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

Creativity as a way of life

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

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

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

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

Introduction to the world of dance.

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

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

When a hobby becomes a profession

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

1. Physical data:

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

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

3. Musicality, sense of rhythm

4. Stage data (appearance, artistry)

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

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

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

Some are invited to work immediately after the exams. Others enter into new life on one's own.

Choreographic schools of the Russian Federation:

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

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

• Germany:

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

— Hochschule fur Musik und Darstellender Kunst, Frankfurt am Main

• Netherlands

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

• Switzerland L'école-atelier Rudra Bejart Lausanne

— (Lausanne)

• Belgium

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

• Hungary

– Budapest contemporary dance academy (Budapest)

• France

– Lyon Conservatoire National Supérieur Musique et Danse (Lyon)

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

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

Career

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

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

— State Academic Mariinsky Theater

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

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

– Tchaikovsky Ballet Theater

– St. Petersburg Theater “Russian Ballet”

- Touring prefabricated corpses

Realization of a dream.

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

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

profession for young people.

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

Conclusion.

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

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

The motivational element means:

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

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

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

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

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

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

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

Operational element includes:

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

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

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

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

§ the introduction of a person creative input into the profession, enriching its experience, transforming and improving the surrounding professional environment;

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

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

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

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

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

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

1. The principle of the staged selection of applicants

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

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

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

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

3. Professional principle.

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

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

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

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

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

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

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

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

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

480 rub. | 150 UAH | $7.5 ", MOUSEOFF, FGCOLOR, "#FFFFCC",BGCOLOR, "#393939");" onMouseOut="return nd();"> Thesis - 480 rubles, shipping 10 minutes 24 hours a day, seven days a week and holidays

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 mastering 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. Methodical system of training future ballet dancers to perform jumping movements in lower grades 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 methodological system model vocational training 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; no studies psychological aspect the development of jumping among students and the role of the 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.

Used in the work educational literature on the methodology of teaching classical dance to teachers of 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.

Understanding the pedagogical attitudes of professional pedagogical activity contributed to the work 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 papers 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, psychological and pedagogical aspects teaching Allegro.

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 poses-jumps. 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 contributed 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 outlined the scene in different directions sliding horizontal 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 XVII century, in sequence classic 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 they are technical to the point of virtuosity, they boldly use elements of acrobatics, but they are sharp, often to the point of rudeness and grotesquely 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 educational process children work on strengthening the joint-muscular apparatus 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 saved and approved by V currently methodological office of the ARB. 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. 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 correcting personal qualities Romana 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 further development 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.

Combined type individual route in various combinations was offered to 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 initial study hands in preparatory position, head 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 out 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 hands keep correct form and do not "twitch". Head position en face.

Pas echappe - a small jump, but during the initial study, it is not necessary to specifically 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

