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Osipova Marina Kazimirovna Professional training of future ballet dancers for the performance of jumping movements: dissertation ... Candidate of Pedagogical Sciences: 13.00.08 / Osipova Marina Kazimirovna; [Place of protection: Ros. state ped. un-t im. A.I. Herzen].- St. Petersburg, 2011.- 272 p.: ill. RSL OD, 61 11-13/1342
Introduction
CHAPTER I. Traditions of foreign and domestic schools in the preparation of future ballet dancers for the development of jumping movements
1.1. The evolution of jumping movements in the Western European ballet theater
1.2. The history of teaching allegro at the Russian ballet school 24
1.3. Formation of methods for teaching jumping movements in the Russian ballet school
CHAPTER II. Methodological system of training future ballet dancers to perform jumping movements in the lower grades of a professional educational institution.
2.1. Identification of the initial level of training of future ballet dancers to perform jumping movements 77
2.2. Designing a model of a methodological system for professional training of future ballet dancers to perform jumping movements 99
2.3. Studying the effectiveness of the methodological system of professional training of future ballet dancers to perform jumping movements 132
Conclusions Conclusion 165
Bibliography
Introduction to work
h
Relevance of the research topic.
The system of professional training of future ballet dancers is traditionally based on methods that have been formed for decades in the Russian ballet school and passed down from generation to generation. Based on general didactic principles, choreographic pedagogy, as a set of pedagogical experience in the field of training ballet dancers, has developed its own methods and principles that reveal the specifics of classical dance, making it possible to teach it as a living figurative art.
Teaching methodology Allegro (Allegro - the final part of the classical dance lesson, consisting of jumps) - the most important section of classical dance was developed in the works of N.P. Bazarova, A.Ya. Vaganova, B.C. Kostrovitskaya, A.A. Pisareva, N.I. Tarasova, A.I. Chekrygin. However, the available teaching aids, including the Allegro section, and aimed at the professional training of future ballet dancers, do not reveal the historical background for the emergence and development of jumping movements; insufficient attention is paid to the methodology for developing the height of the jump among primary school students; there are no studies of the psychological aspect of the development of a jump among students and the role of a teacher in teaching jumping movements; criteria for assessing the quality of performance of jumping movements have not been developed.
The development of the modern ballet school implies an increase in the level of performance of jumping movements. The specificity of modern ballet lies in the expansion of the choreographic language. In recent years, many well-known Western choreographers have staged their ballets in Russia (W. Forsythe, J. Neumeier, N. Gelber, etc.), and interest in modern choreography has also grown (A. Ratmansky, B. Eifman, etc.). In this regard, the dance vocabulary has changed. So, in modern ballets, jumps become more powerful, closer to sports, and require a change in the technique of performance, and, consequently, the methodology for mastering this technique.
The listed features of the development of the ballet school and the recorded problems of professional training in the field of Allegro are updated with the introduction of the federal state standard of higher professional education in the direction of training
"Choreographic performance" qualification bachelor (No. 070300), since in this regard there is a question of developing a system of requirements for the professional training of future ballet dancers.
contradictions between the growing requirements for the training of ballet dancers and the insufficient development of a holistic system for their training in the Allegro section of classical dance, as well as the lack of a comprehensive scientific and theoretical understanding of pedagogical experience in this area served as the basis for choosing research topics:"Professional training of future ballet dancers for the performance of jumping movements."
Purpose of the study- development and approbation of a methodological system of professional training of future ballet dancers for the performance of jumping movements in the lower grades of a professional educational institution.
Object of study- the process of professional training of future ballet dancers for the performance of jumping movements.
Subject of study- professional training of future ballet dancers for the performance of jumping movements in the lower grades of a professional educational institution.
Research hypothesis: preparation of future ballet dancers for the performance of jumping movements in the lower grades of a professional educational institution will be effective if:
the conceptual provisions for the preparation of future ballet dancers for the performance of jumping movements were determined;
the criteria for the quality of jumps performance were identified and tools for their assessment were developed;
the content, methodology and organizational and pedagogical conditions for the preparation of future ballet dancers for the performance of jumping movements were developed;
professional training is carried out in the format of individual educational routes, built on the basis of monitoring the success of training according to the selected criteria.
Research objectives:
to study the historical and scientific-pedagogical literature on the problem
research in the aspect of the development of the technique of performing jumping
movements in Western European ballet theater and Russian ballet
school;
to analyze the results of scientific research in the field of anatomy, psychology, pedagogy, sports in order to study the physical and psychological capabilities of students that affect the performance of jumping movements;
determine the criteria for assessing the level of professional training of future ballet dancers for the performance of jumping movements;
identify tools for assessing the quality of performance of jumps of all difficulty groups;
develop methodological support for the training program for future ballet dancers to perform jumping movements in the lower grades of a professional educational institution;
to develop a model of a methodological system for the professional training of future ballet dancers to perform jumping movements;
develop educational routes for students to master the Allegro section of the discipline "Classical dance" in the lower grades;
to experimentally test the effectiveness of the developed methodological system for preparing future ballet dancers for the performance of jumping movements.
