their future activities, and the learning goals set from the outside would become their own, personal goals. Based on the principle of self-control and self-organization, the teacher does not teach, but helps to learn. It demonstrates to students the need and correctness of mastering learning skills for their independent implementation, develops in students the habit of continuous improvement, work on themselves, on their creative growth, which they will need throughout their creative activity.

Artistic magic.

A significant role in the formation of the creative thinking of the future ballet dancer is given to stage practice, which brings little artists not only the joy of being on stage, contributes to giving a deeper understanding of the chosen profession, and forms the right attitude to the work of their life. It is on stage practice that students take their first steps on the path of artistry.

Modern trends in ballet have brought to the fore virtuoso technique, which has led to the fact that the dancer has become more significant than the actor. However, the dance must express feelings, and therefore must be understandable not only to connoisseurs and ballet lovers, but to every receptive spectator. Therefore, once again I would like to note that artistry is a professionally significant competence of a ballet dancer, which should not be neglected.

If an artist, entering the stage, does not know how to convey to the viewer his inner state, expressiveness, he will be the most boring actor. Each image must be revealed artistically, musically, emotionally and psychologically justified. Any gesture, posture, nuance must have an internal impulse. To fill a pose with content, you need to revive it, open some of your own elements in it, fill it with your inner thought - then it will be organic and meaningful.

Despite the fact that the choreography is fixed, each performer looks for his own psychological nuances of plasticity in it, looking for the most expressive pose, the most favorable angle, tilt and turn of the head, hand positions, and thus colors the role with his individuality. Human characters are multifaceted, all people express feelings in different ways, so there cannot be exactly the same masks of emotions for different people. Using one paint to reveal the image is a fundamentally wrong method.

“Each feeling has many shades and, accordingly, the strength and scale of its manifestation. So, for example, joy can be quiet, soft, but it can also be stormy, unrestrained. To be able not only to evoke a tender feeling in yourself, but also to accurately determine its scale is a great and subtle art of acting.

At the same time, it is important to remember that inspiration does not come to an artist by itself, say, in the middle of the night or during a vacation, on the banks of a river or the sea. It is necessary on a particular evening, at a particular hour, when the bells sound in the theater and the audience sits down in their chairs. Consequently, the artist must be able to evoke his inspiration himself, at his own will and discretion. Even in moments of poor health, he must find ways to awaken in himself a spiritual uplift before the upcoming work, to achieve the highest manifestation of mental, spiritual and creative forces. To breathe life into the created image, the skill of the actor requires spiritual work.

The theater requires independence, personal qualities, creativity on stage from a modern ballet dancer. We should not forget that ballet dancers are not dancers and dancers, but actors of choreographic art! In the process of preparing a performance in the theater, work on creating an image and technical improvement of the dance take place in parallel. Possession of the form of classical dance makes it possible to perform the dance without a sense of tension, but the absolute completeness of the image cannot be achieved without mastering the skills of acting, which allow artists to penetrate deeply into the spiritual world of the hero and emotionally saturate his plastique. The ballet dancer must have not only technical professionalism, but also acting expressiveness, the performance must captivate the viewer with images.

The level of performing culture is the main thing that determines the face of the theater, because often the same names of performances are performed in different troupes. The difference is in the level of performance. Today, unfortunately, we often encounter certain losses in artistic performance. It is not so often now that performances amaze the audience with a deep inner content, individualities and personalities have disappeared.

The main performers strive to focus on the technique of performance, showing the audience the full severity of their profession, forgetting about the loss of imagery, the naturalness of expressing feelings on stage. The very style of acting is often characterized by closed feelings, restraint. The dominance of technology introduces a note of artificiality and falseness. The performance loses its magic, there is a loss of the artistic side of the performance. The elusive essence that affects the souls of the audience disappears without a trace.

But, after all, Russian ballet art has always been distinguished by cordiality, the ability to reflect inner life in an artistic stage form. Recall that in the Soviet years there was the concept of "the style of the Leningrad school." For many years, the school and the theater have attached great importance to the refinement of form, quality and certainty of style. The artists easily demonstrated a crystal clear dance, however, the technique was not the end in itself of the performance.

The most important thing in ballet is the live creativity of the artist. A full-fledged creation of an artistic image in a ballet performance is possible only on condition of free possession of both choreographic and acting techniques. The competence of a ballet dancer, which lies in the ability to play not only with the plasticity of the external form, but also in the ability to convey one's inner content, one's inner experience into choreographic language, is the key to success on the path of stage creativity.

