Basic professional requirements for the individual characteristics of a ballet dancer
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Professional Requirements activities |
Professionally important qualities |
Adequate methods research |
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Makings (morphological and psychological) |
Special body requirements |
The ratio of height and weight of a ballet dancer |
Height-weight index |
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"Dancer's Foot" The musculoskeletal system of a ballet dancer carries an important and purposeful load |
Foot loading index. Lateral foot orientation |
Methodology M. Sulkhanishvili |
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Among the numerous manifestations of temperament, the manifestations of those of its properties, on which the dynamics of the ballet dancer's activity, his working capacity primarily depend, are of particular importance for choreography. |
Emotional excitability, emotional stability, plasticity, impulsivity, extraversion |
1. Jung's association experiment. 2. "Fixed installation in the haptic sphere" Uznadze. 3. Cattell's Unstructured Drawings |
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General abilities (emotional-volitional and intellectual sphere) |
Regular intense and maximum physical and mental stress, requiring significant volitional effort |
High emotional-volitional regulation of purposeful activity |
"Finding numbers with switching" |
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Ballet is the integration of thought and movement, therefore, creative talent in ballet is based not only on muscle activity, but also on the creativity of thinking. |
Fluency, flexibility, originality and thoughtfulness |
"Research on the creativity of thinking" E. Torrens |
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Special choreographic abilities |
Artistry, the ability to convey the emotions of the hero and music with movements |
Danceability is a complex indicator that combines musicality and emotional expressiveness of movements |
Methodology of expert and scoring assessments |
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Orientation to achieve the goal - continuous improvement of the level of professional skills |
Motivation, the need to master the profession | ||
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The object of the will and consciousness of a ballet dancer in his professional activity is his own body, his motor skills. To master a complex dance technique, a fine differentiation of the spatial and power characteristics of movement is necessary. |
Highly developed ability to regulate movements in speed, strength, amplitude |
Kinematometry, maximum tapping test in 1 minute, coordination of movements |
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Special choreographic abilities |
A ballet dancer should get satisfaction from monotonous work, feel muscular joy from performing complex movements at rehearsals, from choreography |
Emotional appeal of choreographic movements |
Modified technique T. V. Dembo, S. Ya. Rubinshtein |
The first group (30 people), which included the subjects - laureates, prize-winners and diploma winners of international ballet competitions, as well as those who graduated from college with excellent marks, was designated as "highly capable", the other (52 people) - "capable".
It was assumed that dance abilities at different levels of their development would differ: firstly, in the greater or lesser severity of individual components; secondly, the peculiarity of the correlations between their indicators.
Comparison of the average values of the indicators of the components of the choreographic abilities of these groups according to Student's t-test showed that there are a number of significant differences:
- "highly capable" students are distinguished by the optimal ratio of height and weight for ballet (p<0,01), меньшим индексом нагруженности стопы (р<0,05), меньшей импульсивностью (р<0,05), меньшей эмоциональной возбудимостью (р<0,01), более высокой активностью волевой регуляции (р<0,05), более высокими показателями беглости и оригинальности мышления (р<0,01), более высокими показателями максимального теппинг-теста и танцевальности (р<0,001);
- "capable" students are distinguished by a higher severity of indicators of the emotional attractiveness of movements (p<0,05).
To identify the features of the structure of choreographic abilities in the groups of "highly capable" and "capable" correlation and factor analyzes were performed for each group separately. As a result, it was revealed that the structure of choreographic abilities in the group of "capable" consists of four factors, and in the group of "highly capable" - of five. At the group "able":I factor absorbed with the greatest weights all four indicators of creative thinking, an indicator of the activity of volitional regulation, indicators of psychodynamic properties (emotional excitability and plasticity), indicators of the structure of the foot and coordination of movements, which indicates the severity of inclinations and general abilities, this factor was designated as "inclinations and general abilities"; in II factor with the highest factor weights included indicators of the emotional attractiveness of movements and dance performance, which indicates the severity of special choreographic abilities, this factor was designated as "special abilities"; in III factor with the highest factor weights included indicators of accuracy of movements at medium and large amplitudes, accuracy of measuring efforts, maximum tapping test in 1 minute, impulsivity and the need to master a profession, this factor is called "psychomotor", it indicates the severity of special choreographic abilities; IV factor, combining indicators of extraversion and emotional instability, is designated as "psychodynamic" which indicates the severity of these inclinations. At the group "high capable"in I factor with the highest factor weights included indicators of the accuracy of measuring efforts and movements at small amplitudes, the emotional attractiveness of movements (the level of special abilities), the impulsivity index, the foot load index (the level of inclinations) and the indicator of the development of thinking (the level of general abilities); in II factor with the highest factor weights included indicators of danceability and the need to master a profession (level of special abilities) and an indicator of fluency in thinking (level of general abilities); in III factor with the highest factor weights included indicators: introversion, emotional calmness, emotional stability (the level of inclinations), the activity of volitional regulation and originality of thinking (the level of general abilities), the accuracy of movements at a large amplitude (the level of special abilities); IV factor incorporated indicators of coordination and accuracy of movements at medium amplitudes (level of special abilities) and an indicator of the structure of the foot (level of inclinations); in V factor with the highest factor weight included the indicator of the maximum tapping test for 1 min. (level of special abilities), indicators of plasticity and height-weight index (level of inclinations), as well as an indicator of flexibility of thinking (general abilities).
A comparative analysis of the structure of the choreographic abilities of groups with different levels of development showed that in the “capable” group, two factors include indicators of the components of the level of special choreographic abilities, one factor is inclinations, and one factor combines indicators of the level of inclinations and general abilities, while groups of "highly capable" each of the five factors combines the indicators of all three levels of choreographic abilities: inclinations, general abilities and special choreographic abilities. Consequently, the higher the level of development of the special abilities of a ballet dancer, the closer the relationship between indicators of general abilities, special choreographic abilities and inclinations. Thus, it has been established that the structure of choreographic abilities is largely determined by the level of their development.
Further, it was studied how the features of the structure of the choreographic abilities of "highly capable" and "capable" are manifested in the nature of the relationship between the indicators of inclinations, general abilities and special choreographic abilities, i.e. with indicators of multi-level properties of integral individuality.
It was found that the higher the level of development of choreographic abilities, the more indicators of individuality properties are associated with their indicators. Moreover, it should be noted that the “capable” group showed close links between indicators of special and general abilities (mainly with indicators of will and thinking), and in the group of “highly capable” morphological indicators were associated with indicators of general abilities, as well as indicators of accuracy, speed and coordination of movements, danceability, emotional attractiveness of movements and motivation to master a profession, in the group of "highly capable" there are more connections with the level of inclinations than among "capable". Based on these data, the author concludes that general abilities ensure the success of the activities of persons with an average level of development of choreographic abilities, and a high level of development of choreographic abilities depends more on inclinations than on general abilities, i.e. the basis of highly successful activity in ballet is significantly determined by natural inclinations. Something else is important to us: the higher the level of development of abilities, the greater the number of multi-level properties they are interconnected. Consequently, the idea that a certain combination of different levels of individual properties acts as a prerequisite for the development of abilities is confirmed to some extent.
So, the results of the study by I. G. Sosnina indicate the following.
1. Artistic and creative abilities, in particular the special abilities of a ballet dancer, are determined by the specific and very strict requirements of professional activity imposed on the body, psyche and personality of the artist.
2. The special abilities of a ballet dancer are an integral multi-level and multi-component system that has a complex structure and includes: inclinations, general abilities and proper choreographic abilities that determine the success of professional activity.
3. The special abilities of a ballet dancer are determined by a symptom complex of multi-level properties of an integral individuality, ranging from the characteristics of the organism (structure of the body and its parts) to personality characteristics (motivation, interest, etc.).
4. The structure of the special abilities of a ballet dancer is largely determined by the level of their development. The peculiarity of the structure of the special abilities of ballet dancers at a high level of their development is that the indicators of inclinations, general abilities and special choreographic abilities are interconnected, and at an average level of development such a relationship is practically absent.
5. The high level of development of dance abilities is due mainly to the components of special choreographic abilities, the average level of development is due to the components of general abilities.
6. The level of development of choreographic abilities plays a backbone role in the integral individuality of a ballet dancer. The nature of the relationship between the levels of integral individuality acts as an indicator of special choreographic abilities.
Review questions
1. What is the originality of V.S. Merlin to the problem of abilities?
2. What are the criteria for the abilities of V.S. Merlin?
3. What is the novelty of T.I. Poroshina?
4. What is musicality?
5. Name the components of musical abilities.
6. What is a modal feeling?
7. Define musical-auditory representations and musical-rhythmic feeling.
8. What is inner hearing?
9. How is the interaction of sensations carried out?
10. What types of musical ear can you name?
11. What can cause irregular performance?
12. What is the main approach to the formation of correct motor sensations?
13. What is the difference between sensation and perception?
14. How does the perception of music depend on the socio-demographic parameters of the listener?
15. What are the main differences in the perception of serious and light music?
16. Give examples of the influence of personal meanings on the perception of a piece of music.
17. How can the process of development of perception proceed?
18. What kinds of memory are the most important for a musician?
19. What are the logical methods of memorizing a piece of music?
21. What should be taken into account when repeating a piece of music for its best memorization?
22. What is the structure of literary, pedagogical, visual, acting and choreographic abilities?
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Introduction
Ballet is the kind of art that combines the beauty and melodiousness of music, the plasticity and rhythm of dance, the subtlety of acting and the diversity of literary plots. Ballet, according to V.V. Vanslova - "synthetic art".
The Russian ballet school is rightfully considered one of the best in the world. Suffice it to recall the names of B. Eifman, G.S. Ulanova, A.Ya. Vaganova, N.M. Dudinskaya and others.
A school is a certain set of ideas, directions, concepts, views. For it to exist and develop, a clear system of pedagogical support is needed, which allows taking the best from these ideas and directions, turning them into reality, supplementing them with new ideas. “We expect from the school well-trained dance virtuosos, technically strong and at the same time real artists who, in the most complex dance, can express thought and fiery feeling, capable of transforming each time into a new artistic image,” writes R. V. Zakharov.
Currently, the system of choreographic education in Russia is undergoing significant changes caused by global trends, such as Russia's accession to the Bologna Agreement, and the reform of the vocational education system in general. These trends are expressed in the training of specialists in the "bachelor-master" type, the introduction of practice-oriented education, and the widespread informatization of the HPE system.
Relevant in the system of training modern specialists is their ability to directly integrate into professional activities immediately after graduating from a university or secondary vocational institution. This is mentioned in the works of G.B. Golub, E.Ya. Kogan, V.A. Bolotov, A.V. Khutorskoy and others. In the case of choreographic education, this implies a smooth transition from the choreographic school, academy to the theater. To ensure this transition means to substantiate the essence of the pedagogical training of the future ballet soloist, to establish interaction between theaters and educational institutions, to be able to determine the level of readiness of yesterday's student for today's adult professional activity.
There are practically no works devoted to a comprehensive study of the processes of formation of the professionalism of a ballet dancer. There are only a few publications that consider one or another side of this vast issue. Nevertheless, there are precedents for the competent construction of a system of transition to professional activity in our country, and they require detailed study. One of such precedents can be considered the city of Krasnoyarsk, where one of the most famous Russian theaters operates - the Krasnoyarsk Opera and Ballet Theater, some of whose soloists were trained at the Krasnoyarsk Choreographic School. And these soloists occupy a leading position in the Krasnoyarsk ballet.
Concretizing all of the above, we highlight the problem of this study.
Problem: lack of research on the development of professionalism of ballet dancers, lack of models describing the formation of professionalism of ballet dancers.
Research hypothesis: the formation of the professionalism of a ballet dancer occurs under the following conditions:
§ the presence of pedagogical support for the entire process of becoming an artist from a professional in the field of ballet;
§ the possibility of real practice of professional activity at the early stages of education;
§ the presence of constant competition from other emerging professionals;
§ systematic physical, intellectual and psychological preparation and self-training of the future professional;
§ availability of basic readiness for professional activity of a ballet dancer and constant confirmation of readiness improvement throughout the entire process of becoming a professional.
The purpose of the study: analysis and description of the modern model of becoming a professional ballet dancer.
To achieve the goal, it is necessary to solve the following tasks:
§ to determine the specific features of the professional activity of a ballet dancer;
§ will reveal the requirements of the profession of a ballet dancer to the personality and psyche of a person;
§ determine the criteria for the professionalism of a ballet dancer, ways to measure and form it;
§ collect historical information about the development of the Krasnoyarsk ballet (on the example of the Krasnoyarsk Opera and Ballet Theater, the Krasnoyarsk Choreographic School);
§ determine the trends of the modern system of vocational education in general and the system of training ballet dancers in particular;
Object of study: graduates of the choreographic school - artists of the opera and ballet theater.
Subject of study: the process of professional training of a ballet dancer.
Research methods:
observation;
description;
theoretical analysis;
The theoretical basis of the work is the study of the psychology and pedagogy of professionalism by A.K. Markova, the psychology of creative activity of A.I. Sevastyanova, B.S. Meilaha, B.M. Runina, Ya.A. Ponomarev, the basics of ballet art V.V. Vanslova, M.M. Gabovich, N.I. Tarasova and others. Periodicals, memoirs, biographies and autobiographies describing the activities of the leading ballet soloists of the past and present were also used in the work.
The work consists of introduction, two chapters, conclusion, bibliography.
The introduction substantiates the relevance of the research topic, the purpose, tasks, object, subject of research, its theoretical and practical significance.
Chapter 1 "Theoretical aspects of the formation of professionalism of a ballet dancer (on the example of ballet dancers of the Krasnoyarsk State Opera and Ballet Theatre)" defines the specifics of the professional activity of a ballet dancer, the criteria for professionalism, and provides a historical background on the development of the Krasnoyarsk ballet.
Chapter 2 "Analysis of the ways of becoming a ballet dancer's professionalism in the postgraduate period (on the example of ballet dancers of the Krasnoyarsk State Opera and Ballet Theatre)" considers the main trends in the modern system of professional education, the features of the formation of a ballet dancer's professionalism, and presents the developed methodological recommendations for the development of a ballet dancer's professionalism in postgraduate period.
In conclusion, the general conclusions of the entire work are presented.
From a theoretical point of view, the work may be of interest to researchers in the field of psychology and pedagogy of creative activity, from a practical point of view, the work is interesting for the methodological recommendations contained in it on the development of the professionalism of a ballet dancer in the postgraduate period.
Chapter 1
.1 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:
The scenario of the ballet is a dramatic idea, a 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.
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.
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.
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.
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.
.2 Psychology of professional activity of a ballet dancer
Like any professional activity, ballet imposes certain requirements on the personality of the artist, the level of development of his mental functions. Thus, the active motor activity of a ballet dancer requires the full development of such mental functions as sensations. “The development of the kinesthetic or motor analyzer is of great importance, especially in the performing activity of a person, writes Sevastyanov A.I. Kinesthetic sensations are caused, for example, by irritation of nerve endings embedded in muscles, joints, ligaments and bones, as well as resulting from the movement of the body in space, and provide the body with the necessary information for the implementation of coordinated and complex motor acts of the performer.
It is also clear that such types of sensations as auditory, tactile, static, and visual are also important in the activity of a ballet dancer. It should be noted that the development of a particular mental function implies their qualitative state. Every healthy person has a certain set of mental functions, but the degree of their severity can vary significantly, and thus create individual mental characteristics of each person. In the case of sensations, we can talk about such qualitative characteristics as the absolute threshold of sensations - the smallest irritation that causes a barely noticeable sensation, positive or negative adaptation - adaptation of the sense organs to the stimuli acting on them.
Important in the activity of a ballet dancer is a high level of development of perception and attention. With a high activity of these functions, some people may develop creative observation, a characteristic feature of which is “the ability to notice subtle, but very significant, typical features of an object or phenomenon in objects and phenomena.”
A creative personality is manifested in the originality of capturing the phenomena of the surrounding reality. The most important for a creative person is the so-called figurative memory, "consisting in imprinting and subsequent reconstruction of the representation of previously perceived objects." Emotional memory is also extremely important, which consists in remembering, reproducing and recognizing emotions and feelings.
Sensitivity and emotionality are important for any creative profession. The peculiarity of emotions and feelings is determined by personal properties, the orientation of the personality, its motives, aspirations, intentions, individual mental properties, for example, character and emotional-volitional components. A person not only experiences emotions and feelings, they also have an external “bodily” design in the form of facial expressions, pantomimics, intonation and vegetative-vascular manifestations.
An integral element of creative activity is its awareness and mental study by a person. In ballet, as in art in general, the ability of a person to think creatively is important. The main properties of creative thinking are as follows:
§ flexibility of thinking (transition from one class of phenomena to another, sometimes distant in content);
§ freedom from a 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 the train of thought of another person).