Theoretical and methodological basis of the study are the works of classical dance teachers, the scientific works of Russian and foreign art historians, memoirs and fiction, the works of teachers, psychologists, sports coaches, considered within the framework of comparative historical and systematic approaches.
The work used educational literature on the methodology of teaching classical dance to teachers in St. Petersburg and Moscow: the works of A.Ya. Vaganova, N.I. Tarasova and A.I. Chekrygina, N.P. Bazarova and V.P. May, V.S. Kostrovitskaya and A.A. Pisareva, A.M. Messerer.
The study of teaching jumping movements in the Russian ballet school was facilitated by the works of A.Ya. Vaganova, E.O. Vazem, A.L. Volynsky, T.P. Karsavina, V.M. Krasovskaya, M.F. Kshesinskaya, F.V. Lopukhov, M.I. Petipa, M.M. Fokina, G. Cecchetti, A.Ya. Rustle.
In the study of pedagogical techniques and requirements that were formed in the 18th - 19th centuries in Western European and Russian ballet schools, the works of L.D. Blok, M.V. Borisoglebsky, V.M. Krasovskaya, Yu.I. Slonimsky, I.I. Sollertinsky, E.Ya. Suritz, J.-J. Noverra, A. Fridericia, L.V. Jacobson.
The works of G.G. Albert, B.Ya. Bregvadze, E.P. Valukina, S.N. Golovkina, Yu.I. Gromova, V.A. Zvezdochkina, S.S. Chestnut, Yu.N. Myachina, A.V. Nikiforova, P.A. Pestova, L.N. Safronova, L.I. Yarmolovich.
In the study of psychophysical and biomechanical factors affecting the quality of Allegro performance, the author used the work of V.V. Belous, B.C. Vygotsky, N.E. Vysotskaya, B.A. Vyatkina, A.G. Gretsova, A.L. Groysman, E.G. Kotelnikova, N.V. Sokovnikova, A.N. Chefranova.
The works of I.Yu. Aleksashina, VI. Andreeva, T.G. Brazhe, S.L. Bratchenko, E.V. Bondarevskaya, Yu.N. Kulyutkina, N.A. Morevoy, A.A. Orlova, O.G. Prikota, V.I. Slobodchikov.
The basics of the theory and methodology of vocational education were studied according to the works of: S.G. Vershlovsky, A.M. Kuznetsova, M.M. Levina, A.K. Markova, L.M. Mitina, V.A. Slastenina, N.E. Erganova.
To achieve the goal, solve the tasks and check
hypothesis, a combination of empirical and theoretical research methods, complementary and enriching each other:
theoretical: historical and pedagogical method, which involves a comparative analysis of historical and methodological literature, as well as scientific works on the psychology and pedagogy of the issue under study and their interpretation based on a systematic approach;
empirical methods: collection and accumulation of data (pedagogical observation); data measurement (peer review of credit lessons); data processing (quantitative and qualitative analysis); study and generalization of pedagogical experience; pedagogical experiment.
Experimental research base.
The experimental study is of a longitudinal nature and was carried out on the basis of the Academy of Russian Ballet. AND I. Vaganova. The experiment involved pupils of the lower grades of the ARB (boys 28 people), including ten people of the experimental class A, and as part of a comparative analysis, the results of training in two parallel classes - B and C (18 people) were evaluated.
The main stages of the study.
The study was carried out in three stages:
At the first stage (2005 - 2006) - an analysis of pedagogical, psychological and methodological literature was carried out in order to theoretically comprehend this problem, its relevance and development in scientific research. An assessment of the current state of the problem was carried out, tools and methods of research were developed, the problem was clarified, and a preliminary research hypothesis was formulated.
At the second stage (2007 - 2008), a study was conducted of the level of professional training of future ballet dancers in the performance of jumping movements. The following activities were carried out: identification of the level of preparation of future ballet dancers for the performance of jumping movements; experimental testing of the new system of evaluation of learning outcomes; development of the content of methodological support for the preparation of future ballet dancers to perform jumping movements. On the basis of experimental studies, individual educational routes were built for each student. In the process of work, the initial hypothesis of the study was refined and deepened.
At the third stage (2009 - 2010), the effectiveness of the methodological system of teaching jumping movements in the training of future ballet dancers was tested, the results of the study were analyzed and generalized, the main conclusions were formulated, and the prospects for further research were determined.