3.5. Analysis and transformation of criteria for classifications of abilities (mental processes)

Refined scheme of the bases for classifications of types of mental processes

Bases of classifications of types of mental processes

3.6. Analysis of the properties of mental processes, attention and psychomotor

Properties of the productivity of mental processes

3.7. The structure of cognitive abilities

3.8. Psychology of special abilities

Feeling

4. Psychology of general abilities

4.1. About the scientist-poet

4.2. Creative personality and its life path

4.3. V.N.'s approach Druzhinin and N.V. Khazratova

4.4. Psychogenetics of creativity and learning

4.5. Learning, creativity and intelligence

5. Metasystem approach in developing the problem of abilities (A.V. Karpov)

5.1. Research objectives and hypotheses

5.2. About the concept of integral abilities of a person

5.3. Reflexivity in the structure of general abilities

Coefficients of rank correlation between the level of development of general abilities

Results of "oblique" factorization

The values of the structural "weights" of the variables included in the first factor1

Principal Component Factorization Results

Coefficients of linear correlation between the level of reflexivity and scores on the subtests of the "Test of mental abilities"

Indicators of the significance of differences between high- and low-reflexive subjects when performing subtests of the "Test of mental abilities"

5.4. Level status of metacognitive abilities

6. Psychology of multilateral and special abilities

6.3. On the psychology of musical abilities

Analysis of some components of musical abilities

Mid frequencies of vowel formants (in Hz)

6.5. The genesis of musical perception

Perception of musical rhythm

6.7. musical memory

6.8. The main reasons for failure in musical activity (E.F. Yashchenko)

6.9. The Psychology of Literary Ability

Personality

6.11. A Brief Overview of Research on Mathematical Ability

6.12. Pedagogical abilities

6.13. Meta-individual characteristics of the teacher

Resilience to mental stress

6.14. Artistic and creative abilities

Basic professional requirements for the individual characteristics of a ballet dancer

7. Study of self-actualization as an ability for students of different professional backgrounds

7.1. Possibilities of creative self-development of students' personality (based on the study of personality type, character accentuations and their conjugation)

Value orientations of temperament types

7.2. Models of perceptual and social orientation of the personality of students of different professional backgrounds

7.3. Professional and personal qualities and value orientations of students of the Faculty of Service and Light Industry

Research methodology

Research results and discussion

Ranks of professional careers according to J. Holland

7. 4. Features of self-actualization of students of economic and technical faculties

Material and methods

Results and its discussion

7.5. Differences between symptom complexes of personality traits in students of economic and technical faculties with high and low levels of self-actualization development

Factor mapping of the personality structure of students of economic and technical faculties with high and low levels of self-actualization development after varimax rotation

7.6. Gender and professional differences in self-actualization

Methodology

results

Mean values of test indicators p. Cattell and sat among students of economic and technical faculties (variance analysis)

Data used for dispersion analysis of a sample of students of economic and technical faculties of different sex and level of self-actualization

Data of dispersion analysis and significance levels of differences in individual psychological properties of students of economic and technical faculties of different sex and level of self-actualization

The discussion of the results

7.7. Value-semantic concept of self-actualization

Symptom complexes of differences in personality traits and meaningful life orientations of students from different faculties

Symptom complexes of differences in personality traits and meaningful life orientations of students from different faculties with high and low levels of self-actualization (sa)

Stage 3. Comparative analysis of interrelationships between personality traits and meaningful life orientations in students with high and low SA levels.

Conclusion and Conclusions

Conclusion

General list of references

Basic professional requirements for the individual characteristics of a ballet dancer