The process of staging a ballet is associated with a huge mental work of all the performers. The ballet dancer has to work with artistic images. Their formation and implementation lies with the imagination.
Thus, all the cognitive abilities of a person are involved in the work of a ballet dancer on stage. In addition to them, a person’s character traits and his temperament also have a significant influence. Leonhard K. introduced the concept of accentuated personalities, taking into account the accent as character traits, expressed in the features of the mental sphere, human motives, and temperament, which affects the reactive qualities of the personality, in particular, the pace and depth of emotional manifestations.
There are several different classifications of character accentuations, most of which are accompanied by special diagnostic techniques that allow you to distinguish the type of accentuation. Without dwelling on specific methods, we note that the division of people into types is always rather arbitrary. It is possible to single out character traits and types of accentuation that are “favorable” to the profession, but this must be done with caution, paying attention to the holistic perception of the professional’s personality, his professional qualities, the reviews of colleagues, and the social environment in which he is included.
For a creative profession, in the work of a ballet dancer, such character traits as openness, friendliness, patience, responsibility, independence, activity, and initiative are important. This list is not complete, but in general it reflects the specifics of creative professional activity.
Describing the activity of a ballet dancer, one cannot fail 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.
.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 their 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;
§ lack of professional deformations in the motivational sphere, crises;
§ 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 activities, 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;
.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:
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.
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 discovery 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.
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.
The principle of reliability underlying professional 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.
.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 winner of the USSR State Prize, architect I.A. Mikhalev. The opening of the theater was timed to coincide with the 350th anniversary of Krasnoyarsk, located on the square of the same name (now Theater Square).
Eleven premieres marked the 1978-1979 season. The audience was shown wonderful works of opera and ballet repertoire. On December 20, 1978, the premiere of the opera by A.P. Borodin "Prince Igor". This performance has become a kind of hallmark of our theater. On December 21, 1978, the ballet "Swan Lake" by P. I. Tchaikovsky was shown, on December 22, 1978 - the opera "The Barber of Seville" by G. Rossini, on December 23, 1978 - the premieres of two one-act ballets "Carmen Suite" by J. Bizet - R. Shchedrin and "The Young Lady and the Hooligan" by D. Shostakovich, December 24, 1978 - opera by P.I. Tchaikovsky "Eugene Onegin", December 26, 1978 - A. Adam's ballet "Giselle".
In 1979, the theater's repertoire was steadily replenished with wonderful performances: operas - "Hurricane" by V.A. Grokhovsky, "Aida" by G. Verdi, "Iolanta" by P.I. Tchaikovsky and ballets - "Chopiniana" and "Paquita" by L. Minkus, as well as the children's play "The Tale of the Priest and His Worker Balda" by M.I. Chulaki. In just 30 years of the theater's existence, 53 operas, 2 mysteries, 57 ballets and 16 children's performances were staged.
It is necessary to note the names of outstanding masters who contributed to the formation of the Krasnoyarsk Opera and Ballet Theatre. These are production directors - M.S. Vysotsky, R.I. Tikhomirov, G. Pankov, B. Ryabikin, L. Kheifits, V. Tsyupa, E. Buzin; conductors - I. Shavruk, V. Kovalenko, N. Silvestrov, I. Latsanich, A. Kosinsky, A. Chepurnoy, A. Yudasin; artists - N. Kotov, T. Bruni, G. Arutyunov, V. Arkhipov, Cherbadzhi, M. Smirnova-Nesvitskaya; choreographers - N. Markryants, V. Burtsev, V. Fedyanin, A. Gorsky, S. Drechin, A. Polubentsev, Vl. Vasiliev, S. Bobrov. Foreign musicians J. Stanek, M. Pietsukh and others also worked in the Krasnoyarsk Theater.
The names of the leading opera and ballet soloists are widely known both in Russia and abroad. Among them are People's Artist of Russia V. Efimov, People's Artist of Russia A. Kuimov, People's Artist of Russia L. Marzoeva, People's Artist of Russia L. Sycheva, Honored Artists of Russia V. Baranova, Zh. Tarayan, S. Kolyanova, A. Berezin, S. Efremova, G. Efremov, N. Sokolova, I. Klimin, Honored Artist of the Republic of Tuva G. Kontsur. Bright and interesting are the works of young opera soloists A. Lepeshinsky, O. Basova, A. Bocharov, E. Baldanov, and ballet soloists A. Ol, E. Bulgutova, M. Kuimova, I. Karnaukhov, V. Kapustin, V. Guklenkov and etc. The names of the famous dancers N. Chekhovskaya and V. Polushin, the magnificent opera singer D. Hvorostovsky, who worked at the Krasnoyarsk Opera and Ballet Theater, are widely known to the Russian and world public.
Krasnoyarsk Choreographic School was founded in 1978. Its opening is associated with the beginning of the activities of the Krasnoyarsk Opera and Ballet Theater and the Krasnoyarsk Dance Ensemble "Siberia". The first director is I. G. Shevchenko.
Artistic direction at different times was carried out by: G. N. Gurchenko, R. T. Khakulova, V. I. Burtsev, B. G. Fedchenko.
Over the entire period of its existence, more than 150 specialists have graduated from the school, who successfully work in theaters and dance groups of the country.
Leading teachers: G.N. Gurchenko, T. A. Dzyuba, Khakulova, L. V. Vtorushina.
Among the students and graduates of the school are laureates of all-Union, Russian and international ballet competitions (S. V. Dauranova, A. V. Yukhimchuk, E. Koshcheeva, etc.).
conclusions
In the first chapter, we managed to identify the essential features of ballet as an art and as a sphere of professional activity.
The profession of a ballet dancer is versatile and multifaceted. It requires a sufficiently long and high-quality training in the learning process, constant self-improvement after graduation. The work of a ballet dancer is everyday physical training, it is a high level of moral and aesthetic education, intelligence, self-awareness. The profession of a ballet dancer requires the development of a person's personal qualities, the constant activity of cognitive functions, and creative abilities.
The definition of professionalism is a dual process. On the one hand, there are objective tools for measuring physical, intellectual and psychological readiness for a profession. On the other hand, even the highest rates in these areas do not guarantee the emergence of a true master as a result of becoming a professional. What is decisive in the process of preparing a ballet soloist? What are the factors behind its success? The second chapter is devoted to the disclosure of these issues.
Chapter 2
.1 Trends in the modern system of choreographic education
.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 magistracy.
Bachelor's programs last four years, specialist's programs - at least five years, master's programs - two years.
Secondary professional institutions are planned to be brought under the format of applied bachelor's degree in order to bring disparate educational programs and institutions into a single system of professional education.
In addition to the division into levels, Russia's entry into the Bologna Agreement brought a system of credit rating assessment, the possibility of integration into a single European educational space. The credit-rating system of assessment involves the allocation of credit as a unit for assessing the success of mastering an educational program and calculating the rating among all students enrolled in this program.
The Bologna Agreement also implies the possibility of a student's unhindered transition from one educational institution to another throughout Europe thanks to a unified system for evaluating educational programs and actually similar ranking of the credit "burden" of each educational course.
It should be noted that Russia's entry into the Bologna Agreement is assessed by many educators as extremely ambiguous. So it is practically impossible to rebuild the national system of training medical workers, famous all over the world, according to the Bologna principles. Certain difficulties also arise in the training of specialists in the field of culture and art. In this area, the professionalism of an individual teacher and the traditions of training in a particular institution that have developed over many years are of great importance. Over the years, the experience that has been developing over the years cannot simply be translated into credit units and cannot be divided into universal training courses. Meanwhile, the reform process cannot be stopped and the transition to the “bachelor's + master's” system is inevitable. And all educational institutions have to adapt to these trends. So, for example, the Russian Academy of Russian Ballet named after A.Ya. Vaganova".
Another characteristic feature of modern vocational education in Russia, repeatedly mentioned in the "Concept of long-term socio-economic development until 2020", in the "Program for the development of Russian education for 2010-1015", is the focus on practice as the main tool for professional training. For a long time, the Russian education system was too overloaded with fundamental knowledge, absolutely useless for a specialist in real life: “Russian fundamental education, writes F. Yalalov, was created on a knowledge paradigm. The educational process in the system of general and vocational education for several decades was built on a deductive basis in accordance with the didactic triad "knowledge - skills - skills", with the main attention being paid to the assimilation of knowledge.
Recently, there has been a revision of the educational content, avoidance of excessive theorizing, creation of great opportunities for students to practice in real professional activities.
The above documents enshrined the concept of "competence" as a basic unit for measuring the quality of education.
In the Glossary of Labor Market Terms of the European Training Foundation, competence is defined as:
§ the ability to do something well or efficiently;
§ compliance with the requirements for employment;
§ ability to perform specific job 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.
.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:
Initial level - ballet schools.
The average professional level is choreographic schools.
The highest professional level - academy.
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:
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.
An artist of a dance group (ensemble) is 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).
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.
Choreographer (choreographer) - a creative worker, in accordance with the job description, creating (composing) his own choreographic works, resuming previously staged choreographic works and carrying out a set of organizational measures for their release on stage.
A tutor is a creative worker who, in accordance with the job description, conducts work on learning parts in new and previously created performances with the artists, rehearsing the performances of the current repertoire.
A teacher is an employee of an educational institution who trains students in various forms and forms certain competencies in them.
A teacher-tutor is 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.
A ballet expert is 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.
A choreologist is 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.
A kinesiologist is a doctor, medical professional, specialist in the field of kinesiology.
A dance therapist is 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 competences;
instrumental competencies;
professional competencies.
The latter are divided into general professional and profile-specialized competencies (according to the type of professional activity).
Among the professional competencies that a bachelor should have:
knowledge of the choreographic repertoire;
practical experience in performing choreographic repertoire;
knowledge of the basics of drawing, painting, composition, etc.
The list of competencies is quite extensive. It remains unclear how it is possible to check the formation of each, and whether it is possible to judge by the totality of their formation about the professionalism of a student as a future ballet dancer.
In the future, in the most general form, we will characterize the content of the professional training of the future ballet dancer in educational institutions in Russia.
As already noted, training in ballet art begins at the age of ten in ballet schools. N.I. Tarasov, asking at what age one should start learning classical dance: “... to learn its expressive means, its language, which, of course, the future ballet dancer must master technically perfectly, virtuoso, artistically freely, flexibly and musically”, he himself and answered: “We can safely say that for a future ballet theater artist it is necessary to start mastering the school of classical dance from the age of nine or ten ... The missed childhood years, as the initial period of training for a future dancer, will certainly affect his performing art as a kind of shady and not fully disclosed side.
It is no less important that “childhood is especially receptive to the beautiful - music and dance. It is childhood that is a time of great emotional saturation, impressionability, dreams and activity of action” [ibid.], which plays an important role in the training of a ballet dancer, especially during the period of primary education, when it is necessary to interest a child, excite and captivate his soul and start creatively inquisitively. develop it.
“Everything starts with simple things,” writes E.A. Menshikov. The movements that are honed daily in the lesson and which seem boring and non-dance, being included in the text of the choreographic composition, are already perceived by children as an integral part of the dance ... the sooner it becomes possible to put the letters of the ballet alphabet into words ... the more organic the existence on stage will be. At the initial stage, the author suggests paying attention to the physical preparation of the child, to the development of plasticity, a sense of rhythm: "... without teaching children the initial elements of choreographic literacy, you cannot teach them to dance, otherwise teaching loses all meaning" .
Particular attention should be paid to the education of patience, discipline, instilling love for music and art. “In the lesson it is necessary to develop will, character, discipline,” writes N.M. Dudinskaya". Also, the emphasis is on the development of imagination, memory, attention, perception, emotionality.
Training is conducted in the following disciplines: rhythm, gymnastics, choreography, dance, general school disciplines. Classes are held in groups of 10-12 people.
It should be noted that students of ballet schools from an early age are involved in professional activities, take part in productions. “The evening always began with a class-concert… Each dancer had one or two solo numbers, which I selected according to their individuality and preparedness,” writes N.M. Dudinskaya. The choice of the theme of the productions is determined by the peculiarities of the development of children in a particular age period: “Children of each age have their own dances. The younger ones dance "Polka", "Polonaise". The middle ones - "Geese", "Rock and Roll", the older ones - "Salute of Victory". “Performances should correspond to the age and level of development of children, they should be understandable to them, then the viewer will understand and accept them.”
Training in choreographic schools lasts from five to eight years. The selection to these institutions, as well as to ballet schools, is quite strict. Strict requirements are imposed on the physical readiness, health of the child, the level of his intellectual and psycho-emotional development. Exams at the school are held in three stages:
verification of 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):
independent work;
consultation;
practical lesson;
excursion;
educational and industrial practice;
course work;
graduation work.
Among the basic disciplines in choreographic schools: classical dance, folk stage dance, historical and everyday dance, jazz, step, rhythm, gymnastics, acting, makeup, foreign languages, the history of theater, music, fine arts, musical literacy, philosophy, fundamentals law, economics, sociology, anatomy, etc.
The main role in the preparation of a ballet dancer is played by classical dance. "It provides an education of the body in movement that can serve as an aid to any dance solution."
Classical dance is a fundamental discipline in the choreographic school, it plays a leading role in the professional training of future ballet dancers. It is at the lesson of classical dance that the language of choreography is learned. To master the high performance skills of classical dance, it is necessary to know and assimilate its nature, its means of expression, its school. The school of classical dance is the basis of the foundations of a systematic, consistent, methodical training in the profession of a ballet dancer.
One of the main components of the preparation of a future dancer is stage practice, which has been steadily introduced into the class schedule. The purpose of this subject is the comprehensive development and improvement of the performing skills of students on the basis of rehearsal work and stage performances, including theater performances. Stage practice is an integral, final part of the educational process.
Thus, the following can be attributed to the features of training a ballet dancer in Russia:
§ due to the physiological characteristics of the human body, there are strict deadlines for the professional activity of a ballet dancer: the beginning of professional training at 10 years old, the beginning of professional activity at 18-19 years old, the end of professional activity at 38-40 years old;
§ studying at a ballet educational institution (choreographic school, ballet academy) is considered as professional training from the first steps, from the age of 10;
§ a special mode and level of load of a student are comparable to the mode and load of an adult artist, which corresponds to the physical loads of sports 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 for advanced development of the humanities 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 information carriers);
§ the functioning of the choreographic school (ballet academy) both as an educational institution and as a theater group, the unity of the actual educational process and practice;
§ obligatory interaction of the choreographic school (ballet academy) with a professional, “basic” ballet troupe (theater): the troupe mostly consists of graduates of this educational institution, and most of its teachers are former and current artists of the troupe; orientation of the educational process to the style features and repertoire of the troupe; the opportunity for students to participate in professional performances from the first years of study.
.2 Pedagogical activities for the preparation of a ballet dancer
“The role of the teacher is enormous, the creative growth of artists largely depends on him,” wrote N.M. Dudinskaya.
We conducted a study to determine the specifics of the formation of the professionalism of a ballet dancer.
Research base: Krasnoyarsk Choreographic School and Krasnoyarsk Opera and Ballet Theatre.
Research methods:
observation;
“The only possible way to accumulate and preserve socio-cultural experience in the context of the continuity of generations is the system of continuous humanitarian education,” says V. M. Zakharov. In the most convincing, visual form, this system was developed within the framework of continuous choreographic education "school - choreographic school (university) - theater". Teachers of the Krasnoyarsk choreographic school adhere to similar positions.
The school was founded in 1978. To date, 56 teachers work in it, 18 of them are part-time. Since 2010, the school has been preparing bachelors in the direction of "Choreographic Art". The professional activity of bachelors in this area is carried out in the field of culture and art, related to choreographic art and the ways of its functioning in society, in institutions of education, culture, art and management.
The institution has established fairly close ties with the Krasnoyarsk Opera and Ballet Theatre. Students of the school constantly perform reporting performances on the stage of the theater, their future mentors - theater choreographers - regularly meet and work with students.
In ballet, students are required to have good preparation, the ability to meaningfully apply the complex of acquired knowledge and skills, to understand a certain interdisciplinary range of issues. The teacher must manage the process of training, development and education, and for this “you need to be competent, you need to fully and accurately know all the conditions of production, you need to know the technique of this production at its modern height, you need to have a well-known scientific education. Knowledge, competence, education cannot be replaced by any other, even the best human qualities.”
The current conditions of education impose an immutable requirement on the modern teacher - knowledge of the fundamental sciences. Moreover, “not only the amount of knowledge is of decisive importance, but also their accuracy, systematicity, and mobility. Not a maximum of knowledge, but their mobility and manageability, flexible adaptation to the conditions of an educational institution, makes a specialist suitable for pedagogical activity.