Provisions for defense:
1. Conceptual provisions for the design of a methodological system for the professional training of future ballet dancers for the performance of jumping movements, suggesting:
Setting to expand the choreographic language of modern ballet in connection with a change in dance vocabulary and an increase in the power (sports) component of the jump, which requires changes in the technique of performance: changes in approaches to jumps, an increase in the height of the opening of the leg in a jump, changes in the technique of jumping;
Reliance on the traditions of Western European and Russian ballet schools,
allowing to reveal invariant ways of professional
training of future ballet dancers in the field of Allegro: defining the role
exercise of classical dance in the process of learning Allegro; increased attention to the implementation of pHo and other exercise movements in the development of Allegro; development of exercises for the development of the jump; execution of springboard jumps; development of elevation and ballooning skills; determination of the role of jumps in the creation of characters and images in ballet;
Implementation of a systematic and holistic process of professional training that meets the requirements for the professional training of future ballet dancers, reflected in the content of the federal state standard of higher professional education, the first in the history of training future ballet dancers,
2. A methodological system that reflects the requirements for professional
preparation of future ballet dancers for the performance of jumping movements in
elementary grades of vocational schools within the section
Allegro discipline "Classical dance", the model of which is presented on
page 17, allowing:
Organize a systematic and holistic process of their professional training, when the content and teaching methods are substantiated by conceptual and methodological guidelines that reflect the specifics of modern ballet and a system of developed criteria for assessing the performance of jumping movements;
Develop organizational and methodological support for the professional training process, first of all, a description of a holistic methodology for the execution of jumping movements according to the selected criteria;
To carry out professional training of future ballet dancers in the strategy of individually oriented learning, when an individual educational route is developed for each student and the results of educational activities are monitored.
3. The system of criteria for evaluating the performance of jumping movements:
methodical (accuracy of the jump, coordination of the whole body during
jump execution); performing (performing pHo before and after the jump,
push, landing after the jump, fixing the posture in the air, initial
elevation and ballooning skills); emotional and psychological
(psychological attitude to perform jumping combinations,
expressiveness and musicality of performance) on the basis of which
developed a toolkit for assessing the quality of the performance of jumps of each
difficulty groups - scorecards that allow you to
monitoring the quality of training of future ballet dancers and determining the trajectory of individual educational routes for future ballet dancers, taking into account the physical data of students, the methodological literacy of performing jumps, the development of coordination of movements, the correct psychological attitude: physical, coordination-methodical, emotional-psychological and combined types.
Scientific novelty of the research:
The criteria for evaluating the level of students' preparation for performing jumping movements are determined - methodological, performing, emotional and psychological.
A methodical system for training future ballet dancers to perform jumping movements has been developed, which makes it possible to organize the educational process in the lower grades of a professional educational institution based on certain conceptual and methodological guidelines.
The dependence of the successful mastering of jumping movements on four interrelated factors was found and substantiated: the physical data of students; methodical literacy of performance; coordination of movements; correct mental attitude.
Theoretical significance of the study:
A comprehensive study of the Allegro section in classical dance has been carried out, developing knowledge about the principles, content and methods of professional training of future ballet dancers: the history of the development of jumping movements has been summarized, new methodological techniques for performing Allegro have been substantiated, and the psychological and pedagogical aspects of teaching Allegro have been revealed.
Based on the criteria for assessing the level of professional training in the performance of jumping movements, the typology of individual educational routes of students was determined: physical, coordination-methodical, emotional-psychological and combined types.
Practical significance of the study:
A multi-criteria map for assessing the level of training has been developed
performing jumping movements by future ballet dancers,
containing the most complete requirements for students when performing
software jumps.
A methodology has been developed for preparing future ballet dancers to perform jumping movements in the lower grades of a professional educational institution, which is distinguished by: a holistic description of the techniques for performing a jump, indicating possible errors of students during performance; description of the jump with decomposition into musical score; development of methodological principles for making combinations.
Reliability and scientific validity guidelines and
the conclusions of the study are due to the consistent implementation
methodological basis of the study, logically consistent
problem analysis, purposeful use
complementary methods of pedagogical research, a combination of quantitative and qualitative analysis, practical confirmation of the main provisions of the study in experimental work.
Approbation of work was held at the Department of Classical and Duet-Classical Dance of the Performing Faculty, in the lower grades of the ARB. A. Vaganova, where the author has been teaching since 2003, and since 2008 he has been teaching a course in classical dance methodology at the Department of Classical and Duet-Classical Dance of the Pedagogical Faculty. The main provisions of the dissertation are reflected in publications and reported at the international seminar on the methods of classical dance (2007).
Volume and structure: the dissertation consists of an introduction, two chapters, a conclusion, a list of references and appendices. The main content of the dissertation is presented on 168 pages of typewritten text.
The history of teaching allegro in the Russian ballet school
Classical dance absorbed and brought to the perfect form the movement of the human body. This was preceded by a long way of development, search, observation and selection of the most expressive dance means. At the same time, jumping has always been an integral part of the movements of both humans and animals. An ancient artist, trying to capture fellow tribesmen, painted them in swift, sometimes very expressive jumping poses. In the primitive drawings of the fixed poses, one could already see the dance.