	Professional Requirements activities	Professionally important qualities	Adequate methods research
Makings (morphological and psychological)	Special body requirements	The ratio of height and weight of a ballet dancer	Height-weight index
	"Dancer's Foot" The musculoskeletal system of a ballet dancer carries an important and purposeful load	Foot loading index. Lateral foot orientation	Methodology M. Sulkhanishvili
	Among the numerous manifestations of temperament, the manifestations of those of its properties, on which the dynamics of the ballet dancer's activity, his working capacity primarily depend, are of particular importance for choreography.	Emotional excitability, emotional stability, plasticity, impulsivity, extraversion	1. Jung's association experiment. 2. "Fixed installation in the haptic sphere" Uznadze. 3. Cattell's Unstructured Drawings
General abilities (emotional-volitional and intellectual sphere)	Regular intense and maximum physical and mental stress, requiring significant volitional effort	High emotional-volitional regulation of purposeful activity	"Finding numbers with switching"
	Ballet is the integration of thought and movement, therefore, creative talent in ballet is based not only on muscle activity, but also on the creativity of thinking.	Fluency, flexibility, originality and thoughtfulness	"Research on the creativity of thinking" E. Torrens
Special choreographic abilities	Artistry, the ability to convey the emotions of the hero and music with movements	Danceability is a complex indicator that combines musicality and emotional expressiveness of movements	Methodology of expert and scoring assessments
	Orientation to achieve the goal - continuous improvement of the level of professional skills	Motivation, the need to master the profession
	The object of the will and consciousness of a ballet dancer in his professional activity is his own body, his motor skills. To master a complex dance technique, a fine differentiation of the spatial and power characteristics of movement is necessary.	Highly developed ability to regulate movements in speed, strength, amplitude	Kinematometry, maximum tapping test in 1 minute, coordination of movements
Special choreographic abilities	A ballet dancer should get satisfaction from monotonous work, feel muscular joy from performing complex movements at rehearsals, from choreography	Emotional appeal of choreographic movements	Modified technique T. V. Dembo, S. Ya. Rubinshtein

The first group (30 people), which included the subjects - laureates, prize-winners and diploma winners of international ballet competitions, as well as those who graduated from college with excellent marks, was designated as "highly capable", the other (52 people) - "capable".

It was assumed that dance abilities at different levels of their development would differ: firstly, in the greater or lesser severity of individual components; secondly, the peculiarity of the correlations between their indicators.

Comparison of the average values of the indicators of the components of the choreographic abilities of these groups according to Student's t-test showed that there are a number of significant differences:

- "highly capable" students are distinguished by the optimal ratio of height and weight for ballet (p<0,01), меньшим индексом нагруженности стопы (р<0,05), меньшей импульсивностью (р<0,05), меньшей эмоциональной возбудимостью (р<0,01), более высокой активностью волевой регуляции (р<0,05), более высокими показателями беглости и оригинальности мышления (р<0,01), более высокими показателями максимального теппинг-теста и танцевальности (р<0,001);

- "capable" students are distinguished by a higher severity of indicators of the emotional attractiveness of movements (p<0,05).

To identify the features of the structure of choreographic abilities in the groups of "highly capable" and "capable" correlation and factor analyzes were performed for each group separately. As a result, it was revealed that the structure of choreographic abilities in the group of "capable" consists of four factors, and in the group of "highly capable" - of five. At the group "able":I factor absorbed with the greatest weights all four indicators of creative thinking, an indicator of the activity of volitional regulation, indicators of psychodynamic properties (emotional excitability and plasticity), indicators of the structure of the foot and coordination of movements, which indicates the severity of inclinations and general abilities, this factor was designated as "inclinations and general abilities"; in II factor with the highest factor weights included indicators of the emotional attractiveness of movements and dance performance, which indicates the severity of special choreographic abilities, this factor was designated as "special abilities"; in III factor with the highest factor weights included indicators of accuracy of movements at medium and large amplitudes, accuracy of measuring efforts, maximum tapping test in 1 minute, impulsivity and the need to master a profession, this factor is called "psychomotor", it indicates the severity of special choreographic abilities; IV factor, combining indicators of extraversion and emotional instability, is designated as "psychodynamic" which indicates the severity of these inclinations. At the group "high capable"in I factor with the highest factor weights included indicators of the accuracy of measuring efforts and movements at small amplitudes, the emotional attractiveness of movements (the level of special abilities), the impulsivity index, the foot load index (the level of inclinations) and the indicator of the development of thinking (the level of general abilities); in II factor with the highest factor weights included indicators of danceability and the need to master a profession (level of special abilities) and an indicator of fluency in thinking (level of general abilities); in III factor with the highest factor weights included indicators: introversion, emotional calmness, emotional stability (the level of inclinations), the activity of volitional regulation and originality of thinking (the level of general abilities), the accuracy of movements at a large amplitude (the level of special abilities); IV factor incorporated indicators of coordination and accuracy of movements at medium amplitudes (level of special abilities) and an indicator of the structure of the foot (level of inclinations); in V factor with the highest factor weight included the indicator of the maximum tapping test for 1 min. (level of special abilities), indicators of plasticity and height-weight index (level of inclinations), as well as an indicator of flexibility of thinking (general abilities).