Based on these provisions, we analyzed the level of fundamental training of teachers from the Krasnoyarsk Choreographic School. All teachers have higher professional education, regularly attend refresher courses, participate in conferences and symposiums, prepare and publish their own articles.
The professionalism of teachers is also manifested in the ability to quickly adapt to new trends and trends in education. In this case, the proof of this is the revision of the traditional training system by the teachers of the school due to the introduction of the undergraduate system. They prepared projects of the PEP, programs of disciplines based on the third generation of the Federal State Educational Standards, and updated educational and methodological materials.
Modern researchers are increasingly talking about the formation of empathy as a professional quality, especially in relation to sociometric professions. “Understand and feel your student, his aspirations, hopes, motivations, eliminate fears and complexes, set him up to achieve his goal, and, having understood in time the futility of further efforts, be able to convince the student of this without injuring the child’s psyche, suggest him possible options self-realization outside of ballet - is this not the highest pedagogical skill?
Observation of the ways of teachers to establish interaction with students of the school allows us to highlight the following:
the school has a favorable atmosphere between students and teachers;
teachers' remarks concern the actions of students, and not their personality;
pointing out mistakes, teachers suggest and show how they can be corrected, and are not content with criticism alone;
all specialists in the institution have great authority among students.
Pedagogical activity in the preparation of a ballet dancer is not the prerogative of only an educational institution. School teachers in the theater are replaced by choreographers, choreographers who continue to improve the artist's skills. “To the theater as a class of improvement,” writes N.M. Dudinskaya, dancers who have already been taught at a school by someone come, someone’s students, they already have a diploma and come to improve their profession, practice movements, increase dance technique, acquire skills, improve their professionalism.
The transition from the Krasnoyarsk Choreographic School to the Krasnoyarsk Opera and Ballet Theater is going smoothly. School students perform in the theater on an ongoing basis, get acquainted with it, the rules adopted in it. Therefore, the moment of graduation from the school and entering the theater to work is not something overly exciting for them.
The theater brings together professionals in their field, the artistic director of the theater is S.R. Bobrov and artistic director of ballet - M.V. Peretokin make a significant contribution to the formation of new stars of Russian ballet. “Ballet is the art of the young, whether we like it or not,” says S.R. Bobrov. But where do they need to start? As Maris Liepa said, in order to dance, you need to dance. Here they get that opportunity. Anastasia Chumakova and Nikolai Olyunin are very capable and promising guys, they were taught by tutors from the Bolshoi Theater. Are others worse? Maria Kuimova danced Odette in Swan Lake, Kitri in Don Quixote, Denis Zykov also danced Basil there. Maxim Klekovkin and Anna Ol danced The Nutcracker in England, I gave them that opportunity. And in "Romeo and Juliet", along with Anya, young students of the choreographic school Ekaterina Bulgutova and Elena Kazakova are busy.
Pedagogical activity in the theater is the highest level of honing the artist's skills. Here he does not have the opportunity to learn the basics, but must demonstrate his own capabilities as efficiently as possible. The work of the teacher here is combined with the work of yesterday's student. If at the school everything was aimed at training and educating the future artist, then in the theater attention is paid to the artistic image, which is created by both the director-teacher and the performer-artist.
The artistic director of the theater, the choreographer take care of the constant improvement of the skills of the artists. Tutors from leading theaters of the country are invited to the Krasnoyarsk Opera and Ballet Theater on a regular basis; before each new production, the troupe works out video materials on existing productions by other authors.
Experts put communication at the basis of theatrical pedagogy. “Communication, writes E.A. Demidov, along with effective expression, is the central concept of the theatrical sphere. The theatrical theory of action defines the following features of the teacher's behavior in the process of interaction with students:
The teacher in the performance of his duties should look focused, collected, mobilization. The teacher needs to establish "illegal" communication, i.e. achieve working noise, "mix" the artists, "destroy the regularity of the rows." This is a necessary prerequisite for creating real conditions for the emergence of individual positions, so that it would be easier for performers to express their opinion during communication.
Speech artistry occupies a special place in pedagogical communication according to the laws of theatrical action. Speech artistry is a bright focus in the speech of the personality of the teacher, the ability to create in speech, causing an emotional and sensory response in the wards. This is her energy, intensity, associativity, expressiveness, expressiveness, subtle and appropriate use of non-verbal language.
choreographic education professional ballet
conclusions
Conclusion
In the first chapter, we managed to identify the essential features of ballet as an art and as a sphere of professional activity. 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
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.
In the second chapter, we identified the main trends in modern choreographic education, the specifics of pedagogical activity in the preparation of a ballet dancer.
Modern Russian vocational education is characterized by the transition to two-level education (the "bachelor's-master's" system), the introduction of the modular principle of education, and the credit-rating system of assessment. There are also trends towards practice-oriented education, which are manifested both in the active implementation of practice as a learning tool, and in the desire to get a real, socially useful and applicable result in practice.
Similar trends apply to choreographic education. Choreographic schools are moving to the preparation of bachelors. This process is accompanied by a revision of the content of education, the time frame of training. New requirements are presented for assessing the quality of the result obtained at the output. The competence-based approach is dominant in modern educational practice. Future ballet dancers must have social-personal, general cultural, general scientific, instrumental and professional competencies.
The process of training ballet dancers in Krasnoyarsk is complex. It includes preparatory and elementary education, basic training in the choreographic school, professional training in the senior courses of the school and in the theater itself. Not only the teachers of the school, but also the artistic directors of the theater take an active part in the process of developing professionalism.
The professionalism of a ballet dancer is formed under the following conditions:
§ with available external and physical data corresponding to professional activity;
§ subject to the start of education at an early age (no later than 10 years);
§ subject to the availability of a comprehensive education in a choreographic school;
§ if there is a desire for learning and continuous self-improvement;
§ in the presence of competent and highly qualified pedagogical support along the entire path of the formation of professionalism;
§ in the presence of established links between the educational institution and the theater, the possibility of constant practice.
Based on the analysis of approaches to the organization of pedagogical activities for the training of ballet dancers in Krasnoyarsk, the following methodological recommendations were formulated:
The training of a ballet dancer should be systematic and include three related stages: the stage of initial training at the ballet school, the stage of basic training at the choreographic school, the stage of professionalization in the senior classes of the school and in the theater. It is possible to combine these steps. A typical example here is an atypical higher educational institution - the Academy of Russian Ballet. AND I. Vaganova, who manages to train from an early age for 5-8 years in various specialties.
2. It is necessary to establish close contacts between choreographic schools and theaters. This interaction should include reporting productions of school students, the participation of the best students in theater productions, and the teaching of certain disciplines by theater employees.
Within the walls of the school, it is necessary to develop opportunities for healthy competition among students, develop competitive programs with encouragement, control and evaluate the success of educational activities. All this will allow, at the end of the school, to fit into the schedule of the theater in the least painful way.
Opportunities must be created in the theater for the constant improvement of skills by young performers. This implies the invitation of qualified tutors, participation in internships, active teaching activities on the part of the choreographer, experienced performers.
In the process of studying at the school, the future ballet dancer needs to form the desire and ability for self-learning. It is important to emphasize the need for constant self-improvement, to show the ways of self-development.
Thus, the tasks set at the beginning of the study can be considered fulfilled, and the formulated hypothesis proved.
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Ballet dancer - a creative worker of the theater, a professional dancer who, in accordance with the job description and qualifications, performs the parts assigned to him in ballet performances and other works of ballet art. The work of a ballet dancer, like any kind of activity, requires the performer to possess specific qualities that determine his suitability for it and ensure a certain level of success in its implementation.
Possession of the profession of a ballet dancer is impossible to imagine without a daily lesson and rehearsals, improving skills that are laid down from childhood. Strict cleanliness, lightness and airiness are achieved by long methodical work.
The immediate prerequisites for achieving the goals are competencies. Competences describe a person's behavior at work, which is predetermined by his mental state, abilities, experience, knowledge and motivation.
The connection between the educational process and the formation of competencies is traditional. At present, the issue of the formation of "general cultural competencies" has been most fully, deeply and thoroughly studied. Meanwhile, the complex concept of "professional competencies" in the theory and practice of specialized choreographic education is in the process of being developed.
To reveal creative abilities, instill a high artistic taste, which includes a sense of proportion and a sense of style, musical sensitivity, the ability to penetrate not only the content of the performance, but also its mood, awaken love for the theater, for the future profession, develop a sense of artistic duty - these and other tasks are facing teachers. That is why the main feature of the education of future ballet dancers is the interconnection of special disciplines. The complex impact of all objects contributes to the development of the technical level of performance, plastic expressiveness and general culture.
It should be noted that there is some contradiction in the specifics of the transfer of knowledge and skills in professional choreographic education, because the practical side of the learning process cannot even be partially replaced by any detailed recommendations and programs. The most important factor here is the style and handwriting of a particular teacher, who reveals his vision, creative personality, skill and experience. As a result, each teacher has his own methods. This approach gives the teacher the right to independently solve the most pressing and relevant issues of the pedagogical process.
Artistry as a professionally significant competence.
In dance, a person uses his own body as a means of expression, as an instrument that he makes sound plastic. Therefore, by its very nature, the ballet theater is characterized by exacting virtuosity, and the work of a ballet dancer to improve choreographic technique continues throughout his acting life. In various opinions about professional choreographic education, there is a strong and stable dominant about the need to improve choreographic technique. Let's agree that the performance of a dancer who is not self-confident and not free in combinations is far from art, here all the artist's attention is directed only to keeping the form. Undoubtedly, good technical training expands the competence of the ballet dancer, represents the development of his performing language, enhances the possibilities of revealing the inner content of the image. At the same time, all the attention of a ballet dancer cannot and should not be focused on technical performance.
Why do the poses, gestures, facial expressions of some actors create the necessary illusion of the complex psychological experiences of the hero, while the performance of other artists looks unconvincing? How many artists, who know the school perfectly, lack something important in their performance. What distinguishes a bright expressive ballet dancer from a "pale" and "indistinct" one?
Artistry is a professionally significant competence that gives the activity a pronounced aesthetic and emotional character. This opinion was substantiated by the ideas of the classics of choreography: J. Nover, Ch. Didelot and others.
There is no language barrier for the art of ballet, its inner significance is accessible to the consciousness and sensations of all people of the world. This is the main reason why a ballet dancer must master the skill of creating an atmosphere around him. If an artist is really a person, if he is internally rich and extraordinary, he is interesting to the audience.
It is important for a future ballet dancer to realize that art opens up endless spaces for the self-expression of his personality. According to the basic principle of stage culture, an artist, showing his work on stage, simultaneously demonstrates his intellectual level to the public. The creativity of ballet dancers, oriented towards the formal observance of rules and canons, is unproductive; only creativity oriented towards self-education, self-development, self-improvement can be fruitful.
Formation of competencies of the future ballet dancer during the training period.
The professional competencies of the future ballet dancer are formed for a long time, intensely and persistently. The dancing abilities revealed in a child are by no means a guarantee that the child will be a ballet dancer. For this to happen, special training is needed. The path to the stage is harsh: it subjugates the entire way of life of the student, requires all his strength. In order to reach the heights in any art in the future, you need a special temperament, ability to work, love for your work, spiritual wealth, intelligence and a bright personality.
The ability to classical dance is expressed not only in the motor, physical and musical abilities of the child, according to which he is tested at the entrance exams, but also in the ability to apply these abilities in the formation of creative skills. Without the perseverance shown by the teacher and the child, good health and many other conditions, abilities can freeze without developing.
That is why during the training period, priority is given to the formation of internal motivation in students for their future profession, the formation of personality, and orientation towards professional activity. In building the educational process, the student initially takes an active position. And the factor of a conscious choice of a future profession gives training a purposeful character.
In the analysis of the choreographic educational process, a number of mental properties are distinguished that are necessary for mastering the profession of a ballet dancer: attention, memory, will, etc.
One of the main higher mental functions of the creative nature of the actor, his ability to master the profession is attention. The ballet dancer should develop a concentration of attention on the whole body, while all the sensations in general should be used as much as possible - visual, auditory, and muscular, with the maximum inclusion of analytical thinking.
Proper professional control over the work of your muscles is the key to the free execution of choreography. Therefore, from the first days of training, the teacher of "Classical Dance" pays the most attention to instilling a culture of muscular understanding. He makes sure that the students not only learn and perform, but also analyze each movement, develops in them the desire to work with maximum efficiency, consciously, with an understanding of “why” and “why”. As a result of such training, students not only acquire the experience of performing, but are also able to explain the laws of performing movements themselves.
One of the most valuable skills of a future ballet dancer is the speed of perception and memorization of various combinations. The reproduction of movements is associated with the controlled work of consciousness and a high level of motor memory, the most important feature of which is the ability to maintain the learned movements for a long time. Gradually, as a certain degree of professionalism, students develop an automated execution of movements, which makes it possible to free their attention for creative tasks.
When performing a dance, the objects of attention are choreography with its inherent technical difficulties, music with its melodic and rhythmic content, movement in the stage space, communication with partners, etc. By instantly shifting his attention from one object to another, the artist, however, must be able to keep the rest in his zone of control. Moreover, all learned objects of attention should always be perceived by him as fresh. Thus, during the stage performance, full concentration of all mental processes is achieved.
Another important quality of creative activity is an act of will. “Will is the ability of a person to consciously control his behavior, to mobilize all his forces to achieve goals.” In the process of learning, the development of the will occurs through the education of attitudes towards difficulties and the mechanism for overcoming them. Thanks to volitional efforts, the learning process itself becomes much more effective: concentration on muscle work improves, the speed and dexterity of muscle reactions change.
The education of the internal state of a ballet dancer is also impossible without influencing his emotional sphere, since with all the external conventionality of ballet, it is precisely the psychological reserve that makes it a fully-fledged artistic form of art.
In order for each movement to become picturesque, “speaking”, to get its own logic, it must be understood, felt, felt. Any movement can be performantly intoned with a different emotional or characteristic coloring. For example, pas de bourree can be bubbly, light, flirtatious and whimsical or metallic, hard, chased. A slight change in posture, turn of the head, direction of gaze leads to a change in the character and mood of the image. Such nuances of plasticity open wide possibilities for the performer. To teach to give the same poses, movements different content, shades, nuances means to instill the skill of an actor's consciousness.
The relationship of special disciplines.
The high quality of the professional choreographic educational process will be revealed only in the analysis of the entire amount of knowledge acquired by students at different levels of special training.
So, for example, in the lessons of “Historical and Everyday Dance”, students absorb the rules of good manners, the originality of posture, and the peculiarities of wearing a costume. The main task here is to learn how to reproduce the style features of historical dances and the behavior of characters from different eras.
Each ballet dancer in the theater must know and be able to perform various dances of the past centuries. “Not a single choreographer, working on staging a new ballet, will teach the artist to dance the waltz necessary in the course of the action: it is understood that the ballet dancer knows how to dance it well.”
A set of movements, taken by itself, most often does not present a technical difficulty, the whole difficulty lies in mastering the style. An artist who possesses stylistic features will easily be able to plastically embody the acquired behavioral skills in a specific historical setting with taste.
The discipline "Character dance" reveals the peculiarities of national color, draws the attention of students to the differences in manner, temperament and plastic characteristics. Without the development of nobility, elegance and chic in the staging of the body, a sensitive sense of movement and posture, breadth of gesture, expressiveness of the hands, an inner impulse, a professional performance of a scenic characteristic dance is impossible.
At the lessons of "Duet Dance" students comprehend the culture of communication of partners. Only precisely executed support, when both performers work in sync, gives a beautiful stage effect. At the same time, internal contact, attentiveness of partners to each other help to reveal plastic images more deeply.
It is the structure of the full complex of special items that ensures the manifestation of the developed culture of a ballet dancer, who is able to fulfill any creative requirements of the theater, gives the future artist a chance to realize his potential to the fullest.
Formation of self-education, self-development, self-improvement.
The learning process cannot be based on coercion and mechanical repetition. Modern requirements put before the ballet teachers the task of forming in students the ability for independent activity. Effective personal development is possible only under conditions of high activity and independence.
“Self-realization is the main condition under which creative activity manifests itself as the main factor in the harmonious development of the individual. The desire of a person to realize the creative forces and abilities inherent in him is the most profound need of the individual, a need that determines the meaning of his life and the significance of his Self in the eyes of other people. The task of pedagogy is to provide an opportunity to reveal one's Self. The expression of one's inner world through the external manifestation is the most important feature of any artist.
Self-education is a person's activity aimed at changing his personality in accordance with consciously set goals, established ideals and beliefs. The principle of students' independence in the educational process implies orientation in such a way that they are directly involved in the preparation for their future activities, and the learning goals set from the outside would become their own, personal goals. Based on the principle of self-control and self-organization, the teacher does not teach, but helps to learn. It demonstrates to students the need and correctness of mastering learning skills for their independent implementation, develops in students the habit of continuous improvement, work on themselves, on their creative growth, which they will need throughout their creative activity.