Antiquity with the cult of a healthy, harmoniously developed human body provides numerous evidence of various dances and jumping movements imprinted in them. The purpose of these movements and exercises was: "higher", "further" and, finally, "original".
Lucian of Samosata in his treatise "On the Dance" wrote about jumping. Some were performed in a circle, others he called jumps, others were just big jumps. And again the uncertainty: what are these movements, what did they look like? Lucian noted that the performers took care of the fitness of the body, strength, flexibility, stability.
In antiquity, and then later, in the Middle Ages, during the Renaissance, professional shows necessarily included various kinds of jumps, both small and large.
From the 15th century, treatises on dance began to appear in Italy. Note that these were textbooks on ballroom dancing. It was in Italy that public dance found its first theoretical development, took conditional, scientific forms, and developed its own terminology.
Starting from the 15th - 16th centuries, the dances performed by the people and the dances of the nobility are increasingly different in technical techniques and style of performance. Simple people could freely express feelings and emotions in strong, dynamic, sometimes inventive and complex movements. The professional actors who replaced the amateurs at the end of the 15th and the beginning of the 16th centuries belonged for the most part to the lower strata of society, they were not “fettered” by the rules. But by the nature of their activity, some especially gifted people could perform at the invitation in the castles of the nobility. This gave them the opportunity to see solemn, unhurried ballroom dancing, and then ennoble the style and movement in their performances.
From among the best dancers, masters of their craft, people appeared who tried to record dance figures, movements, and determine the technique of performance. Among the first known are D. da Ferrara and his work “On the Art of Dance and Dance” (late XIV-XV). He is followed by G. Ebreo "Treatise on the Art of Dance" (1463) and A. Cornazano "The Book of the Art of Dancing" (1465), F. Caroso's book "Dancer" (1581) and C. Negri, his work was called "New Inventions ballet” (1604). Note that these were treatises on ballroom, later on, serious dance.
One of the first C. Negri in his work analyzes jumps and tours in detail, as the most difficult movements to perform. He divides jumps into four groups:
Note that the term cabriole then meant many types of jumps, but "tours in the air and skidding, giving the dance a shine, did not include the concept of flight."
Then the author of the textbook describes some difficult jumps and advises to train them at a table or chair. The same practice, only at the stick, exists to this day in the training of dancers. The technique of each jumping movement, according to Negri, includes the work of both legs and arms. Sometimes he pays attention to the body and head. For the first time, the choreographer comprehends the work and coordination of the whole body of the dancer in the dance. And to put into practice the technique of performance, combining it with nobility and grace, was to be another emerging dance school.
Pierre Beauchamp - the legendary French dancer and choreographer of the 17th century - greatly contributed to the establishment and development of serious dance. He was a contemporary of J. Lully and a choreographer in his operas. In 1661, Beauchamp headed the newly founded Royal Academy of Dance. By that time, interest in dance entertainment was extremely high. The development of the art of dance in France was facilitated by a large number of touring Italian troupes. Naturally, the passion for the dance of the reigning persons, their entourage. Beauchamp taught King Louis XIV, danced and staged at his court. Ballet historian V1. Krasovskaya notes "that Beauchamp introduced the jump pas de ciseaux en tournant or revoltade en tournant into the male dance". It was Beauchamp who fixed and legalized the five positions of the feet in a serious dance;
He was the first to be awarded the title of maitre de ballet (1671) at the Royal Academy of Music. Beauchamp was the first to respond to the new forms of dance music proposed by the composer, and began to compose "for Lully's arias a conditional dance that gravitated toward virtuoso instrumentalism." And further: “The solo dance lined the stage in different directions with sliding horizontals pas glissade and pas chasses. Plies deepened the plane in curtseys. Splashes and splashes of drifts, on the contrary, affirmed the vertical, interrupted the smooth line of dance with a break, ... allegro tempos developed and improved the vertical. New techniques were perfected with strict observance of positions en dehors ... ". From now on, dancers and choreographers will study and improve the outlines of movement in space. It was Beauchamp's generation that "directed the dance towards the conquest of space. The scope and height of movements have multiplied. It can be assumed that, starting from the second half of the 17th century, in the built-up sequence of the classical lesson, the section - "jumps" - finds its specific place.
L. Blok quotes the statement of the dancer Depreo: "Beauchamp was the first to dismember the tempos." Then, she explains: "This is the dismemberment of dance steps into tempo ...". Let us clarify that the concept of tempo in ballet at that time (17th century) and up to the beginning of the 20th century is a combination of several movements, for example, the still known temps leve, temps lie, temps lie saute, etc.
Thus, the forms and style of dance, brought from Italy by numerous small touring troupes, fell on prepared and fertile ground in France. And the development of the dance continued in accordance with the characteristics of this country.
By the beginning of the 18th century, there was a clear separation of the styles of professional dance in Italy and France. Italian performers are technical to the point of virtuosity, they boldly use elements of acrobatics, but they are sharp, often to the point of rudeness and grotesque-comic. Their performing style originates in the folk comedy theater dell arte.