Specific features and psychological structure
activities of a ballet dancer

The work of a ballet dancer makes high demands on his physical and mental data (A.Ya. Vaganova, 1948; G.S. Ulanova, 1954; M.M. Fokin, 1962; L.N. Lavrovsky, 1965; M.M. Gabovich , 1966; A.M. Messerer, 1967; N.N. Serebrennikov, 1969, etc.). The effectiveness of the artist's activity is determined by technical and artistic skill, since the stage activity of a ballet dancer requires, on the one hand, accurate and fluent possession of a variety of stage movements that are used as choreographic vocabulary, on the other hand, in ballet it is required to give each movement a certain emotional coloring, create a complete stage action from a combination of individual movements.
The main difference between performing arts and other types of artistic activity lies in the fact that the personality of the actor is transformed into the personality of the role, and this process always takes place in front of the audience. The creations of a poet - poetry, a painter - his paintings can exist separately from the author, expect recognition for years. The actor is not given. The depicted and the image, the embodied and the incarnation are merged into one in his work. If the role is created, but for some reason not played by the actor in public, we have no right to speak of a finished work of art. The conditions of his creativity are of particular importance in the activity of an actor. Creativity before the eyes of the viewer, appeal to many people at once, confidential communication with the audience, when emotional feedback is established actor - viewer - actor, all this makes special demands on the image embodied by the actor. The special expressiveness, the convexity of his actions and experiences, their contagiousness can probably be called a distinctive feature of the actor's work. Ballet, like other forms of art, is a means of communication between the artist and his contemporaries. The concept of "choreography" today includes everything that relates to the art of dance. The specificity of choreography lies in the fact that thoughts and feelings, human experiences are conveyed not by speech, but by means of movement and facial expressions. The physical elements of the dance must be subordinated to the psychological concept. The jump can bring joy and suffering. You have to let your body feel.
Ballet is the most complex shape choreography. Just as the composer awakens the imagination of the audience by creating musical images, the choreographer creates plastic, visible images for the same purpose. The individuality of a ballet dancer is associated not only with a certain complex of inclinations, colored by his peculiar imagination and temperament, it depends on the richness of life and spiritual experience, on the complexity social connections, from the civil position of the actor. And professional opportunities, as we see, are related to how mobile and plastic his personality is. Personality traits are closely related to the ability to reincarnate. The new stage image is born from the actor's personal material, how rich and varied it is. Artists are united by the ability to speak with the audience in the language of artistic images. But no one spends so much physical strength preparing for his performance as a ballet dancer. A ballet dancer is called upon to create living human images by means of dance, so a lot depends on the degree of talent and creative attitude to his work. His work always takes place at a given moment and is repeated as many times as the theater and the audience need. Any artist can create when he has inspiration, but the stage designer must himself own inspiration and be able to evoke it when it is listed on the playbill. This is the main secret of the art of the actor.
E.V. Fetisova, speaking about the originality of the profession of a ballet dancer, notes that he must have a whole range of physical and spiritual qualities: a harmonious physique, good health, endurance and artistry. Only an artist with a fine and wonderful sense of rhythm is able to correctly feel and expressively convey the musical and choreographic image on stage and embody the content of music, its subtlest nuances. Without a sense of rhythm, there can be no synchronicity in dance music. In addition, a ballet dancer must have a good musical and visual memory, have a keen ear and a sharp eye. The drama artist, before coming to the rehearsal, receives the text of his role; the opera artist receives both the text and the notes. The ballet dancer must memorize not only the entire musical line of each of his parts, all the exits, variations, ensemble dances - in parallel with the music, he must also master the choreography that the choreographer shows. External data help or hinder the artist, but, of course, in the end, his inner fullness and artistry decide a lot. Classical dance is one of the most complex phenomena now and in the past. Classical dance requires the ability to freely master all the technical ballet arsenal absolutely freely, therefore, in the life of every ballet dancer, mastering the technique of classical dance is an endless process. Technique is the ability to perform all the movements that make up the dance. But high technical skill is subordinated to the most important thing in art - the creation of an artistic image (E.M. Bocharnikova, 1980; G.I. Inozemtseva, 1980; A.M. Messerer, 1967; M. Bejart, 1989; G.S. Ulanova 1970 and etc.). Consequently, along with the external technique, the ballet dancer must also possess the internal technique - acting skills, while remembering that the performance of a ballet actor is fundamentally different from the performance of a dramatic actor. genuine art begins when the posture is illuminated by the inner light of human feelings - joy, happiness, pride, anger, etc. . Music helps the artist and choreographer to create with its psychological and emotional content. If the first component of ballet is dramaturgy, then the second, organically connected with it, is music. "Ballet is the same symphony," said P.I. Chaikovsky. And the same was repeated by B.V. Asafv, S.S. Prokofiev, R.M. Glier. R.V. Zakharov said: "Dance music should be that poem that defines and establishes the movement and action of the dancer. The dance ... will be an echo that repeats what the music will express."
Both in the simplest and in the most complex and subtle movements of a ballet dancer, three main components can be distinguished: power, spatial and temporal. Their countless combinations create equally limitless qualitative combinations of movements that provide dexterity, accuracy and endurance of the artist's activity. Speaking about the specific features of the work of a ballet dancer, it should be noted that, as a creative person, he needs social approval. Psychological stress, severe physical overwork, the monotony of daily classes, many hours of rehearsals of an often monotonous repertoire - all these components of negative emotional states accompany the ballet dancer throughout his creative life. These states require enormous mental and energy costs from the ballet dancer. Pronounced negative emotions and high anxiety make it difficult for artists to interact, complicate interpersonal relationships and negatively affect the moral and psychological climate in the team. Every artist must have high ability to mobilize their psycho-physiological and mental reserves, and this requires great volitional efforts.
An analysis of the literature shows that the professional activity of a ballet dancer has a number of specific features and places high demands on his physical and mental data.
The main professional requirements for the individual characteristics of a ballet dancer are given in Table. 1.
Table 1.
Professional requirements of the activity
Professionally important qualities

Special body requirements
The ratio of height and weight of a ballet dancer

"Dancer's Foot" The musculoskeletal system of a ballet dancer carries an important and purposeful load
Foot loading index, lateral orientation of the foot.