A comparative analysis of the structure of the choreographic abilities of groups with different levels of development showed that in the “capable” group, two factors include indicators of the components of the level of special choreographic abilities, one factor is inclinations, and one factor combines indicators of the level of inclinations and general abilities, while groups of "highly capable" each of the five factors combines the indicators of all three levels of choreographic abilities: inclinations, general abilities and special choreographic abilities. Consequently, the higher the level of development of the special abilities of a ballet dancer, the closer the relationship between indicators of general abilities, special choreographic abilities and inclinations. Thus, it has been established that the structure of choreographic abilities is largely determined by the level of their development.

Further, it was studied how the features of the structure of the choreographic abilities of "highly capable" and "capable" are manifested in the nature of the relationship between the indicators of inclinations, general abilities and special choreographic abilities, i.e. with indicators of multi-level properties of integral individuality.

It was found that the higher the level of development of choreographic abilities, the more indicators of individuality properties are associated with their indicators. Moreover, it should be noted that the “capable” group showed close links between indicators of special and general abilities (mainly with indicators of will and thinking), and in the group of “highly capable” morphological indicators were associated with indicators of general abilities, as well as indicators of accuracy, speed and coordination of movements, danceability, emotional attractiveness of movements and motivation to master a profession, in the group of "highly capable" there are more connections with the level of inclinations than among "capable". Based on these data, the author concludes that general abilities ensure the success of the activities of persons with an average level of development of choreographic abilities, and a high level of development of choreographic abilities depends more on inclinations than on general abilities, i.e. the basis of highly successful activity in ballet is significantly determined by natural inclinations. Something else is important to us: the higher the level of development of abilities, the greater the number of multi-level properties they are interconnected. Consequently, the idea that a certain combination of different levels of individual properties acts as a prerequisite for the development of abilities is confirmed to some extent.

So, the results of the study by I. G. Sosnina indicate the following.

1. Artistic and creative abilities, in particular the special abilities of a ballet dancer, are determined by the specific and very strict requirements of professional activity imposed on the body, psyche and personality of the artist.

2. The special abilities of a ballet dancer are an integral multi-level and multi-component system that has a complex structure and includes: inclinations, general abilities and proper choreographic abilities that determine the success of professional activity.

3. The special abilities of a ballet dancer are determined by a symptom complex of multi-level properties of an integral individuality, ranging from the characteristics of the organism (structure of the body and its parts) to personality characteristics (motivation, interest, etc.).

4. The structure of the special abilities of a ballet dancer is largely determined by the level of their development. The peculiarity of the structure of the special abilities of ballet dancers at a high level of their development is that the indicators of inclinations, general abilities and special choreographic abilities are interconnected, and at an average level of development such a relationship is practically absent.

5. The high level of development of dance abilities is due mainly to the components of special choreographic abilities, the average level of development is due to the components of general abilities.

6. The level of development of choreographic abilities plays a backbone role in the integral individuality of a ballet dancer. The nature of the relationship between the levels of integral individuality acts as an indicator of special choreographic abilities.

Review questions

1. What is the originality of V.S. Merlin to the problem of abilities?

2. What are the criteria for the abilities of V.S. Merlin?

3. What is the novelty of T.I. Poroshina?

4. What is musicality?

5. Name the components of musical abilities.

6. What is a modal feeling?

7. Define musical-auditory representations and musical-rhythmic feeling.

8. What is inner hearing?

9. How is the interaction of sensations carried out?

10. What types of musical ear can you name?

11. What can cause irregular performance?

12. What is the main approach to the formation of correct motor sensations?

13. What is the difference between sensation and perception?

14. How does the perception of music depend on the socio-demographic parameters of the listener?

15. What are the main differences in the perception of serious and light music?

16. Give examples of the influence of personal meanings on the perception of a piece of music.

17. How can the process of development of perception proceed?

18. What kinds of memory are the most important for a musician?

19. What are the logical methods of memorizing a piece of music?

21. What should be taken into account when repeating a piece of music for its best memorization?

22. What is the structure of literary, pedagogical, visual, acting and choreographic abilities?

Literature

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