By the beginning of the 18th century, French professionals allowed virtuosity, but to certain limits. They are mannered and cutesy. In their performance there is more lightness, grace, nobility. Serious dance in France at that time was technical and not as easy as it might seem to modern eyes.
The technique of women's dance was not visible because of the puffy long skirts in accordance with the fashion of those years, in part, so jumps in women's dance were not used to the fullest.
Marie Camargo (1710-1770), the most famous French dancer of her time, was a temperamental Spaniard by nationality. She was the first to shorten skirts to the ankle, introduced jumps into the arsenal of a professional dancer and began to do entrechat-quatre. Noverre saw Camargo dancing. He noted that "all those pas ... attractive and brilliant, all these jetes, battus, royales, entrechats, done without "daub", Camargo performed with extraordinary ease." These movements have long been part of the male dance, the artist borrowed them for herself. “Madame Camargo was the first to dance like a man,” Voltaire remarked. The followers of the dancer began to use the achievements of male dance even more boldly.
Formation of methods for teaching jumping movements in the Russian ballet school
That is why the development of the base of research criteria was focused in the areas of development of the activity (performing skills, physical development), cognitive (learning the technique of jumping movements) and emotional and psychological spheres of the personality.
Consider the aspects of the formation of criteria for assessing the professional skills of future ballet dancers on the example of the Allegro section of the discipline "Classical dance".
The discipline "Classical dance" is a fundamental autonomous system in the professional education of a dancer, which is aimed at developing physical data and creative aspects of the personality. It is this discipline that contributes to the formation of professional skills of future ballet dancers in the performance of jumping movements.
The classical dance teaching system is based on methods that have been built for decades in the Russian ballet school and passed down from generation to generation. All the various methods of teaching dance are guided by the student, by his individual characteristics (physiological, psychological). In this regard: it is important how the relationship between the teacher and the student will develop, since the features of their relationship will affect the success of the educational process as a whole.
Classical dance has a huge developmental and educational impact on the activity, cognitive, emotional and psychological spheres of the individual. Mastering any kind of art requires special volitional efforts. And the art of dance is also based on great physical effort.
As pedagogical observation shows, it is at the beginning of classical dance training that the activity sphere of the personality is more intensively involved, and only later, in the process of regular lessons, the cognitive and emotional-psychological spheres of the personality begin to develop.
It is important to note that the main attention at the stage of admission to the ARB when assessing the physical data of children for the performance of jumps is given to the elasticity of the Achilles tendon (the child is asked to do a demi plie, while assessing the possibility of stretching the elasticity of the Achilles tendon); further, the strength of the natural push is evaluated (the child performs 16 springboard jumps) and coordination - the selection committee looks at the positions of the hands and body when performing springboard jumps. Hands should be tightly pressed to the body on the belt and not "twitch" during the jump. In this case, the body in the jump should go vertically up.
Throughout the educational process, children work on strengthening the musculoskeletal system of the body, on the development of physical data, on the development of plasticity and expressiveness of movements. Accuracy and technical performance, freedom, coordination and expressiveness of movement - the achievement of these qualities is the main goal of teaching classical dance. They determine the level of professional skills of students.
Teaching children classical dance is a dynamic process. At each of its stages, the main goal should be identified, which determines the integrity and effectiveness of teaching. At the initial stage of training (junior grades - 1-3), such a goal is: setting the body, legs, arms, head in exercise at stick No. in the middle of the hall, initial mastery of jumps, setting feet on, fingers, developing elementary skills for coordinating movements, that is. formation of initial professional skills of future artists. ballet.
Mastering movements in the course of a classical dance lesson is the main indicator of a student's professional readiness to participate in the ballet theater repertoire. Jumping movements are the final part of the classical dance lesson. The level of performance by a student of the section of jumping movements is also an indicator of his professional skills and readiness for further dance practice at all stages of classical dance training.
Thus, jumping movements are one of the main components of the professional skills of the future ballet dancer as the most important part of the classical dance lesson.
Readiness to perform jumps in the lower grades is determined by the presence of physical data and psychological characteristics of the student. In addition, the technique of performing jumps in classical dance has its own performing techniques. Elevation and balloon, the initial skills of which are laid in the lower grades, are the most difficult techniques to achieve. jump performance. At the same time, the presence of an elevation and a balloon in the performer characterizes the level of the artist's skill in performing jumps. It is with their help that the “image of flight” is achieved.
As noted at the beginning of the chapter, to develop criteria for assessing the level of professional skill of students in performing jumping movements in classical dance lessons, the method of expert assessments was chosen. Based on the results of the work of the expert group, three groups of criteria were established: methodological, performance and emotional-psychological.