Artistic magic.
A significant role in the formation of the creative thinking of the future ballet dancer is given to stage practice, which brings little artists not only the joy of being on stage, contributes to giving a deeper understanding of the chosen profession, and forms the right attitude to the work of their life. It is on stage practice that students take their first steps on the path of artistry.
Modern trends in ballet have brought to the fore virtuoso technique, which has led to the fact that the dancer has become more significant than the actor. However, the dance must express feelings, and therefore must be understandable not only to connoisseurs and ballet lovers, but to every receptive spectator. Therefore, once again I would like to note that artistry is a professionally significant competence of a ballet dancer, which should not be neglected.
If an artist, entering the stage, does not know how to convey to the viewer his inner state, expressiveness, he will be the most boring actor. Each image must be revealed artistically, musically, emotionally and psychologically justified. Any gesture, posture, nuance must have an internal impulse. To fill a pose with content, you need to revive it, open some of your own elements in it, fill it with your inner thought - then it will be organic and meaningful.
Despite the fact that the choreography is fixed, each performer looks for his own psychological nuances of plasticity in it, looking for the most expressive pose, the most favorable angle, tilt and turn of the head, hand positions, and thus colors the role with his individuality. Human characters are multifaceted, all people express feelings in different ways, so there cannot be exactly the same masks of emotions for different people. Using one paint to reveal the image is a fundamentally wrong method.
“Each feeling has many shades and, accordingly, the strength and scale of its manifestation. So, for example, joy can be quiet, soft, but it can also be stormy, unrestrained. To be able not only to evoke a tender feeling in yourself, but also to accurately determine its scale is a great and subtle art of acting.
At the same time, it is important to remember that inspiration does not come to an artist by itself, say, in the middle of the night or during a vacation, on the banks of a river or the sea. It is necessary on a particular evening, at a particular hour, when the bells sound in the theater and the audience sits down in their chairs. Consequently, the artist must be able to evoke his inspiration himself, at his own will and discretion. Even in moments of poor health, he must find ways to awaken in himself a spiritual uplift before the upcoming work, to achieve the highest manifestation of mental, spiritual and creative forces. To breathe life into the created image, the skill of the actor requires spiritual work.
The theater requires independence, personal qualities, creativity on stage from a modern ballet dancer. We should not forget that ballet dancers are not dancers and dancers, but actors of choreographic art! In the process of preparing a performance in the theater, work on creating an image and technical improvement of the dance take place in parallel. Possession of the form of classical dance makes it possible to perform the dance without a sense of tension, but the absolute completeness of the image cannot be achieved without mastering the skills of acting, which allow artists to penetrate deeply into the spiritual world of the hero and emotionally saturate his plastique. The ballet dancer must have not only technical professionalism, but also acting expressiveness, the performance must captivate the viewer with images.
The level of performing culture is the main thing that determines the face of the theater, because often the same names of performances are performed in different troupes. The difference is in the level of performance. Today, unfortunately, we often encounter certain losses in artistic performance. It is not so often now that performances amaze the audience with a deep inner content, individualities and personalities have disappeared.
The main performers strive to focus on the technique of performance, showing the audience the full severity of their profession, forgetting about the loss of imagery, the naturalness of expressing feelings on stage. The very style of acting is often characterized by closed feelings, restraint. The dominance of technology introduces a note of artificiality and falseness. The performance loses its magic, there is a loss of the artistic side of the performance. The elusive essence that affects the souls of the audience disappears without a trace.
But, after all, Russian ballet art has always been distinguished by cordiality, the ability to reflect inner life in an artistic stage form. Recall that in the Soviet years there was the concept of "the style of the Leningrad school." For many years, the school and the theater have attached great importance to the refinement of form, quality and certainty of style. The artists easily demonstrated a crystal clear dance, however, the technique was not the end in itself of the performance.
The most important thing in ballet is the live creativity of the artist. A full-fledged creation of an artistic image in a ballet performance is possible only on condition of free possession of both choreographic and acting techniques. The competence of a ballet dancer, which lies in the ability to play not only with the plasticity of the external form, but also in the ability to convey one's inner content, one's inner experience into choreographic language, is the key to success on the path of stage creativity.
1Professional perspective of ballet dancers in pedagogical activity, specific features of pedagogy in the system of additional education for children; creative self-realization in the DOD system, tasks of the teacher-choreographer, methods of education and training of pupils, the use of a competency-based approach in additional education of children.
professional activity
teacher-choreographer
ballet dancer
additional education for children.
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PROFESSIONAL SELF-REALIZATION BALLET IN ADDITIONAL EDUCATION OF CHILDREN
Matsarenko T.N. one1 Academy for Advanced Studies and Retraining of Education
abstract:
Professional ballet dancers perspective in educational activities, specific features of pedagogy in the system of supplementary education for children; creative self-realization in the DOD, the task of the teacher-choreographer, methods of education and training of students, the use of competency approach in further education of children.
keywords:
professional activity
additional education of children.
Additional education for children is an educational practice designed to realize creative potential in any professional field, including choreographic activities.
Ballet dancers can successfully continue their professional activities and successfully realize their creative potential in the additional education of children, the features of which are: the informal nature of education, freedom of creativity, openness, which allows us to assert that this area is productive for the self-realization of ballet dancers as leaders of choreographic groups.
In science, there are a number of studies addressed to the activities of teachers of additional education (N.V. Anokhina, N.K. Bespyatova, L.N. Buylova, Z.A. Kargina, G.N. Popova, etc.); analysis of the pedagogical process and the work of teachers of out-of-school institutions (M.A. Valeeva, M.A. Uglitskaya, I.V. Chendeva, etc.); certain aspects of the activities of teachers of out-of-school associations (S.V. Saltseva, E.S. Starzhinskaya).
The activities of institutions of additional education for children take place in the free time of students. The specificity of this sphere lies in the possibility of a voluntary choice by the child, his family of the direction and type of activity. This is done taking into account the interests and desires, abilities and needs of the pupil. The student himself determines in which circle he will be engaged and chooses a leader.
Unlike school, in additional education institutions, the student voluntarily chooses the children's community in which he feels most comfortable. Often it is this factor that has a direct impact on the primary choice of students in a studio or circle. Students come to classes in their free time from the main studies, they are given the opportunity to move from one group to another (according to the age composition). The educational process takes place in an informal community of children and adults, united by common interests and joint activities. Voluntariness in institutions of additional education for children is also manifested in the fact that a student can change the circle or leave the institution at any time.
The success of the development of the system of additional education for children depends on the ability to attract new people from among creative workers who professionally own a craft (in our case, choreography) and wish to pass on its secrets to children. For a teacher of additional education for children, it is important to find new meanings for their activities. The search for meaning is carried out both at the level of worldview self-determination, and in solving situational pedagogical problems, when one has to make a choice, evaluate the factors that help the teacher to realize himself.
The professional choreographic training of ballet dancers is fundamentally different from the dance art of the general aesthetic orientation of additional education for children (amateur groups, clubs, circles). The main tasks of the institution of additional education for children:
Providing the necessary conditions for personal development, health promotion, professional self-determination and creative work of children;
Formation of a common culture;
Organization of meaningful leisure;
Satisfying the needs of children in creative activities.
N.A. Alexandrova, N.P. Bazarova, T.F. Berestova, G.V. Berezova, G.V. Burtseva, L.V. Bukhvostova, E.I. Gerasimova, G.A. Gusev, O.V. Ershova, T.I. Kalashnikova, O.G. Kalugina, E.V. Koronova, V.F. Kulova, L.N. Makarova, V.E. Moritz, V.P. May, V.I. Panferov, L.E. Pulyaeva, G. Regazzioni, V.Ya. Rushanin, E.G. Salimgareeva, V.I. Uralskaya and others.
In order to more accurately understand the difficulties of the transition of ballet dancers to pedagogical activity, it is necessary to consider the specific features of the activity of a teacher-choreographer of additional education for children.
An essential feature is the right of freedom of choice, independent determination of the content, methodology, organization of classes, professional self-expression in the author's educational program.
Teachers of additional education for children have the right to freedom of choice and use of teaching and upbringing methods, teaching aids and materials, textbooks, to the manifestation of creativity, public and pedagogical initiative.
In the system of additional education for children, the task of preparing students as professional dancers is not set, the teacher-choreographer needs to open the world of dance to the pupils, introduce them to this art form, teach the elementary basics of choreography, and create the foundation for a more serious hobby. Students receive initial choreographic training, including the dance alphabet: the main expressive means of classical dance (posture, dance step, eversion, jump, plie, flexibility); the main elements of folk, historical, everyday, ballroom, modern dances; knowledge about the characteristic features and history of dance of various eras and peoples. It is supposed to develop the musicality of students in choreography lessons, as well as mandatory stage practice, participation in school productions.
The methods of working with the choreographic team include:
Dance show method - a method of teaching in which the teacher-choreographer demonstrates a dance composition, individual figures and elements and analyzes them accordingly;
Oral presentation of educational material - the teacher-choreographer informs students about the history and current state of choreography, talks about dance music, thus helping students understand the nature of dance vocabulary and the features of dance music;
Reception of dance-practical actions - the dance lesson is built as a practical lesson for learning dances and consolidating skills. Training exercises are a systematic repetition of dance movements that students, under the guidance of a teacher-choreographer, carry out each lesson. With the help of dance tasks, students reproduce dance vocabulary in order to further consolidate it;
Method of cognitive activity: illustrative and explanatory, problematic, research. The use of these methods by the teacher-choreographer contributes to a more conscious assimilation of the basics of dance training.
The teacher-choreographer is constantly faced with the task of improving the forms and methods of teaching, discovering new ways for himself and for others to explain the program material and interpret the plastic elements of dance. The formation of a new look, the identification of new characteristics in the vision of one or another plastic element is the direction of the creative search of the teacher-choreographer.
Programs, the authors of which are teachers-choreographers of additional education for children, are the result of comprehension and analysis of scientific and methodological literature and their own practical experience. The implementation of such programs in practice leads to the fact that in the process of pedagogical interaction the teaching methods and personal abilities of children are taken into account, conditions are created for the advanced development of more prepared students, and an individual rate of transmission of material is provided for children who have difficulties in mastering it.
. "Dance Rhythm for Children" - paired, characteristic dances, musical and rhythmic compositions for children of preschool and primary school age (author T. Suvorova);
. "Pearl" - aesthetic education of students in the process of choreography (O.A. Ryndina);
. "Journey to the Country of Choreography" - the development of the creative abilities of children by means of choreographic art (author A.A. Matyashina);
. "Rhythmic Mosaic" - a musical movement aimed at the integral development of the student's personality (author A.I. Burenina);
. "In the world of ballroom dance" - a program for teaching the elements of ballroom dance in a preschool institution (author N.P. Tsirkova).
The author's program "Artistic Movement" (author L.N. Alekseeva) is a natural form of movement, in which there is a complete internal emancipation of the body and spirit and gives awareness of power over the movement of one's body. At the same time, it is also an organic connection between movement and music, the harmonious combination of which is achieved by a special approach to processing the material of the classes. The result is a work of art - a dance study.
One of the key issues of teaching choreography in the additional education of children is the problem of the style of the teacher-choreographer, communication between the student and the teacher.
In choreographic schools, professional choreographic groups, a certain trend of an authoritarian leadership style has developed, since the teacher-choreographer must first take place as a dancer, traditionally in conditions of strict (sometimes harsh) discipline. In the field of additional education for children, a democratic style of communication prevails, the interaction in the team of the teacher-choreographer and students allows them to complement each other, the teacher-choreographer helps to realize the position of a teacher, mentor, older friend, specialist with a wide range of professional interests. In the process of organizing joint activities, personally equal relations between the teacher and pupils are established. Communication in this system has its own specific features - it is a joint activity of like-minded people who live by common interests.
For students, in the first place is the personality of the teacher and the head of the choreographic team (the style of his communication, enthusiasm and interest), and then the subject of interest itself (choreography).
The head of the choreographic team is:
A professional who is a model for students in their chosen type of creative activity;
A person who can help the student become an independent and creative person;
An educator who can have a significant positive impact on the formation of the student's personality.
The creative enthusiasm of the teacher-choreographer and students leads to informal communication, which is attractive in the eyes of students, as it not only contributes to the establishment of a friendly atmosphere, but also to the growth of self-esteem, a sense of social significance and adulthood. A feature of collective life is the existence of a specific language that structures the communication between the teacher-choreographer and students. Teachers-choreographers introduce specific vocabulary related to the peculiarities of choreographic classes into communication with students. The inclusion of pupils in their speech of elements of a special language used by teachers - choreographers introduces pupils to the choreographic culture.
The specific features of pedagogical interaction in institutions of additional education contribute to compensating for the lack of attention experienced by a certain part of students in school and family. Pedagogical interaction is aimed at helping to solve the problems of pedagogically neglected students by creating conditions for them to do interesting work that raises their status in the children's community. The issues of interaction between the teacher-choreographer and the student in the process of choreographic classes were considered by A.V. Dolgopolova, T.G. Sevastyanina and others.
For successful social and professional adaptation of ballet dancers to pedagogical activity in the system of additional education of children, one of the most effective ways is to organize and hold mass events where students are involved in the world of games, competitions, competitions, festivals, holidays; mastering the traditional and innovative experience of organizing leisure through knowledge, education, communication.
Each event is an independent link in the pedagogical process and solves specific educational goals and objectives. It is these forms that enable choreographers to show their strength in teaching, earn approval, compare the achievements of their choreographic team with the achievements of other teams. Such activities become a kind of advertising for leisure activities, and also stimulate pupils to achieve new results and, finally, become a test indicator of the effectiveness of the activities of children and teachers of additional education for children.
The system of additional education for children provides former ballet dancers with unlimited opportunities for creative self-realization, creates an atmosphere of artistic and creative search, the opportunity to implement creative ideas and pedagogical ideas. The specificity of pedagogical interaction makes it possible to more fully use the potential of an individual approach in working with students, since in the field of additional education there is no attachment to state educational standards and the number of students with whom the teacher-choreographer works is less than in the school class. Problems are solved in the process of classes in improvisation, composition. The teacher-choreographer leads the student to independent research and search. These classes require the student's creative understanding, his active involvement in communication with the teacher-choreographer and the team of students.
Additional education of children allows choreographers to develop creative activity, to realize their personal qualities, to demonstrate those abilities that were unclaimed in stage activities: the ability to communicate effectively, the ability to freely present educational material, win students over by democratic communication, organizational skills, formulating specific goals.
The educational process in the choreographic group of additional education for children is the learning of dances, when communication is established and maintained between the teacher-choreographer and students, which is based on both a common love for dance and common cultural values, interests, mutual sympathy. The ability to emotionally support and stimulate students in the realization of their potential determines the dynamics of the successful development of children. Using the art of dance, the interest of students, choreographers:
They use the ethical features of dance to educate morality, discipline, a sense of duty, collectivism, organization;
They teach dance etiquette, form the ability to transfer the culture of behavior and communication in dance to interpersonal communication in everyday life;
Provide emotional relief to students;
Form the correct posture, develop natural physical data;
Satisfy the need for physical activity as the basis of a healthy lifestyle.
The requirements for choreographers in the system of amateur art, the qualification "head of a dance group" are based on the specifics of the specialty - leadership of a dance group - which involves not only creative (staging) work, but also managerial and organizational functions. The State Standard for this specialty provides for the following aspects of activity: “organizational, staging and rehearsal, concert and performing, teaching and educational work.
The use of a competency-based approach in the activities of a choreographic teacher involves the use of professionally oriented knowledge and skills of working with a children's choreographic team, the ability to solve certain managerial tasks, and perform the following functions of the leader of a choreographic team (Fig. 1):
Organizational and managerial (the teacher-choreographer acts as the organizer of the choreographic team, contributes to its functioning);
Teaching and educational (the teacher-choreographer teaches performing skills, increases the level of knowledge of students, provides spiritual and aesthetic education);
Developing (equivalent physical, emotional, aesthetic, intellectual development);
Tutoring (the teacher-choreographer carries out the rehearsal process in the choreographic team, contributes to the build-up of dance technique, combination of movements);
Staged (the teacher-choreographer is the choreographer of dance numbers - embodying the artistic conception, creates a composition and drawing, selects music and costumes).
One of the main functions of the teacher-choreographer is the function of the organizer and leader of the choreographic team, in this regard, the communicative competence of the teacher-choreographer should be highlighted. The effectiveness of communication, which is of great importance, is substantiated in the works of many famous scientists (A.A. Bodalev, E.S. Kuzmin, V.N. Kunitsyna, A.A. Leontiev, B.F. Lomov, A.A. Rean and etc.). One of the central places is occupied by the problem of effective pedagogical communication (I.I. Zaretskaya, I.A. Zimnyaya, V.A. Kan-Kalik, Ya.L. Kolominsky, S.V. Kondratyeva, N.V. Kuzmina, A. A. Leontiev, A. V. Mudrik, A. A. Rean, G. V. Rogova and others).