Among the numerous manifestations of temperament, the manifestations of those properties of it, on which the dynamics of the ballet dancer's activity, his performance, primarily depend, are of specific importance for choreography.
Emotional excitability, emotional stability, plasticity, impulsivity, extraversion.

Regular intense and maximum physical and mental stress requiring significant volitional effort.
High emotional-volitional regulation of purposeful activity.

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.

Artistry, the ability to convey the emotions of the hero and music with movements.
Danceability as a complex indicator that combines musicality and emotional expressiveness of movements.

Orientation to achieve the goal - continuous improvement of the level of professional skills.
Motivation, the need to master the profession.

Continuation of the table. 1
The object of the will and consciousness of a ballet dancer in his professional activity is his own body, his motor skills. To master the complex technique of dance, a fine differentiation of the spatial and power characteristics of the movement is necessary.
Highly developed ability to regulate movements in speed, strength and amplitude.

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.

An analysis of the literature on the study of the relationship between professional activity and personality traits showed that in psychology there is a clear interest in the psychological problems of the personality of a professional, the significance of which is acutely felt in social practice. Despite the social demand for research on the personality of a professional, given the specifics of the activities of a ballet dancer, it follows from the analysis of the literature available to us that almost no one has studied the relationship between the significance of a professional result and the personality characteristics of ballet dancers.

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Introduction

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

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

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

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

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

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

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

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

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

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

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

§ the presence of constant competition from other emerging professionals;

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

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

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

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

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

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

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

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

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

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

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

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

Research methods:

Observation;

Description;

Theoretical analysis;

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

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

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

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

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

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

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

Chapter 1

1.1 The specifics of the professional activity of a ballet dancer

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

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

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

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

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

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

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

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

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

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

1.2 Psychology of professional activity of a ballet dancer

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The motivational element means:

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

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

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

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

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

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

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

Operational element includes:

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

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

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

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

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

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

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

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

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

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

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

1. The principle of the staged selection of applicants

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

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

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

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

3. Professional principle.

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

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

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

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

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

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

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

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

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

1.4 History of ballet in the city of Krasnoyarsk

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

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

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

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

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

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

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

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

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

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

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

conclusions

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

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

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

Chapter 2

2.1 Trends in the modern system of choreographic education

2.1.1 Current state of the vocational education system

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

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

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

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

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

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

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

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

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

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

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

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

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

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

§ the ability to do something well or efficiently;

§ compliance with the requirements for employment;

§ the ability to perform special labor functions.

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

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

§ is an integrated result;

§ allows you to solve a whole class of problems;

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

§ appears consciously.

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

2.1.2 Contemporary ballet education in Russia

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

1. Entry level - ballet schools.

2. Average professional level - choreographic schools.

3. The highest professional level - academy.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Socio-personal and general cultural competencies;

General scientific competencies;

Instrumental competencies;

Professional competencies.

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

Among the professional competencies that a bachelor should have:

Knowledge of the choreographic repertoire;

Practical experience in performing choreographic repertoire;

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

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

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

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

It is no less important that “childhood is especially receptive to the beautiful - music and dance. Precisely childhood is a time of great emotional richness, impressionability, dreams and active actions” [ibid.], which does not play a role in the training of a ballet dancer. last role, especially during the period of primary education, when it is necessary to interest the child, excite and captivate his soul and creatively inquisitively begin to develop it.

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

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

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

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

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

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

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

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

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

Seminar;

Independent work;

Consultation;

Practical lesson;

Excursion;

Educational and industrial practice;

Course work;

Graduation work.

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

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

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

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

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

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

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

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

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

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

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

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

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

2.2 Pedagogical activities for the preparation of a ballet dancer

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

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

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

Research methods:

Observation;

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

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

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

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

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

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

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