Methodological criteria for evaluating the performance of jumping movements provide for the compliance of the completed jump with the requirements; developed by teachers of the Russian ballet school and preserved and approved at the moment by the ARB methodological office. The methodological criteria for assessing the performance of a jump include:
The methodical accuracy (correctness) of performing a jump in accordance with the modern requirements of classical dance implies the observance and fulfillment of the basic rules of each specific jump - the musical alignment, maintaining the eversion in all phases of the jump, observing the positions of the legs and arms, stable landing after the jump, stretching the legs in the air, preservation of the nature of each jump (air, parterre, on the spot, with a span, with the arrival on one or two legs, on one leg, etc.).
Coordination of the whole body during the performance of the jump (coordinated movements of the legs, arms, body and head during the execution of the jump) implies precise work of the legs, smooth movement of the arms and at the same time their help (hands) in performing jumps, accurate head turns, correct work of the body. The student's coordination is determined by natural data, and it can also develop in the process of learning classical dance.
Designing a model of a methodological system for professional training of future ballet dancers to perform jumping movements
Upon admission, the student had favorable physical data for learning. Grade 3+. During the first four months of study at the ARB, Artem V. quite freely mastered the basics of classical dance. At the same time, psychological difficulties were revealed. According to the type of temperament, student Artem V. is a pronounced phlegmatic person, so his psychological mood was extremely low. In the first months of study, he had no motivation, so the expressiveness of his performance remained at an extremely low level.
The educational type of the route for the student was chosen No. 3 (emotional-psychological). When working in the classroom, special attention was paid to increasing psychological motivation.
Methodological instructions were perceived by Artem V. attentively, but extremely unemotional, even infantile. By the end of the 1st year of study, the student's progress mark was Artem V.'s good physical data attracted attention. We note in particular that
psychological criteria (motivation, expressiveness), the student received an unsatisfactory grade (2).
Over the next two years of study (2nd, 3rd grades), a clear increase in all professional criteria is visible. In the process of study, the successful mastery of program movements significantly influenced the emergence of a positive psychological attitude and expressiveness of performance.
In this case, there is a direct correlation between the successful mastering of the program and the emergence of psychological motivation. As a result, the educational route No. 3 chosen for the student was correct. Table 2.3.6. The results of the jumps performed by Roman B. +).
During the first four months of study at the ARB, Roman B. successfully mastered program movements. At the same time, the student showed a high level of perception of methodological requirements, good coordination and natural elevation (rare at the initial stage of training).
The psychological mood of the student was very high. At the end of the 1st year, Roman B. showed good results in all jump performance criteria. At the same time, against the background of success, the student began to show psychological qualities that interfere with the learning process: self-confidence, disrespectful attitude towards comrades, etc. The student felt his superiority in physical data and did not always behave correctly in the classroom.
The educational type of the route for the student was adopted No. 3 (emotional-psychological). Much attention was paid to the correction of personal qualities of Roman B. Revealing the individuality of the student, the teacher led. work on the next; development, such important natural data as artistry and expressiveness.
Educational route No. 3 was chosen correctly; Proof! This is the "growth of all indicators in. performance! jumps.. The student's behavior in the classroom has become more even?
F the end of the 2nd year of study; the student's grade was 4- (the highest-highest-in the class). Roman B; stood out not only due to excellent physical data, but also artistic abilities. All jump combinations were performed by the student not formally, but at: a high emotional level.
In the 3rd grade, work continued on the further development of the student's abilities. There was an obvious increase in all the main indicators: the power of the push, soft landing and elevation. According to the result of the 3rd grade exam, Roman B. received a mark of 4 (the highest among third grade students).
In this case, there is a direct relationship between psychological correction and an increase in the level of jump performance.
As a result, the educational route No. 3 chosen for the student was correct.
Comparison of the results of the experimental data of Artem: V: and Roman B. shows that the choice of an emotional and psychological educational route is effective for students with a low level of motivation; to learning (Artem V.), as well as with high self-esteem (Roman B.). With such an almost polar emotional and psychological attitude, both students successfully completed their education in the primary grades, because. a necessary factor in the effectiveness of this educational route was the good physical data of the students, corresponding to the performing and methodological criteria.
The combined type of an individual route in various combinations was proposed by Ilya V. (No. 2, 3), Stanislav G. (No. 1, 3), Vikenty Ya. (No. 1.3), Yuri B. (No. 1.3).
A combined educational route is a combination of no more than two educational directions for students with specific problems of a physiological (lack of coordination, high (low) growth, fullness) and psychological (self-doubt, anxiety, distracted attention, laziness) character.
As practice has shown, there are more students studying on a combined educational route than those who are studying on any one fixed educational route.
For all students who studied on the combined educational route, the emotional-psychological (No. 3) route was applied, and simultaneously with this direction, three students went through the physical (No. 1) learning route and one student coordinated and methodological educational route.