I.I. Zaretskaya notes that the humanistic position of the teacher of additional education is manifested in the acceptance of the child, respect for his individual abilities, focus on developing the abilities of everyone, taking into account the motives for participating in specific creative activities. It is not for nothing that one of the indicators of the effectiveness of the work of a teacher of additional education for children is the safety of the contingent.
The dissertation research reflects various problems related to the role of the head of the choreographic team (N.M. Chernikova, V.D. Shakhgulavri), the formation of the individual style of activity of the teacher-choreographer (T.M. Kuznetsova) .
According to N.I. Tarasov, the teacher-choreographer should choose the most effective methods and forms of organizing the educational process, formulate and solve pedagogical tasks, taking into account the level of dance training of students, choose the optimal physical activity for the student's body, promote the creative manifestation of the student's dancing abilities, encourage him to self-improvement and growth of performing skills. skill.
Rice. 1. Functions of the head of the choreographic team
For successful social and professional adaptation to teaching activities, former ballet dancers must use the following forms of conducting choreography classes:
Educational lessons. The dance movement is analyzed in detail. Training begins with learning the exercises at a slow pace. The technique of performing a dance movement is explained;
Reinforcing lessons. Assume the repetition of dance movements or combinations. The first repetitions are performed together with the teacher-choreographer. When repeating, one of the students is selected who performs the movement correctly or better than others, and this student acts as an assistant to the teacher;
Final lessons. Students practically independently should be able to perform all the movements and dance combinations mastered by them;
improvisational work. In these classes, students perform variations they have invented or compose a dance on a theme given to them by a teacher-choreographer.
When preparing choreographic lessons, it is necessary to design possible teaching aids (a system of exercises) based on the intended goals and objectives. For example, a choreographic lesson on the topic "Music and Rhythm", where the purpose of the lesson is to develop students' rhythm and musicality.
Lesson objectives:
Learn to distinguish between strong and weak beats in music;
Master the musical time signature 2/4;
Develop general physical fitness (strength, endurance, agility);
Develop dance data (position and position of the legs, raising the extended and shortened foot, the position of the leg at the ankle, exercises to develop the mobility of the foot).
The purpose of the choreographic lesson on the topic: "Physical training in choreography" is the development of the physical qualities of students, since modern trends in choreography impose more requirements on physical fitness. Lesson objectives:
Formation of correct posture and strengthening of the musculoskeletal system;
The development of stage expressiveness in pupils;
Development of flexibility, stretching, eversion, stability, endurance;
Mastering somersaults, handstands, wheels, splits.
The peculiarity of additional education of children is its educational dominant, which contributes to the development of "cultural talent" in leisure conditions, creates organizational, pedagogical, methodological conditions in which the education of dance culture takes place on the basis of an organic combination of many forms of activity: rehearsals, recording concert activities, participation in holidays. The educational aspects of choreographic activity are devoted to the research of V.V. Gerashchenko, S.B. Zhukenova, L.D. Ivleva, E.A. Koroleva, Yu.M. Churko, M.Ya. Zhornitskaya, N.M. Yatsenko. Teaching and educational work is an integral part and an indispensable condition for the creative activity of a choreographic group. The level of performance, viability, stability, prospects for creative growth primarily depend on the quality of educational work.
Theoretical provisions on the pedagogical possibilities of choreography are formulated: the art of dance is available for study by any child, regardless of his natural talents and age; the choreography has a huge educational and training potential, which is practically not used in a general education school.
A special role in the development of the student's moral personality belongs precisely to the art of choreography. Solving the specific tasks of education by means of dance, the teacher-choreographer considers them as an integral part of the complex educational process that is conducted in the institution of additional education for children. The systematic practice of dance art lays the foundation on which the “building” of the moral and aesthetic values of the individual is built in the future. An educational moment is also the full employment of students in the repertoire of the team, which gives an incentive for classes, as students know that none of them will be left behind.
An educational element is the tradition in the dance group - this is both initiation into choreographers, and the transition from the younger group to the older one; education of discipline, which instills the skills of organization in the process of work, brings up an active attitude towards it, internal organization and purposefulness.
The task of the teacher-choreographer in the additional education of children is the harmonious development of the intellect, will and emotions of students. Dance classes not only aesthetically develop students and form artistic taste, but also contribute to physical improvement, discipline and increase the level of culture of behavior, develop imaginative thinking, fantasy, and provide harmonious plastic development.
Like any kind of art, dance contributes to the moral education of the student, reflecting the surrounding life in artistic images. It is with the system of artistic images that the ability of choreographic art to perform a specific function is connected - to awaken in the student an artist who is able to create according to the laws of beauty and bring beauty to life.
Education by means of choreography in additional education of children is understood as:
Formation of moral qualities through familiarization with the choreographic art;
Formation of the need for a healthy lifestyle;
Moral educational interaction between the teacher-choreographer and the student;
Acquaintance with the world artistic culture;
Formation of creativity.
In the process of joint creative activity of the teacher-choreographer and students, dance practice turns out to be an essential factor in the overall intellectual growth of children. THEN. Bilchenko conducted a study in children's choreographic groups with more than 300 students of different ages. The results showed that the majority of students involved in choreography have the ability to "understand themselves", the ability to manage their emotions.
The social and professional adaptation of former ballet dancers to teaching includes the ability to conduct a rehearsal process, which is the main link in educational, organizational, methodological, educational and educational work with a choreographic team. The effectiveness of a rehearsal largely depends on a skillfully drawn up work plan. The knowledge of the teacher-choreographer of the creative abilities of students allows you to draw up a plan for each rehearsal quite accurately and in detail. This requirement applies to both beginners and fairly experienced managers. The rehearsal plan includes the main activities and tasks to be solved by the team. Based on the plan, the teacher-choreographer preliminarily sets specific tasks for the students: to learn the movements, to present the figurative content of the performance, its artistic and performing features, etc.
The structure of the choreography lesson is classical: preparatory, main, final parts. In the preparatory part of the lesson, the tasks of organizing students, preparing to perform the exercises of the main part of the lesson are solved. The means by which these tasks are solved are varieties of walking and running, general developmental exercises, various dance elements based on folk dances. Such exercises help to mobilize attention, prepare the joint-muscular apparatus, the respiratory system for subsequent work. The next part of the lesson, in which the main tasks are solved, is the main one. The solution of the tasks set is achieved by using a large arsenal of various movements: elements of classical dance, elements of folk dances, elements of free plasticity, acrobatic and general developmental exercises.
There are three types of the main part of the classes:
The first is built on the basis of classical dance;
The second is based on elements of folk, ballroom, modern dances;
The third one is based on free plastic movements.
In most cases, mixed options are used, where various means of choreographic training alternate in various combinations. The simplest form is a set of exercises at the barre and in the middle of the hall.
In the final part of the lesson, it is necessary to reduce the load with the help of specially selected exercises: relaxation, stretching.
The mastering of movements by students in a choreography lesson is carried out under the direct influence of a teacher-choreographer, since a feature of mastering this type of activity is the repetition and reproduction by the student of the movement seen (arms, legs, turning the head, tilting the body, etc.), technique or combination, when the teacher-choreographer shows and explains, and the student repeats.
Conducting rehearsal classes by a teacher-choreographer forms his style of presenting choreographic material for students: the manner and nature of the transfer of the image, polishing the technique of movement, each element of the dance. Passing through the physical stress of the lesson, the head of the choreographic team must accurately feel the dosage of the allowable load, which makes it possible to change the pace of the lesson and the nature of the presentation of the material in time. This is how the conditions for a comfortable psychological climate are formed, which means positive and stable emotions, in which students have an interest and a desire to come back to choreography classes.
Referring to the experience of current choreographers, one can find such methods and techniques of conducting classes that are currently in demand, interesting, able to help master the dance, understand it from the inside, for example, the method of one “pas”, which is the main link in the development of coordination movements. The essence of applying this method is as follows: a new movement is included in each combination, which allows you to carefully work out this "pas". If one of the students does not have time to master it in the first combination, then by the end of the lesson it is already acquired methodically correctly.
The teacher-choreographer V.D.Tikhomirov argued that “there are two main parts in preparation for mastering the art of choreography: this is the technique of art and artistry. There are two factors in the work of a teacher-choreographer - this is the desire to achieve the best result in performing activities (taking into account the different preparation of children) and the need to correct the composition in time, taking into account their attendance.
Conducting a dress rehearsal has its own characteristics, determined by the fact that it is a rehearsal, but at the same time bears the signs of a concert performance (costumes, makeup, light, sound). The general rehearsal is the final one for a certain stage of preparing the repertoire for the concert, so it is important to prepare students psychologically for the concert.
Social and professional adaptation to pedagogical activity includes the ability of former ballet dancers to engage in choreographic productions, which is a complex aspect of the work of a choreographer teacher, requiring imaginative thinking, creative imagination, communication and organizational skills, performing, pedagogical and rehearsal and production skills. A teacher-choreographer needs not only professional knowledge of his subject, but also the ability to work with a creative team.
The development of amateur artistic creativity has led to diversity in the thematic focus of choreographic groups. Unfortunately, the novice leaders of choreographic groups do not have a clear orientation in the work of the group, and therefore the repertoire is of a random nature. And only the arrival of an interesting creative person as a leader allows us to clarify the direction of training of the choreographic group itself. In choreographic amateur performances, quite clear directions of groups have developed: folk dance (one people, different peoples), classical, ballroom, variety, sports, modern, etc. These are the most common, frequently encountered directions of choreographic groups, but not only the direction determines the choice of repertoire. What makes the team unique and interesting is its individual style. For example, if there are two folk dance ensembles nearby, while one performs well-known and well-learned dances, the other has a special direction that can individualize the handwriting of this group.
Staged work is an individually unique process of creating a choreographic work, which is carried out in stages:
Selection of musical and choreographic material;
Formation of the idea and concept of a choreographic work;
Genre definition (tragedy dance, dramatic dance, comic dance, lyrical dance, educational dance, etc.);
Construction of a dramatic line of a choreographic work; work with musical material;
Definition of vocabulary, the language of movements, with which the director will create a work. Vocabulary is largely determined by the choice of the style of the future dance: classical dance, folk stage dance, social dance, jazz dance, modern dance, etc .;
Rehearsal and production work with performers.
The skill of the teacher-choreographer includes the creation of the composition of the plot, which streamlines the visual and semantic series of the performance, and the viewer perceives what he sees not only from the point of view of choreography, but also from the point of view of interest in the storyline. The composition of the visual, physical form (the plastic picture that the viewer sees) is part of the staging process, which is thought out by the choreographer.
Proposed by G.V. Burtseva in the study “Management of the development of creative thinking of students-choreographers in the process of university training”, the development of an idea at the level of “concept-understanding-implementation” corresponds to the essence of staging activity. This idea is designed to combine all the variety of types of independent choreographic tasks (educational and creative choreographic task - UTHZ). The list of types of UTKhZ includes the simplest tasks for composing training combinations using a variety of vocabulary (dance movements), creating a holistic choreographic work, and developing fragments of rhythm lessons.
One of the criteria in the selection of repertoire for a children's choreographic group is its reality, the correspondence of the repertoire to the abilities of students. When creating the repertoire of a choreographic group, it is important to take into account certain requirements:
Compliance of productions with the age and level of development of students, dance numbers should be understandable to students;
The use of productions of different genres: game, plot;
Statements take into account educational and training goals;
Performances are designed for the entire team.
The process of creativity is expressed in the creation of new, non-standard ways of solving choreographic problems, the desire to realize their creative potential, improvisation. Thanks to the creative activity, originality of the dance director's thinking, new directions of choreography are developing. Dance is currently acquiring a new meaning, a new role: it is becoming a sport (sports and ballroom dancing), part of therapy (dance therapy), the basis of social (youth) self-identification (hip-hop), etc.
The sphere of additional education for children provides an opportunity for self-realization to former ballet dancers in the status of the head of a choreographic group, where they can use the accumulated experience they acquired earlier in stage activities. Additional education for children helps former ballet dancers expand their pedagogical knowledge, get acquainted with the specific features of teaching choreography in the system of additional education for children, and see creative opportunities in pedagogical activity.
Features of the social and professional adaptation of former ballet dancers during the transition to teaching
The specificity of choreographic art in the narrowest sense lies in the motor (dance) performance, that is, the ability to convey the ideological intent of the author of the work through the body and acting.
The educational environment of a professional choreographic educational institution, in which ballet dancers studied, has its own characteristics, different from the upbringing and personal development of students by means of choreography in the additional education of children.
Features of choreographic education are a special competitive admission procedure, which includes the identification of the parameters (abilities) of the body. The presence of a competitive procedure for intermediate certification, as a result of which students who are not capable of continuing choreographic training are excluded not only on the basis of the results of mastering a professional program, but also on bodily (physical) parameters. Education in a choreographic educational institution (choreographic school, ballet academy) is considered as professional training from the first steps, from the age of 10, and is distinguished by specific features:
The special regimen and load level of a student are comparable to the regimen and load of an adult artist, which corresponds to the physical loads of high-performance sports;
General (school) education and vocational education are combined in a single educational process, often it is impossible to draw a clear distinction between them;
Direct transfer of skills, knowledge, experience from generation to generation (“from hand to hand - from foot to foot”, bypassing material information carriers);
The functioning of the choreographic school (ballet academy) both as an educational institution and as a theater group, the unity of the actual educational process and practice;
Mandatory interaction of the choreographic school (ballet academy) with a professional, "basic" ballet troupe (theater): the troupe mostly consists of graduates of this educational institution, and most of its teachers are former and current artists of the troupe; orientation of the educational process to the style features and repertoire of the troupe; the opportunity for students to participate in professional performances from the first years of study.
The activity of the head of the children's choreographic group in the system of additional education of children is characterized by the presence of its own specific features, which causes difficulties in the social and professional adaptation of former ballet dancers to this activity.
Currently, there are many studies devoted to the study of the change of profession and the reorientation of people in adulthood. The results of these studies indicate that a conscious departure from the profession can be carried out at any stage of professional development.
Some former ballet dancers consider the activity of a teacher-choreographer and head of a choreographic group as one of the forms of work focused on the continuation of choreographic activity in the system of additional education for children. The motives are:
Desire to continue doing choreography (interest),
Pedagogical opportunities (availability of abilities),
Attractiveness of choreography for children, teenagers, youth (popularity).
Former ballet dancers do not just “choose a profession”, but to a large extent predetermine their future lifestyle and social circle. The socio-professional adaptation of former ballet dancers to the pedagogical field of activity is the need to adapt to the conditions and requirements of a new profession. This is a period of acquiring a new social status, active entry into the profession, a period of transition to a new situation and living conditions, getting used to a team of colleagues, students and their parents, a new measure of duty and responsibility not only for oneself, but also for others.
E.P. Ermolaeva in her study “Identification Aspects of Social Adaptation of Professionals” (2007) indicates that professional identity is the basis of successful professional adaptation, and the degree of its implementation depends on the type of the leading motivation of the individual. The transforming function of professional identity depends on the range of changes in professionally important qualities and the degree of self-identification with the profession - the possibility of adaptation is higher for people with a broad identification. Distancing the image of one's profession from others - professional self-isolation makes it difficult to adapt to changing conditions when moving to a different professional space. All these factors make up the transformative potential of a professional. How successfully and in what form it is implemented in practice is determined by the leading type of incentive-activity activity of the individual.
Former ballet dancers are sincerely interested in choreographic activity, consider it their vocation, are confident in the correctness of their professional choice and are not inclined to change it, but experience difficulties during the period of adaptation to pedagogical activity. Studies show that out of 100 ballet dancers of professional choreographic groups of the Academic Song and Dance Ensemble of the Moscow Military District, the Moscow Regional State Theater “Russian Ballet”, the Ensemble of the Airborne Troops, the State Academic Choreographic Ensemble “Beryozka”, the Plastic Ballet Theater “New Ballet” , Choreographic school-studio of dance choir named after. Pyatnitsky, St. Petersburg State Music Hall Theater, 55 people who came to additional education for children during the first three years of teaching practice, faced with difficulties and unpreparedness, stopped teaching.
The difficulty of the social and professional adaptation of ballet dancers is an unformed attitude towards pedagogical activity. The installation ensures the appropriate attitude of the specialist to his pedagogical activity, serves as the basis for the formation of a professional and pedagogical orientation of the individual (A. Kossakovsky, A.K. Markova, D.N. Uznadze, etc.).
The formation of an attitude towards pedagogical activity proceeds as a result of passing through several stages.