Studying the effectiveness of the methodological system of professional training of future ballet dancers to perform jumping movements
Grand changemant de pieds en toumant no 1/4 turn is learned in the second grade after grand changemant de pieds is taught. This jump prepares students to perform jumps en tournant (boys to perform tours en Gaig). First, each jump must be learned for 1 beat 4/4. Starting position V position en face.
When performing this jump, you should strongly push off and jump with a straight body straight up. In the jump, you need to turn around and change legs in the same way as when performing petit changement de pied. You do not need to turn right away: jumping to point 1 and in the air, the shoulders help to complete 1/4 of the turn. The next jump is from point 3 to point 5, then from point 5 to point 7, and the last jump is from point 7 to point 1.
At the end of the year, you can do several grand changemant de pieds en toumant in a row. Each jump is performed at 1/4. Hands are in a preparatory position. Grand changemant de pieds en toumant no 1/2 turn is studied in the third grade. First, each jump must be learned for 1 measure 4/4, then for 1/4. Changemant de pieds with advancement to the side, forward and backward
The jump is learned in the third grade after having learned the temps saute with advancement and the grand changemant de pieds. Changemant de pieds with advancement develops leg strength and strong propulsion. This jump is performed according to the rules of changemant de pieds en face - tight legs in V position must be shown in the air and changed upon landing.
First changemant de pieds with advancement should be learned in 4/4 with a stop after each jump, then this jump is performed in succession in 1/4. Forward and backward, this jump must be performed en face and eppaulemant croise. Hands in preparatory position or in III position.
Changemant de pieds with advancing to the side is usually performed in the en face position. Hands can be in III position or one hand in I position, the other hand in III position. Petit changemant de pied Petit changemant de pied is taught in third grade. Petit changemant de pied is a ground jump, that is, without taking your fingers off the floor. At the same time, in the jump, the fingers must be stretched out. During the jump, the legs, as in the usual changemant de pied, change. At the initial study of the hand in the preparatory position, the head is straight. First, you need to perform two, three jumps, then increase the number of jumps i to seven, eight. The push doesn't have to be strong. You have to jump so high; so that the fingers are extended in the air, but at the same time remain on the floor.
Petit changemant de pied is the jump in which the landing must; be restrained, due to the strength of the feet. Therefore petit changemant de pied strengthens the feet. First, each jump must be performed at -1/4, later at 1/8.
Care must be taken to keep the pHo very soft and restrained, the knees to open with each demi-plie. The hips should rise in a jump - without a sharp push, as if squeezing on your feet.
In the future, petit changemant de pied en tournant is studied. Seven, eight jumps should be performed in a row at a faster pace. Each jump is performed on "1/8. The body before the movement leans down and forward. The head and gaze “remain” in the mirror, then the first head “returns” - back. During the movement, the body gradually rises, the shoulders should be very open. Hands, on the instructions of the teacher, can smoothly rise to the LI position and lower through the II position to the preparatory position.
Pas echappe is learned in the first year of study, first facing the stick. We begin to study this jump when the students have not yet made two jumps in a row, so for the purity of execution pas echappe can be divided into two. halves: first half - jump from the 5th position to the 2nd position, after which the knees are extended; and the second half - a jump from the II position to the V position. Pas echappe is learned in 2 bars 4/4. First measure: On the count of "one" - demi-plie in the V position.
With the same score, the movement is studied in the middle of the hall. Hands at the initial study are in a preparatory position. In the jump, the arms retain the correct shape and do not “twitch”. Head position en face.
Pas echappe - a small jump, but during the initial study, it is not necessary to deliberately lower the height of the jump. In the air, it is necessary to show extended legs in the V position. From the II position, the legs are extended and collected in the V position. Hold - legs in the P position is not necessary. It is necessary to monitor the accuracy of positions in the air and during landing. The loin on the plie must be tucked up before and after the jump. After each jump, you need to extend the plie.
Simultaneously with the jump in the V position, the arms rise to the I position, then, simultaneously with the opening of the legs to the II position, the hands open to the II position (girls have a low II position), while the head turns towards the leg that stood in front in the V position, and leans a little; brush look.
Simultaneously with the jump of CO II positions, the hands turn, open, and simultaneously with the arrival in the V position, the hands fall into the preparatory position. The head changes on landing, turning towards the leg that comes forward in the 5th position.
First, for accuracy of execution, pas echappe in IV position can be taught en face, then this jump is performed epaulemant croise. In the jump, the arms rise to the 1st position and, on landing, open to the position of a small croise position; during the second jump from the IV position to the V position, the hands lengthen, turn and lower into the preparatory position. This jump can also be performed by epaulement efface. At the beginning of the study, before the jump, you can stand up epaulement efface, and later, pas echappe on efface must be performed from the position of epaulement croise. In this case, one must keep the heels firmly on the floor before jumping and perform the jump up and with a slight turn of the epaulement efface. Hands through the I position open - into a small - pose efface. When performing pas echappe for IV in a row, the head should go down and down (look at the hand) and slightly turn away, simultaneously with lowering the arms to the preparatory position
E. V. Leibov in 1904. studied injuries among ballet dancers of the Leningrad Opera and Ballet Theater named after S. M. Kirov and partly among ballet dancers of the Bolshoi Theater of the USSR. He took 100 accident reports from ballet dancers and ran an injury analysis. The results of this method are unreliable, because accident reports are drawn up by safety engineers who do not have a sufficient understanding of the specifics of the work of artists; in the column about the cause of injuries, they most often write "but the fault of the artist."