First stage. In order for ballet dancers to be included in the pedagogical process, their interest in new ways of working is necessary. The stage is associated with the development of cognitive interests, a focus on self-development, involves the formation of the ballet dancers' necessary knowledge about pedagogical activity and includes the solution of the following tasks:
Strengthening the motivation for choosing a profession;
Activation of independence, initiative;
Awareness of the social significance and creative potential of the teaching profession.
The activities of the head of the choreographic team attract former ballet dancers with the opportunity to implement creative ideas and pedagogical ideas.
The second stage is aimed at mastering the techniques, skills and abilities of pedagogical activity. This stage is based on the following theoretical prerequisites: knowledge becomes attitudes if they are realized as practically and personally significant, a pedagogical attitude is formed if a person activates pedagogical activity.
Ballet dancers should form a system of ideas about their capabilities and skills to implement them in a children's choreographic team. Research shows that new ways of using developmental opportunities are currently being implemented:
. "Psycho-gymnastics" - mimic and pantomimic studies;
. "Fitball" - a program that includes exercises that are performed while sitting or lying on a special gymnastic ball;
. "Rhythmic exercises" education of children with various developmental disabilities;
. "Correctional dance" is a special complex lesson, in which the psycho-emotional states of students are corrected by means of music and special motor exercises.
When carrying out pedagogical activities, beginning leaders of choreographic groups feel the need for self-development, the acquisition of new information, replenishment of their own theoretical baggage of pedagogical knowledge, which in turn contributes to the improvement of pedagogical skills.
The peculiarity of the third stage of the formation of an attitude towards pedagogical activity lies in the direction of the novice leader to motivate the success of the choreographic team under his control and solves the following tasks:
Independent mastery of the methods of pedagogical activity, communication and behavior;
Self-assessment of own results of professional growth;
Orientation of the individual in professional values;
Designing your own professional development.
This component of the pedagogical attitude must be developed among ballet dancers, since they have a dominant rehearsal orientation, which implies success in stage activities and is difficult if there is no motivation to achieve success in pedagogical activity.
According to A.K. Markova, for successful professional activity, the motivation for success, the mood for positive results of one's work is extremely important. Achieving success is a personality motive, manifested in the desire for success, which is a particularly important quality for the successful activity of the head of a choreographic team.
Individuals with a high level of achievement motivation have distinctive characteristics:
Perseverance in achieving goals;
Dissatisfaction with what has been achieved;
Passion for your work;
The need to invent new methods of work in the performance of ordinary affairs;
Willingness to accept help and give it to others.
The formation of an attitude towards pedagogical activity is directly related to the disclosure of the possibility of personal growth. With the help of the installation, the need of ballet dancers in the status of the head of the choreographic group, demonstration of their creative experience, readiness to manage the actions of the group is satisfied.
The difficulties of social and professional adaptation to pedagogical activity in the system of additional education of children are due to the fact that former ballet dancers do not realize the peculiarities of working with the children's choreographic team of the institution of additional education for children and face ignorance of the specific features of the work.
A study of the activities of the leaders of choreographic groups shows that the transition to the teaching profession is carried out by ballet dancers in conditions of ignorance of the content of this activity. This is predetermined by the insufficient development of methodological literature for choreography classes with students in the system of additional education for children. The specificity of choreographic classes here is the general development of students, and not the professional mastery of choreography.
The basic component of the educational process in the additional education of children is to attract students to the world of dance, the development of the foundations of musical culture, dance, coordination of movements, artistry, emotional sphere, the formation of the artistic and aesthetic culture of the child. The orientation of the training and education of the choreographic team depends primarily on the qualifications of the choreographers who directly manage the educational activities. The successful activity of the choreographic group largely depends on the skillful and competent leadership.
Among the most significant professional and personal qualities of the leaders of choreographic groups of additional education of children are:
Research abilities, involving self-knowledge, self-development, the ability to analyze and make forecasts of one's own activities;
Organizational skills, that is, the ability to activate students, give them a charge of their own energy, understand the psychology of students, initiative, purposefulness, responsibility;
Communication skills that help to establish relationships with students, their parents, colleagues, the ability to cooperate, business communication;
Creative abilities, expressed in the ability to see a problem, quickly find original ways to solve it, flexibility of thinking;
The ability to empathize, that is, the ability to empathize, get used to the experience of another person;
Openness and emotional responsiveness, the ability to accept another person, a friendly attitude towards another, building informal relationships with children and adults.
A prerequisite for the successful social and professional adaptation of former ballet dancers to pedagogical activity is effective pedagogical guidance for the development of the personality of students of a choreographic group in the system of additional education for children, the ability of the leader of a choreographic group to set goals, plan their activities, determine the forms of organization of activities. Planning is the initial stage of management, on which the success of the choreographic team in the future depends. It involves interconnected, deliberate decisions with the maximum use of the capabilities and abilities of both the head of the choreographic team and the students.
The main tasks in the choreography classes are the activation of the motor activity of students, the development of the elementary foundations of dance, the prevention of common deviations in the physical development of students (violation of posture, flat feet, obesity, etc.), the disclosure of creative individuality and the identification of abilities for this type of activity, followed by a recommendation engage in one or another type of choreography in amateur dance groups.
The works of A.N. Brusnitsyna, G.V. Burtseva, E.I. Gerasimova, V.T. Giglauri, I.E. Eresko, L.D. Ivleva, T.I. Kalashnikova, O.G. Kalugina, T.M. Kuznetsova, B.V. Kupriyanova, V.N. Nilova, L.E. Pulyaeva, O.A. Ryndina, E.G. Salimgareeva, N.G. Smirnova, E.V. Sytovoi, T.V. Tarasenko and others. The problems associated with teaching choreography are reflected in the works of A.O. Dragan, Yu.A. Kivshenko, L.A. Mitakovich, Zh.A. Oncha, S.M. Parshuk and others.
The specificity of additional education for children is that students who do not have special data (poor sense of rhythm, lack of musical-motor coordination, etc.) come to classes.
It is important for the teacher-choreographer to take into account that classes should be designed for the level of development of students, for their specific capabilities and abilities. The organization of classes should be at a level accessible to students, at an acceptable pace. The main goal is not to memorize information, but to comprehend the practical significance of the knowledge gained by the student, so that the student can say: "I can do it."
The first acquaintance with dance occurs in the classroom with the help of dance exercises, musical games. In the first year of work, there is an intuitive perception of the material, and it is impossible to present especially complex requirements for students. At the initial stage of training, more attention and time is given to parterre exercise and musical-rhythmic exercises. According to choreographers, at the initial stage, the task is not to teach a student to dance. First of all, it is necessary that students orient themselves in space, interact with other students. At the next stage, students are given more complex elements, both game (adding improvisation) and dance (movements for coordination).
For a certain time in the course of the lesson, the teacher-choreographer pays attention to musical and dance games, which contributes to a more vivid disclosure and development of the musical and emotional expressiveness of students. Learning dance movements that require concentration and physical effort, which is combined with game exercises, helps to keep students' involuntary attention and interest. This develops the ability to listen and feel music, to express it in motion. Specially selected and organized dance-games contribute to a faster assimilation of dance elements, the development of the ability to hear and understand music. The next stage contains a complete set of basic elements of choreography: setting the body, positions of arms, legs, stretching, jumping.
Teacher-choreographer of additional education for children of MDST (Moscow House of Amateur Creativity) Shikhanova N.Yu. uses outdoor games in his work to make them an organic component of the lesson, a means of achieving the goal set by the teacher. Using the example of such a lesson, one can see how traditional exercises of the parterre barre acquire animated forms in the form of animals, plants, natural phenomena, objects, which helps to make them clearer, more interesting, and also develops imagination and emotionality.
The main goal of choreographic classes for students in the additional education of children is the formation of initial choreographic skills and abilities, the assimilation of simple dance movements and etudes. The disclosure and development of the creative potential of students occurs through the use of the method of learning dance combinations "from simple to complex". This method includes:
Visual component (visual presentation of the material by the teacher-choreographer, video material of ideal examples of dance culture);
Theoretical component (explanation by the teacher-choreographer of the rules for performing movements, taking into account the age characteristics of students);
Practical component (learning a dance combination, strengthening by repeated repetition, muscle memory training).
Teacher-choreographer, teacher of the Shchelkovo municipal school of choreography, author of the book “Components of staging and performing work in the art of movement” (2011) V. Giglauri emphasizes that a person is given by nature certain limits of his capabilities, above which he cannot rise, but great indulgence nature lies in the fact that it does not give a person the slightest hint of where these boundaries are located, giving him the opportunity to improve depending on his desire. Faced with choreographers who support the system of limitation according to the principle “this is impossible, because no one has been able to do it yet”, students either follow it, or, overcoming this inertia, sometimes suddenly discover some “incredible” abilities in themselves and skills. The teacher-choreographer, who has managed to find ways to develop natural data in students, pushes the boundaries of his pedagogical individuality, becomes a more popular teacher, quickly comprehends the secrets of pedagogical skill.
To form students' sustainable motivation for choreography, the teacher-choreographer uses various individual-group forms of work, depending on the preparation of students:
Group form (groups are formed taking into account the age of the students, the group may consist of participants in any dance or sketch);
Collective form (used for joint rehearsals, ensembles, dance performances, where several age groups are involved);
Individual form (used for students who have not mastered the material covered).
Such an integrated approach makes choreographic classes meaningful, diverse, interesting, and also provides an opportunity to determine the abilities of students for their subsequent development.
The learning process in choreographic groups of additional education for children is based on the general pedagogical principles of didactics:
Activities - methods of educational work in a choreographic team contribute to motor activity, develop the creative activity of pupils;
Visualization - before staging dances, with the help of illustrations, photos and videos, pupils get acquainted with the culture, traditions, national costumes of a particular people. When learning new movements, visualization is an impeccable practical demonstration of movements by a teacher;
The principle of accessibility and individualization provides for taking into account the age characteristics and capabilities of the student, determining tasks that are feasible for him;
Systematicity - the continuity and regularity of classes. Otherwise, there is a decrease in the already achieved level of knowledge and skill;
Openness - joint activities of like-minded people (the head of the choreographic team and students) who live by common interests;
The principle of phasing - consists in setting up and performing more difficult new tasks for the pupil, in a gradual increase in the volume and intensity of loads. The transition to new, more complex exercises should occur gradually, as the emerging skills are consolidated and the body adapts to the loads.
Former ballet dancers experience difficulties in interacting with students, which is associated with the involvement of children in the team, their consolidation, the formation of sustainable motivation for classes.
Students at any time can change the circle or leave the institution altogether, which is associated with voluntariness in attending classes. To keep them, a teacher of additional education cannot use the arsenal of disciplinary techniques that choreographers have in choreographic schools, studios at Academic ballet theaters. Therefore, the teacher-choreographer of additional education for children should be a fan of two aspects: the world of classes into which he introduces students, and the world of raising children. The requirement of fanaticism or enthusiasm is explained by the fact that without this above-standard attitude to classes, it is impossible to infect students with this practice. Only the attractiveness of the activity itself, the forms and methods of its organization, the comfortable atmosphere in the children's community, the bright personality, sincerity and friendliness of the teacher contribute to the fact that the child spends his leisure time in an institution of additional education for a long time.
The practical activity of the head of the choreographic team in the system of additional education of children is realized through building subject-subject relationships, creating a dialogue with students, which requires special artistry, the ability to organize the pedagogical process so that it is bright, original and at the same time personally significant for students . The structure of pedagogical artistry was considered by M.G. Grishchenko in his study "Formation of artistry among artistic directors of choreographic groups in universities of culture and arts" (2009) based on verbal (sounding speech, intonational and semantic accents) and non-verbal (gestures, facial expressions, plasticity) means of influencing students. These means are interrelated, have a dynamic nature and change depending on the specific situation at various stages of the professional development of the head of the choreographic team.
The solution of creative tasks in cooperation with the head of the choreographic team in the system of additional education of children changes the psychological structure of the educational process as a whole, a system of internal stimulation of the widest range of interactions, relationships, communication between all participants is created (I like to be with everyone, captivates a common cause, ambition is satisfied, shows pride in oneself, etc.)
Involving students in systematic choreography, the leaders of choreographic groups should be aware that the peculiarity of working in the system of additional education for children is not only the identification of creative abilities, the development of an ear for music, a sense of rhythm in students, but also the ability to help closed, uncommunicative, emotionally unbalanced students. The need to support children with physical disabilities, to form a sense of responsibility and striving for certain achievements, to compensate for the lack of attention from school teachers and parents.
The leader can influence the formation and development of the choreographic team:
Through a friendly and comfortable atmosphere in which each student feels necessary and significant;
Creating a "success situation" for each student to teach him to assert himself among his peers in a socially appropriate way;
The use of various forms of mass educational work, in which each pupil acquires social experience.
The specifics of additional education for children is that if ballet dancers, as leaders of choreographic groups, do not have the ability to win over students, arouse interest in choreography, convince, motivate them to study, then groups are not recruited from them.
Analyzing the features of social and professional adaptation and the entry of former ballet dancers into pedagogical activity, it should be noted that they are fixed in this profession through self-education. Many leaders of choreographic groups working in the system of additional education for children do not have a special pedagogical education, and their professional development in the field of pedagogical work begins simultaneously with their implementation in independent practical pedagogical activity. Various forms of retraining, advanced training of the cultural level of people are needed.
The subject of retraining (specialist) differs from the subject of primary vocational training in the presence of previously formed professional self-awareness, life and professional experience. Obviously, the learning process should be built not as a broadcasting or training process, but as a transformative, personality-changing process that helps the subject of retraining to carry out professional reorientation within himself, within his consciousness.
The leaders of children's choreographic groups are increasingly convinced that they need deep knowledge of the pedagogical process for successful professional activity. In accordance with the state educational standard of secondary vocational education, a teacher of additional education for children in the field of choreography, the organizer of a children's dance group must have knowledge of:
History of choreographic art;
Fundamentals of various types of dance: classical, folk, modern, ballroom;
Techniques for performing various movements;
Structures and content of training exercises, methods of their implementation with children in the conditions of additional education of children;
Folk dance culture of the region, region, city;
Means of musical expressiveness, the nature of their influence on the performance of dance movements;
Techniques for composing small and large forms of dance compositions;
Dramaturgical development of dance images;
Features of a dance costume for performing modern dances of various types.
Such high requirements for the head of the choreographic team are explained by the fact that they are the key to the successful development of the choreographic team and their professional activities.
The leaders of choreographic groups choose their own educational route, taking into account their educational level, experience in teaching. Participation in seminars, workshops, round tables shows that today the topical issues for the teacher-choreographer of additional education for children are: "Organization of the pedagogical process to maintain students' interest in classes", "Organization of the activities of the choreographic team for the result."
The participation of the leaders of choreographic groups in "master classes", trainings provides an opportunity for a deeper assimilation of the choreographic material and workshop, as well as projecting it onto specific pedagogical experience.
The result of the activity of the head of the choreographic team has some relativity. On the one hand, the result can be considered the sum of achievements: titles, places, awards, results of competitions and competitions in which the team participated, on the other hand, the level that students achieve when studying in a choreographic team (the level of general culture, discipline, knowledge, skills ). In the first case, the leader and students count on official recognition, victory at reviews and competitions. Others are guided, first of all, by joint leisure activities, communication, acquaintance with the art of choreography, and collective involvement in creativity.
N.S. Poselskaya, a teacher-choreographer, Honored Worker of Culture of the Russian Federation and the Republic of Sakha (Yakutia), the initiator of organizing a choreographic school in Yakutia, based on surveys among dance teachers, reveals their lack of knowledge of the history of pedagogy and the theory of choreographic education in their region. A variety of forms and methods of choreographic education associated with the pedagogical activities of choreographers in the region, unfortunately, are not used in the practice of teaching choreography. Meanwhile, reliance on the traditions of folk dance is one of the sources of creativity of the head of the children's choreographic group. If the repertoire is dominated by local folklore dances in their own processing, the role of such groups increases.
Folk choreographic culture is presented in the studies of A.G. Burnaeva, E.V. Zelentsova, V.G. Schukina and others. Scientific works devoted to the training of choreographers based on folk choreography (G.Ya. Vlasenko, G.P. Gusev, N.I. Zaikin, K.S. Zatsepin, A.A. Klimov, M. P. Murashko, T. N. Tkachenko, N. M. Tolstaya, T. A. Ustinova, etc.).
There are works that are of interest for the formation of a holistic perception of folk culture. “Russian Folk Round Dances and Dances”, compiled by the teacher-choreographer of the Moscow House of Amateur Creativity V.V. Okunev, which describes the results of research work on the study of Russian folk dance in a children's choreographic group, during which a system of training and education was found by means of Russian folk dance. Master class of the teacher - choreographer of the All-Russian Center for Children's Creativity L.N. Kornileva - the study of the traditional vocabulary of Russian folk dance in the main forms of building round dances, dances, quadrilles.