However, some provisions of E. B. Leibov deserve attention and study. This is the creation of a medical ballet dispensary, uneven distribution of workloads among artists, sanitary and hygienic control over their work, diet and rest.
To reveal the same true causes of injury and disease the musculoskeletal system requires long-term monitoring of ballet dancers, the presence of a doctor in the classroom, the study of the movements of artists, the teaching methods of a particular teacher, the presence at rehearsals, behind the scenes during a performance. The doctor must work in collaboration with teachers and tutors, treat ballet dancers in a clinic and in a hospital.
In February 1965. Decree of the Presidium of the Central Committee of trade unions of cultural workers "On the state and measures to improve the working conditions of ballet dancers" was issued. After that, with the participation of professors M. V. Volkov (CITO)), S. P. Letunov (Research Institute of Physical Education) and the chief physician of the clinic of the Bolshoi Theater of the USSR and the WTO, Honored Doctor of the RSFSR M. I. Gorlovin, at the Bolshoi Theater was organized a prachebpo-balot dispensary with a staff of doctors, nurses and masseurs. Work on the study and prevention of injuries among ballet dancers began on the basis of this dispensary in 1967, which made it possible to reduce the number of injuries and diseases by more than 2.5 times compared to 1965.
In order to correctly interpret mechanism of injury and disease of the musculoskeletal system in ballet dancers, to provide correct medical assistance in order to quickly return the artist to the stage without losing the ballet form, it is necessary to know some elements of choreography, both classical and parodic.
The main means of coupling expressiveness in contemporary ballet- This is a dance that has a number of branches: classical, characteristic, folk, modern dance. Ancillary affinity is pantomime, that is, the art of expressing feelings and thoughts through facial expressions and gestures.
Every kind of dance imposes an imprint on the nature of the injury and the type of disease of a particular department of the musculoskeletal system; The shoes and clothes of the dancer are also of no small importance.
Knowledge of all kinds loads needed for doctors, involved in the treatment of artists . Depending on the type of injury or disease, on the duration of treatment, issues of general and professional rehabilitation are resolved.
Basic professional requirements for the individual characteristics of a ballet dancer
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Professional Requirements activities |
Professionally important qualities |
Adequate methods research |
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Makings (morphological and psychological) |
Special body requirements |
The ratio of height and weight of a ballet dancer |
Height-weight index |
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"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 |
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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, impulsiveness, extraversion |
1. Jung's association experiment. 2. "Fixed installation in the haptic sphere" Uznadze. 3. Cattell's Unstructured Drawings |
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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" |
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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 |
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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 |
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Orientation to achieve the goal - continuous improvement of the level of professional skills |
Motivation, the need to master the profession | ||
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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 |
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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); V 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 ballet dancer's special abilities, the closer the relationship between the 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?
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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 on psychological and pedagogical sciences at the Russian Academy of Public Administration under the President of the 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-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. IN.). [~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);
psychology of performing 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.
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 decisions, 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 of the artist's complete acceptance of the concept 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 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, they 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.
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 personality traits) than that of "ordinary" artists, and not only in terms of
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.
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; personality orientation - worldview, individual "acme preferences, creative standards and standards, motives for creative self-realization. A linearly determined dependence of the productivity of creative activity on psychological and acmeological characteristics is revealed. Such creativity of ballet dancers is unproductive, which is focused on the formal observance of the rules and canons of this type of professional activity ; creativity is highly productive, focused on self-education, self-development, self-improvement and movement towards acme.
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
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,
strength of personality, anticipatory competence, high level of self-regulation, decision-making ability, creativity, high and adequate achievement motivation), 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, object 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).
In the theoretical works of 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 by 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 critics - recognized experts in the field of ballet creativity, the author several monographs (three people), psychologists, recognized specialists in the field of psychology of performing artistic and creative activity, with 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: a high level of reflection (mostly unproductive) in 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 "Fantastic 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 modeling 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.
General 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. "Private" 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 on all special invariants.
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 an early age and therefore the main features of ballet dancers are - respect for 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 a combination - 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 limiting 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 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
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 of 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. //Akmeological 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
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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 THE 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. .IN.).
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. Substantiate 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 of the artist's complete acceptance of the concept 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 the 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 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.
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 personality potentials, personality strength, anticipatory solvency, a high level of self-regulation, the ability to make decisions, 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 by 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), elimination of restraining factors 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 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 "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.
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.
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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