Teacher of additional education in choreography S.A. Mongush (Kyzyl) conducts Tuvan folk dance classes, which are characterized by dance elements for boys, and elements performed only by girls. Jumps, tricks, somersaults predominate in male dance, the dance is distinguished by expression and mobility. All this can be noted in the dance "Jumps" (horse riding is a favorite pastime of Tuvans), which is performed only by boys. Temperamental, tempo dance well conveys the moment of the horsemen's competition. For the female Tuvan folk Ghana, movements of the hands are characteristic (inward and outward rotation; flexion and extension at the wrist; slight "shudder" of the hands), they perform it while sitting on the floor on their knees, smooth hand movements should be continuous, should not be interrupted. Women's dance is characterized by slow and smooth movements in space, maintaining the correct posture, grace in movements.
Choreographic classes are the sphere of direct contact of the child's personal creative experience with the artistic experience accumulated in folk art. This circumstance explains the importance of introducing students to folk choreographic culture.
In order to carry out the activities of the head of the children's choreographic group, former ballet dancers need to form an attitude towards pedagogical activity, knowledge of the specific features of pedagogical activity in the system of additional education for children, search for an author's method of working with the children's choreographic group. All these features are necessary components of the organization of a choreographic team in the system of additional education for children.
Bibliographic link
Matsarenko T.N. PROFESSIONAL SELF-REALIZATION OF BALLET ARTISTS IN THE SPHERE OF ADDITIONAL EDUCATION FOR CHILDREN // Scientific Review. Pedagogical Sciences. - 2016. - No. 1. - P. 35-52;URL: http://science-pedagogy.ru/ru/article/view?id=1508 (date of access: 04/06/2019). We bring to your attention the journals published by the publishing house "Academy of Natural History"
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Introduction
Ballet is the kind of art that combines the beauty and melodiousness of music, the plasticity and rhythm of dance, the subtlety of acting and the diversity of literary plots. Ballet, according to V.V. Vanslova - "synthetic art".
The Russian ballet school is rightfully considered one of the best in the world. Suffice it to recall the names of B. Eifman, G.S. Ulanova, A.Ya. Vaganova, N.M. Dudinskaya and others.
A school is a certain set of ideas, directions, concepts, views. For it to exist and develop, a clear system of pedagogical support is needed, which allows taking the best from these ideas and directions, turning them into reality, supplementing them with new ideas. “We expect from the school well-trained dance virtuosos, technically strong and at the same time real artists who, in the most complex dance, can express thought and fiery feeling, capable of transforming each time into a new artistic image,” writes R. V. Zakharov.
Currently, the system of choreographic education in Russia is undergoing significant changes caused by global trends, such as Russia's accession to the Bologna Agreement, and the reform of the vocational education system in general. These trends are expressed in the training of specialists in the "bachelor-master" type, the introduction of practice-oriented education, and the widespread informatization of the HPE system.
Relevant in the system of training modern specialists is their ability to directly integrate into professional activities immediately after graduating from a university or secondary vocational institution. This is mentioned in the works of G.B. Golub, E.Ya. Kogan, V.A. Bolotov, A.V. Khutorskoy and others. In the case of choreographic education, this implies a smooth transition from the choreographic school, academy to the theater. To ensure this transition means to substantiate the essence of the pedagogical training of the future ballet soloist, to establish interaction between theaters and educational institutions, to be able to determine the level of readiness of yesterday's student for today's adult professional activity.
There are practically no works devoted to a comprehensive study of the processes of formation of the professionalism of a ballet dancer. There are only a few publications that consider one or another side of this vast issue. Nevertheless, there are precedents for the competent construction of a system of transition to professional activity in our country, and they require detailed study. One of such precedents can be considered the city of Krasnoyarsk, where one of the most famous Russian theaters operates - the Krasnoyarsk Opera and Ballet Theater, some of whose soloists were trained at the Krasnoyarsk Choreographic School. And these soloists occupy a leading position in the Krasnoyarsk ballet.
Concretizing all of the above, we highlight the problem of this study.
Problem: lack of research on the development of professionalism of ballet dancers, lack of models describing the formation of professionalism of ballet dancers.
Research hypothesis: the formation of the professionalism of a ballet dancer occurs under the following conditions:
§ the presence of pedagogical support for the entire process of becoming an artist from a professional in the field of ballet;
§ the possibility of real practice of professional activity at the early stages of education;
§ the presence of constant competition from other emerging professionals;
§ systematic physical, intellectual and psychological preparation and self-training of the future professional;
§ availability of basic readiness for professional activity of a ballet dancer and constant confirmation of readiness improvement throughout the entire process of becoming a professional.
The purpose of the study: analysis and description of the modern model of becoming a professional ballet dancer.
To achieve the goal, it is necessary to solve the following tasks:
§ to determine the specific features of the professional activity of a ballet dancer;
§ will reveal the requirements of the profession of a ballet dancer to the personality and psyche of a person;
§ determine the criteria for the professionalism of a ballet dancer, ways to measure and form it;
§ collect historical information about the development of the Krasnoyarsk ballet (on the example of the Krasnoyarsk Opera and Ballet Theatre, the Krasnoyarsk Choreographic School);
§ determine the trends of the modern system of professional education in general and the system of training ballet dancers in particular;
§ to develop guidelines for the development of the professionalism of a ballet dancer in the postgraduate period.
Object of study: graduates of the choreographic school - artists of the opera and ballet theater.
Subject of study: the process of professional training of a ballet dancer.
Research methods:
Observation;
Description;
Theoretical analysis;
The theoretical basis of the work is the study of the psychology and pedagogy of professionalism by A.K. Markova, the psychology of creative activity of A.I. Sevastyanova, B.S. Meilaha, B.M. Runina, Ya.A. Ponomarev, the basics of ballet art V.V. Vanslova, M.M. Gabovich, N.I. Tarasova and others. Periodicals, memoirs, biographies and autobiographies describing the activities of the leading ballet soloists of the past and present were also used in the work.
The work consists of introduction, two chapters, conclusion, bibliography.
The introduction substantiates the relevance of the research topic, the purpose, tasks, object, subject of research, its theoretical and practical significance.
Chapter 1 "Theoretical aspects of the formation of professionalism of a ballet dancer (on the example of ballet dancers of the Krasnoyarsk State Opera and Ballet Theatre)" defines the specifics of the professional activity of a ballet dancer, the criteria for professionalism, and provides a historical background on the development of the Krasnoyarsk ballet.
Chapter 2 "Analysis of the ways of becoming a ballet dancer's professionalism in the postgraduate period (on the example of ballet dancers of the Krasnoyarsk State Opera and Ballet Theatre)" considers the main trends in the modern system of professional education, the features of the formation of a ballet dancer's professionalism, and presents the developed methodological recommendations for the development of a ballet dancer's professionalism in postgraduate period.
In conclusion, the general conclusions of the entire work are presented.
From a theoretical point of view, the work may be of interest to researchers in the field of psychology and pedagogy of creative activity, from a practical point of view, the work is interesting for the methodological recommendations contained in it on the development of the professionalism of a ballet dancer in the postgraduate period.
Chapter 1
1.1 The specifics of the professional activity of a ballet dancer
To determine the specifics of the professional activity of a ballet dancer, let's clarify the key concepts and, first of all, the concept of "ballet". Vanslov V.V. defines ballet as "a type of musical and theatrical art, the content of which is expressed in choreographic images" . The choreographic image, in turn, is “a dance-plastic embodiment of the life content: moods, feelings, states, actions, imbued with thought and finding their manifestation in a special system of human expressive movements” [ibid.]. Ballet, says Vanslov, is “synthetic art,” as it combines several types of artistic creativity: choreography, music, dramaturgy, and fine arts.
Shatalov O.V. By ballet he understands a type of theatrical art, where the main expressive means are the so-called "classical" (historically established, subject to a strict code of rules) dance and pantomime, accompanied by music, as well as a stage work belonging to this type of art.
As can be seen from these definitions, ballet is a rather multidimensional and systemic phenomenon. The structure of the ballet can be distinguished:
1. Scenario of the ballet - dramatic idea, libretto (it should be noted that there are also plotless ballets). He sets a brief verbal presentation of the ideas, plot, conflict, characters of the play. The script of the ballet must be composed taking into account its musical and choreographic embodiment. Very often, a ballet script is created on the basis of a literary work. The screenplay is usually written by a dedicated ballet playwright. But the script can also be written by a choreographer, a composer, an artist, or several creators of a ballet performance at the same time.
2. Choreography. In modern choreography, everyday dance (folk and ballroom), as well as stage dance (variety and ballet) are distinguished. Ballet is the highest form of choreographic art. Dance forms the active core of ballet. “The plastic possibilities of choreography are endless, it can express any feelings, including grief, depression, despair, etc. She has the means of plastic characterization not only of movement, but also of rest, the embodiment of not only beauty and goodness, but also ugliness and evil, ”writes Vanslov V.V.
3. Musical accompaniment. The commonality of figurative nature creates the possibility of an organic combination of music and choreography in a single artistic whole. The value of music for choreography in a ballet performance is primarily meaningful. “The choreographer stages the performance, relying not only on the dramatic outline of the script, but, above all, on the music that has translated this scenario outline and emotionally enriched it with content,” says Vanslov V.V.
4. Pantomime, elements of gymnastics and acrobatics. A ballet dancer is not only a performer of pre-prepared and planned dance movements. It is also a full-fledged theater actor. As for any actor, pantomime for a ballet dancer is an integral part of his work on stage. Small movements, the finest facial expressions convey a large amount of information, reveal the essence of the hero, convey his feelings and moods.
5. Artwork. Ballet is a full-fledged theatrical performance. In addition to the work of people on stage, it also includes the general artistic atmosphere that is created on stage and with the help of props, hero costumes, the play of shadows and light. All this is extremely important for the transfer of the ideas of the choreographer.
And yet the main role in ballet is assigned to people - ballet dancers. They are the executors of the idea of the director of the ballet, actors, dancers, heroes. “Without an actor, there is not and cannot be a choreographic performance, there is no ballet as an art form. The best libretto, the most beautiful music, the richest imagination of the artist bear fruit only if the characters of the ballet come to life in choreographic images, as ballerinas and dancers,” says Gabovich M.M.
The specificity of the professional activity of a ballet dancer lies in the need to hold several positions at the same time, to convey artistic meaning with only movements, without uttering a single word.
1.2 Psychology of professional activity of a ballet dancer
Like any professional activity, ballet imposes certain requirements on the personality of the artist, the level of development of his mental functions. Thus, the active motor activity of a ballet dancer requires the full development of such mental functions as sensations. “The development of the kinesthetic or motor analyzer is of great importance, especially in the performing activity of a person, writes Sevastyanov A.I. Kinesthetic sensations are caused, for example, by irritation of nerve endings embedded in muscles, joints, ligaments and bones, as well as resulting from the movement of the body in space, and provide the body with the necessary information for the implementation of coordinated and complex motor acts of the performer.
It is also clear that such types of sensations as auditory, tactile, static, and visual are also important in the activity of a ballet dancer. It should be noted that the development of a particular mental function implies their qualitative state. Every healthy person has a certain set of mental functions, but the degree of their severity can vary significantly, and thus create individual mental characteristics of each person. In the case of sensations, we can talk about such qualitative characteristics as the absolute threshold of sensations - the smallest irritation that causes a barely noticeable sensation, positive or negative adaptation - adaptation of the sense organs to the stimuli acting on them.
Important in the activity of a ballet dancer is a high level of development of perception and attention. With a high activity of these functions, some people may develop creative observation, a characteristic feature of which is “the ability to notice subtle, but very significant, typical features of an object or phenomenon in objects and phenomena.”
A creative personality is manifested in the originality of capturing the phenomena of the surrounding reality. The most important for a creative person is the so-called figurative memory, "consisting in imprinting and subsequent reconstruction of the representation of previously perceived objects." Emotional memory is also extremely important, which consists in remembering, reproducing and recognizing emotions and feelings.
Sensitivity and emotionality are important for any creative profession. The peculiarity of emotions and feelings is determined by personal properties, the orientation of the personality, its motives, aspirations, intentions, individual mental properties, for example, character and emotional-volitional components. A person not only experiences emotions and feelings, they also have an external “bodily” design in the form of facial expressions, pantomimics, intonation and vegetative-vascular manifestations.
An integral element of creative activity is its awareness and mental study by a person. In ballet, as in art in general, the ability of a person to think creatively is important. The main properties of creative thinking are as follows:
§ flexibility of thinking (transition from one class of phenomena to another, sometimes distant in content);
§ freedom from the template (non-triviality, characterized by the search for new approaches to solving problems);
§ breadth of thinking (the ability to attract knowledge from various fields and the ability to apply this knowledge);
§ criticality (the ability to correctly evaluate the object of actions of one's own activity);
§ depth (the degree of penetration into the essence of phenomena);
§ openness (accessibility of thinking to various kinds of incoming ideas and judgments);
§ independence (the ability to independently and originally formulate and solve creative problems without being influenced);
§ empathy (the ability to penetrate into the train of thought of another person).
The process of staging a ballet is associated with a huge mental work of all the performers. The ballet dancer has to work with artistic images. Their formation and implementation lies with the imagination.
Thus, all the cognitive abilities of a person are involved in the work of a ballet dancer on stage. In addition to them, a person’s character traits and his temperament also have a significant influence. Leonhard K. introduced the concept of accentuated personalities, taking into account the accent as character traits, expressed in the features of the mental sphere, human motives, and temperament, which affects the reactive qualities of the personality, in particular, the pace and depth of emotional manifestations.
There are several different classifications of character accentuations, most of which are accompanied by special diagnostic techniques that allow you to distinguish the type of accentuation. Without dwelling on specific methods, we note that the division of people into types is always rather arbitrary. It is possible to single out character traits and types of accentuation that are “favorable” to the profession, but this must be done with caution, paying attention to the holistic perception of the professional’s personality, his professional qualities, the reviews of colleagues, and the social environment in which he is included.
For a creative profession, in the work of a ballet dancer, such character traits as openness, friendliness, patience, responsibility, independence, activity, and initiative are important. This list is not complete, but in general it reflects the specifics of creative professional activity.
Describing the activity of a ballet dancer, one cannot fail 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 winner of the USSR State Prize, architect I.A. Mikhalev. The opening of the theater was timed to coincide with the 350th anniversary of Krasnoyarsk, located on the square of the same name (now Theater Square).
Eleven premieres marked the 1978-1979 season. The audience was shown wonderful works of opera and ballet repertoire. On December 20, 1978, the premiere of the opera by A.P. Borodin "Prince Igor". This performance has become a kind of hallmark of our theater. On December 21, 1978, the ballet "Swan Lake" by P. I. Tchaikovsky was shown, on December 22, 1978 - the opera "The Barber of Seville" by G. Rossini, on December 23, 1978 - the premieres of two one-act ballets "Carmen Suite" by J. Bizet - R. Shchedrin and "The Young Lady and the Hooligan" by D. Shostakovich, December 24, 1978 - opera by P.I. Tchaikovsky "Eugene Onegin", December 26, 1978 - A. Adam's ballet "Giselle".
In 1979, the theater's repertoire was steadily replenished with wonderful performances: operas - "Hurricane" by V.A. Grokhovsky, "Aida" by G. Verdi, "Iolanta" by P.I. Tchaikovsky and ballets - "Chopiniana" and "Paquita" by L. Minkus, as well as the children's play "The Tale of the Priest and His Worker Balda" by M.I. Chulaki. In just 30 years of the theater's existence, 53 operas, 2 mysteries, 57 ballets and 16 children's performances were staged.
It is necessary to note the names of outstanding masters who contributed to the formation of the Krasnoyarsk Opera and Ballet Theatre. These are production directors - M.S. Vysotsky, R.I. Tikhomirov, G. Pankov, B. Ryabikin, L. Kheifits, V. Tsyupa, E. Buzin; conductors - I. Shavruk, V. Kovalenko, N. Silvestrov, I. Latsanich, A. Kosinsky, A. Chepurnoy, A. Yudasin; artists - N. Kotov, T. Bruni, G. Arutyunov, V. Arkhipov, Cherbadzhi, M. Smirnova-Nesvitskaya; choreographers - N. Markryants, V. Burtsev, V. Fedyanin, A. Gorsky, S. Drechin, A. Polubentsev, Vl. Vasiliev, S. Bobrov. Foreign musicians J. Stanek, M. Pietsukh and others also worked in the Krasnoyarsk Theater.
The names of the leading opera and ballet soloists are widely known both in Russia and abroad. Among them are People's Artist of Russia V. Efimov, People's Artist of Russia A. Kuimov, People's Artist of Russia L. Marzoeva, People's Artist of Russia L. Sycheva, Honored Artists of Russia V. Baranova, Zh. Tarayan, S. Kolyanova, A. Berezin, S. Efremova, G. Efremov, N. Sokolova, I. Klimin, Honored Artist of the Republic of Tuva G. Kontsur. Bright and interesting are the works of young opera soloists A. Lepeshinsky, O. Basova, A. Bocharov, E. Baldanov, and ballet soloists A. Ol, E. Bulgutova, M. Kuimova, I. Karnaukhov, V. Kapustin, V. Guklenkov and etc. The names of the famous dancers N. Chekhovskaya and V. Polushin, the magnificent opera singer D. Hvorostovsky, who worked at the Krasnoyarsk Opera and Ballet Theater, are widely known to the Russian and world public.
Krasnoyarsk Choreographic School was founded in 1978. Its opening is associated with the beginning of the activities of the Krasnoyarsk Opera and Ballet Theater and the Krasnoyarsk Dance Ensemble "Siberia". The first director is I. G. Shevchenko.
Artistic direction at different times was carried out by: G. N. Gurchenko, R. T. Khakulova, V. I. Burtsev, B. G. Fedchenko.
Over the entire period of its existence, more than 150 specialists have graduated from the school, who successfully work in theaters and dance groups of the country.
Leading teachers: G.N. Gurchenko, T. A. Dzyuba, Khakulova, L. V. Vtorushina.
Among the students and graduates of the school are laureates of all-Union, Russian and international ballet competitions (S. V. Dauranova, A. V. Yukhimchuk, E. Koshcheeva, etc.).
conclusions
In the first chapter, we managed to identify the essential features of ballet as an art and as a sphere of professional activity.
The profession of a ballet dancer is versatile and multifaceted. It requires a sufficiently long and high-quality training in the learning process, constant self-improvement after graduation. The work of a ballet dancer is everyday physical training, it is a high level of moral and aesthetic education, intelligence, self-awareness. The profession of a ballet dancer requires the development of a person's personal qualities, the constant activity of cognitive functions, and creative abilities.
The definition of professionalism is a dual process. On the one hand, there are objective tools for measuring physical, intellectual and psychological readiness for a profession. On the other hand, even the highest rates in these areas do not guarantee the emergence of a true master as a result of becoming a professional. What is decisive in the process of preparing a ballet soloist? What are the factors behind its success? The second chapter is devoted to the disclosure of these issues.
Chapter 2
2.1 Trends in the modern system of choreographic education
2.1.1 Current state of the vocational education system
An analysis of legal acts and other regulatory documents allows us to formulate the following characteristics of vocational education in the Russian Federation.
For a long time in our country there was a clear division of vocational education into secondary, which was carried out in technical schools, colleges, lyceums, and higher education, which was carried out at institutes and universities. Since the adoption of the Bologna Agreement by Russia, this approach has been gradually abolished.
Since 2007, higher professional education in Russia has been carried out at the following levels:
§ higher professional education, confirmed by the assignment to a person who has successfully passed the final certification, qualification (degrees) "bachelor" - bachelor's degree;
§ higher professional education, confirmed by the assignment to a person who has successfully passed the final certification, qualification (degree) "specialist" or qualification (degree) "master" - training of a specialist or master's degree.
Bachelor's programs last four years, specialist's programs - at least five years, master's programs - two years.
Secondary professional institutions are planned to be brought under the format of applied bachelor's degree in order to bring disparate educational programs and institutions into a single system of professional education.
In addition to the division into levels, Russia's entry into the Bologna Agreement brought a system of credit rating assessment, the possibility of integration into a single European educational space. The credit-rating system of assessment involves the allocation of credit as a unit for assessing the success of mastering an educational program and calculating the rating among all students enrolled in this program.
The Bologna Agreement also implies the possibility of a student's unhindered transition from one educational institution to another throughout Europe thanks to a unified system for evaluating educational programs and actually similar ranking of the credit "burden" of each educational course.
It should be noted that Russia's entry into the Bologna Agreement is assessed by many educators as extremely ambiguous. So it is practically impossible to rebuild the national system of training medical workers, famous all over the world, according to the Bologna principles. Certain difficulties also arise in the training of specialists in the field of culture and art. In this area, the professionalism of an individual teacher and the traditions of training in a particular institution that have developed over many years are of great importance. Over the years, the experience that has been developing over the years cannot simply be translated into credit units and cannot be divided into universal training courses. Meanwhile, the reform process cannot be stopped and the transition to the “bachelor's + master's” system is inevitable. And all educational institutions have to adapt to these trends. So, for example, the Russian Academy of Russian Ballet named after A.Ya. Vaganova".
Another characteristic feature of modern vocational education in Russia, repeatedly mentioned in the "Concept of long-term socio-economic development until 2020", in the "Program for the development of Russian education for 2010-1015", is the focus on practice as the main tool for professional training. For a long time, the Russian education system was too overloaded with fundamental knowledge, absolutely useless for a specialist in real life: “Russian fundamental education, writes F. Yalalov, was created on a knowledge paradigm. The educational process in the system of general and vocational education for several decades was built on a deductive basis in accordance with the didactic triad "knowledge - skills - skills", with the main attention being paid to the assimilation of knowledge.
Recently, there has been a revision of the educational content, avoidance of excessive theorizing, creation of great opportunities for students to practice in real professional activities.
The above documents enshrined the concept of "competence" as a basic unit for measuring the quality of education.
In the Glossary of Labor Market Terms of the European Training Foundation, competence is defined as:
§ the ability to do something well or efficiently;
§ compliance with the requirements for employment;
§ the ability to perform special labor functions.
Ivanova T.V. competence is considered as “... an independently realized ability based on the acquired knowledge of the student, his educational and life experience, values and inclinations, which he developed as a result of cognitive activity and educational practice” .
The peculiarity of competence as a result of education is that, in comparison with other results of education, it:
§ is an integrated result;
§ allows you to solve a whole class of problems;
§ exists in the form of activity, not information about it;
§ appears consciously.
A significant trend in modern domestic vocational education is its active informatization. Educational institutions are equipped with modern computer technology, electronic educational environments are used as one of the learning tools, network technologies make it possible to establish distance education, expanding the educational opportunities of people with disabilities, people living far from densely populated cities.
2.1.2 Contemporary ballet education in Russia
The training of professionals in the field of choreography in our country is carried out at three levels:
1. Initial level - ballet schools.
2. Average professional level - choreographic schools.
3. The highest professional level - academy.
4. Atypical educational institutions engaged in comprehensive and systematic training (combination of all three previous levels).
As a result of vocational training (at the middle and higher levels), you can get the following professions:
1. Ballet dancer - a creative worker of the theater, a professional dancer who, in accordance with the job description and qualifications, performs the parts assigned to him in ballet performances and other works of ballet art.
2. Artist of a dance group (ensemble) - a creative worker, a professional dancer who, in accordance with his job description and qualifications, performs the parts (roles) assigned to him in works of choreographic art (with the exception of ballet).
3. Choreographer - a creative worker, in accordance with the job description under the guidance of a choreographer (choreographer), participating in the work of creating (composing) new, resuming previously staged choreographic works, and releasing them on stage.
4. Choreographer (choreographer) - a creative worker who, in accordance with the job description, creates (composes) his own choreographic works, resumes previously staged choreographic works and implements a set of organizational measures for their release on stage.
5. Tutor - a creative worker who, in accordance with the job description, works on learning parts in new and previously created performances with the artists, rehearsing the performances of the current repertoire.
6. A teacher is an employee of an educational institution who trains students in various forms and develops certain competencies in them.
7. Teacher-tutor - an employee of an educational institution, a professional teacher who performs the functions of an assistant, consultant, mentor, confidant of a student, who is the organizer of his life and accompanies him in his desire to independently solve the problems of education.
8. Ballet teacher - a specialist in the field of ballet art research, a ballet historian, a ballet critic, who often combines these functions with teaching in the relevant field.
9. Choreologist - a specialist in the field of complex and interdisciplinary studies of choreography in its entirety (including ballet), an art critic who often combines these functions with teaching in the relevant field.
10.Kinesiologist - a doctor, medical worker, specialist in the field of kinesiology.
12.Dance therapist - a doctor, psychologist, health worker, specialist in the field of dance therapy.
The goals of professional education of a ballet dancer are set by a list of competencies identified in the Federal State Educational Standard of Higher Professional Education in the direction of training "Choreographic Art".
Thus, in the third generation FSES HPE project, bachelors in this area must have:
Socio-personal and general cultural competencies;
General scientific competencies;
Instrumental competencies;
Professional competencies.
The latter are divided into general professional and profile-specialized competencies (according to the type of professional activity).
Among the professional competencies that a bachelor should have:
Knowledge of the choreographic repertoire;
Practical experience in performing choreographic repertoire;
Knowledge of the basics of drawing, painting, composition, etc.
The list of competencies is quite extensive. It remains unclear how it is possible to check the formation of each, and whether it is possible to judge by the totality of their formation about the professionalism of a student as a future ballet dancer.
In the future, in the most general form, we will characterize the content of the professional training of the future ballet dancer in educational institutions in Russia.
As already noted, training in ballet art begins at the age of ten in ballet schools. N.I. Tarasov, asking at what age one should start learning classical dance: “... to learn its expressive means, its language, which, of course, the future ballet dancer must master technically perfectly, virtuoso, artistically freely, flexibly and musically”, he himself and answered: “We can safely say that for a future ballet theater artist it is necessary to start mastering the school of classical dance from the age of nine or ten ... The missed childhood years, as the initial period of training for a future dancer, will certainly affect his performing art as a kind of shady and not fully disclosed side.
It is no less important that “childhood is especially receptive to the beautiful - music and dance. It is childhood that is a time of great emotional saturation, impressionability, dreams and activity of action” [ibid.], which plays an important role in the training of a ballet dancer, especially during the period of primary education, when it is necessary to interest a child, excite and captivate his soul and start creatively inquisitively. develop it.
“Everything starts with simple things,” writes E.A. Menshikov. The movements that are honed daily in the lesson and which seem boring and non-dance, being included in the text of the choreographic composition, are already perceived by children as an integral part of the dance ... the sooner it becomes possible to put the letters of the ballet alphabet into words ... the more organic the existence on stage will be. At the initial stage, the author suggests paying attention to the physical preparation of the child, to the development of plasticity, a sense of rhythm: "... without teaching children the initial elements of choreographic literacy, you cannot teach them to dance, otherwise teaching loses all meaning" .
Particular attention should be paid to the education of patience, discipline, instilling love for music and art. “In the lesson it is necessary to develop will, character, discipline,” writes N.M. Dudinskaya". Also, the emphasis is on the development of imagination, memory, attention, perception, emotionality.
Training is conducted in the following disciplines: rhythm, gymnastics, choreography, dance, general school disciplines. Classes are held in groups of 10-12 people.
It should be noted that students of ballet schools from an early age are involved in professional activities, take part in productions. “The evening always began with a class-concert… Each dancer had one or two solo numbers, which I selected according to their individuality and preparedness,” writes N.M. Dudinskaya. The choice of the theme of the productions is determined by the peculiarities of the development of children in a particular age period: “Children of each age have their own dances. The younger ones dance "Polka", "Polonaise". The middle ones - "Geese", "Rock and Roll", the older ones - "Salute of Victory". “Performances should correspond to the age and level of development of children, they should be understandable to them, then the viewer will understand and accept them.”
Training in choreographic schools lasts from five to eight years. The selection to these institutions, as well as to ballet schools, is quite strict. Strict requirements are imposed on the physical readiness, health of the child, the level of his intellectual and psycho-emotional development. Exams at the school are held in three stages:
Checking professional data, body features (external data) - addition of proportions, stage presence, eversion, rise, step, jump, flexibility;
Medical commission - vision, hearing, internal organs, nervous system, apparatus. Russian language testing;
Artistic Commission - musical and rhythmic data: rhythm, hearing, memory; professional data, dance.
The main methods and means of teaching are (on the example of the OOP used in the Academy of Russian Ballet named after A.Ya. Vaganova):
Seminar;
Independent work;
Consultation;
Practical lesson;
Excursion;
Educational and industrial practice;
Course work;
Graduation work.
Among the basic disciplines in choreographic schools: classical dance, folk stage dance, historical and everyday dance, jazz, step, rhythm, gymnastics, acting, makeup, foreign languages, the history of theater, music, fine arts, musical literacy, philosophy, fundamentals law, economics, sociology, anatomy, etc.
The main role in the preparation of a ballet dancer is played by classical dance. "It provides an education of the body in movement that can serve as an aid to any dance solution."
Classical dance is a fundamental discipline in the choreographic school, it plays a leading role in the professional training of future ballet dancers. It is at the lesson of classical dance that the language of choreography is learned. To master the high performance skills of classical dance, it is necessary to know and assimilate its nature, its means of expression, its school. The school of classical dance is the basis of the foundations of a systematic, consistent, methodical training in the profession of a ballet dancer.
One of the main components of the preparation of a future dancer is stage practice, which has been steadily introduced into the class schedule. The purpose of this subject is the comprehensive development and improvement of the performing skills of students on the basis of rehearsal work and stage performances, including theater performances. Stage practice is an integral, final part of the educational process.
Thus, the following can be attributed to the features of training a ballet dancer in Russia:
§ Due to the physiological characteristics of the human body, there are strict deadlines for the professional activity of a ballet dancer: the beginning of professional training at the age of 10, the beginning of professional activity at 18-19 years old, the end of professional activity at 38-40 years old;
§ training in a ballet educational institution (choreographic school, ballet academy) is considered as professional training from the first steps, from the age of 10;
§ the special regimen and level of workload of a student are comparable to the regimen and workload of an adult artist, which corresponds to the physical activity of the sport of high achievements;
§ general (school) education and vocational (primary, secondary, higher) education are combined in a single educational process, often it is impossible to draw a clear distinction between them;
§ the need to advance the development of humanitarian and art history disciplines leads to the inclusion of elements of higher education in the program of a secondary vocational educational institution;
§ direct transfer of skills, knowledge, experience from generation to generation (“from hand to hand - from foot to foot”, bypassing material media);
§ the functioning of the choreographic school (ballet academy) both as an educational institution and as a theater group, the unity of the actual educational process and practice;
§ obligatory interaction of the choreographic school (ballet academy) with a professional, “basic” ballet troupe (theater): the troupe mostly consists of graduates of this educational institution, and most of its teachers are former and current artists of the troupe; orientation of the educational process to the style features and repertoire of the troupe; the opportunity for students to participate in professional performances from the first years of study.
2.2 Pedagogical activities for the preparation of a ballet dancer
“The role of the teacher is enormous, the creative growth of artists largely depends on him,” wrote N.M. Dudinskaya.
We conducted a study to determine the specifics of the formation of the professionalism of a ballet dancer.
Research base: Krasnoyarsk Choreographic School and Krasnoyarsk Opera and Ballet Theatre.
Research methods:
Observation;
“The only possible way to accumulate and preserve socio-cultural experience in the context of the continuity of generations is the system of continuous humanitarian education,” says V. M. Zakharov. In the most convincing, visual form, this system was developed within the framework of continuous choreographic education "school - choreographic school (university) - theater". Teachers of the Krasnoyarsk choreographic school adhere to similar positions.
The school was founded in 1978. To date, 56 teachers work in it, 18 of them are part-time. Since 2010, the school has been preparing bachelors in the direction of "Choreographic Art". The professional activity of bachelors in this area is carried out in the field of culture and art, related to choreographic art and the ways of its functioning in society, in institutions of education, culture, art and management.
The institution has established fairly close ties with the Krasnoyarsk Opera and Ballet Theatre. Students of the school constantly perform reporting performances on the stage of the theater, their future mentors - theater choreographers - regularly meet and work with students.
In ballet, students are required to have good preparation, the ability to meaningfully apply the complex of acquired knowledge and skills, to understand a certain interdisciplinary range of issues. The teacher must manage the process of training, development and education, and for this “you need to be competent, you need to fully and accurately know all the conditions of production, you need to know the technique of this production at its modern height, you need to have a well-known scientific education. Knowledge, competence, education cannot be replaced by any other, even the best human qualities.”
The current conditions of education impose an immutable requirement on the modern teacher - knowledge of the fundamental sciences. Moreover, “not only the amount of knowledge is of decisive importance, but also their accuracy, systematicity, and mobility. Not a maximum of knowledge, but their mobility and manageability, flexible adaptation to the conditions of an educational institution, makes a specialist suitable for pedagogical activity.
Based on these provisions, we analyzed the level of fundamental training of teachers from the Krasnoyarsk Choreographic School. All teachers have higher professional education, regularly attend refresher courses, participate in conferences and symposiums, prepare and publish their own articles.
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