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Osipova Marina Kazimirovna Professional training of future ballet dancers for the performance of jumping movements: dissertation ... Candidate of Pedagogical Sciences: 13.00.08 / Osipova Marina Kazimirovna; [Place of protection: Ros. state ped. un-t im. A.I. Herzen].- St. Petersburg, 2011.- 272 p.: ill. RSL OD, 61 11-13/1342
Introduction
CHAPTER I. Traditions of foreign and domestic schools in the preparation of future ballet dancers for the development of jumping movements
1.1. The evolution of jumping movements in the Western European ballet theater
1.2. The history of teaching allegro at the Russian ballet school 24
1.3. Formation of methods for teaching jumping movements in the Russian ballet school
CHAPTER II. Methodological system of training future ballet dancers to perform jumping movements in the lower grades of a professional educational institution.
2.1. Identification of the initial level of training of future ballet dancers to perform jumping movements 77
2.2. Designing a model of a methodological system for professional training of future ballet dancers to perform jumping movements 99
2.3. Studying the effectiveness of the methodological system of professional training of future ballet dancers to perform jumping movements 132
Conclusions Conclusion 165
Bibliography
Introduction to work
h
Relevance of the research topic.
The system of professional training of future ballet dancers is traditionally based on methods that have been formed for decades in the Russian ballet school and passed down from generation to generation. Based on general didactic principles, choreographic pedagogy, as a set of pedagogical experience in the field of training ballet dancers, has developed its own methods and principles that reveal the specifics of classical dance, making it possible to teach it as a living figurative art.
Teaching methodology Allegro (Allegro - the final part of the classical dance lesson, consisting of jumps) - the most important section of classical dance was developed in the works of N.P. Bazarova, A.Ya. Vaganova, B.C. Kostrovitskaya, A.A. Pisareva, N.I. Tarasova, A.I. Chekrygin. However, the available teaching aids, including the Allegro section, and aimed at the professional training of future ballet dancers, do not reveal the historical background for the emergence and development of jumping movements; insufficient attention is paid to the methodology for developing the height of the jump among primary school students; there are no studies of the psychological aspect of the development of a jump among students and the role of a teacher in teaching jumping movements; criteria for assessing the quality of performance of jumping movements have not been developed.
The development of the modern ballet school implies an increase in the level of performance of jumping movements. The specificity of modern ballet lies in the expansion of the choreographic language. In recent years, many well-known Western choreographers have staged their ballets in Russia (W. Forsythe, J. Neumeier, N. Gelber, etc.), and interest in modern choreography has also grown (A. Ratmansky, B. Eifman, etc.). In this regard, the dance vocabulary has changed. So, in modern ballets, jumps become more powerful, closer to sports, and require a change in the technique of performance, and, consequently, the methodology for mastering this technique.
The listed features of the development of the ballet school and the recorded problems of professional training in the field of Allegro are updated with the introduction of the federal state standard of higher professional education in the direction of training
"Choreographic performance" qualification bachelor (No. 070300), since in this regard there is a question of developing a system of requirements for the professional training of future ballet dancers.
contradictions between the growing requirements for the training of ballet dancers and the insufficient development of a holistic system for their training in the Allegro section of classical dance, as well as the lack of a comprehensive scientific and theoretical understanding of pedagogical experience in this area served as the basis for choosing research topics:"Professional training of future ballet dancers for the performance of jumping movements."
Purpose of the study- development and approbation of a methodological system of professional training of future ballet dancers for the performance of jumping movements in the lower grades of a professional educational institution.
Object of study- the process of professional training of future ballet dancers for the performance of jumping movements.
Subject of study- professional training of future ballet dancers for the performance of jumping movements in the lower grades of a professional educational institution.
Research hypothesis: preparation of future ballet dancers for the performance of jumping movements in the lower grades of a professional educational institution will be effective if:
the conceptual provisions for the preparation of future ballet dancers for the performance of jumping movements were determined;
the criteria for the quality of jumps performance were identified and tools for their assessment were developed;
the content, methodology and organizational and pedagogical conditions for the preparation of future ballet dancers for the performance of jumping movements were developed;
professional training is carried out in the format of individual educational routes, built on the basis of monitoring the success of training according to the selected criteria.
Research objectives:
to study the historical and scientific-pedagogical literature on the problem
research in the aspect of the development of the technique of performing jumping
movements in Western European ballet theater and Russian ballet
school;
to analyze the results of scientific research in the field of anatomy, psychology, pedagogy, sports in order to study the physical and psychological capabilities of students that affect the performance of jumping movements;
determine the criteria for assessing the level of professional training of future ballet dancers for the performance of jumping movements;
identify tools for assessing the quality of performance of jumps of all difficulty groups;
develop methodological support for the training program for future ballet dancers to perform jumping movements in the lower grades of a professional educational institution;
to develop a model of a methodological system for the professional training of future ballet dancers to perform jumping movements;
develop educational routes for students to master the Allegro section of the discipline "Classical dance" in the lower grades;
to experimentally test the effectiveness of the developed methodological system for preparing future ballet dancers for the performance of jumping movements.
Theoretical and methodological basis of the study are the works of classical dance teachers, the scientific works of Russian and foreign art historians, memoirs and fiction, the works of teachers, psychologists, sports coaches, considered within the framework of comparative historical and systematic approaches.
The work used educational literature on the methodology of teaching classical dance to teachers in St. Petersburg and Moscow: the works of A.Ya. Vaganova, N.I. Tarasova and A.I. Chekrygina, N.P. Bazarova and V.P. May, V.S. Kostrovitskaya and A.A. Pisareva, A.M. Messerer.
The study of teaching jumping movements in the Russian ballet school was facilitated by the works of A.Ya. Vaganova, E.O. Vazem, A.L. Volynsky, T.P. Karsavina, V.M. Krasovskaya, M.F. Kshesinskaya, F.V. Lopukhov, M.I. Petipa, M.M. Fokina, G. Cecchetti, A.Ya. Rustle.
In the study of pedagogical techniques and requirements that were formed in the 18th - 19th centuries in Western European and Russian ballet schools, the works of L.D. Blok, M.V. Borisoglebsky, V.M. Krasovskaya, Yu.I. Slonimsky, I.I. Sollertinsky, E.Ya. Suritz, J.-J. Noverra, A. Fridericia, L.V. Jacobson.
The works of G.G. Albert, B.Ya. Bregvadze, E.P. Valukina, S.N. Golovkina, Yu.I. Gromova, V.A. Zvezdochkina, S.S. Chestnut, Yu.N. Myachina, A.V. Nikiforova, P.A. Pestova, L.N. Safronova, L.I. Yarmolovich.
In the study of psychophysical and biomechanical factors affecting the quality of Allegro performance, the author used the work of V.V. Belous, B.C. Vygotsky, N.E. Vysotskaya, B.A. Vyatkina, A.G. Gretsova, A.L. Groysman, E.G. Kotelnikova, N.V. Sokovnikova, A.N. Chefranova.
The works of I.Yu. Aleksashina, VI. Andreeva, T.G. Brazhe, S.L. Bratchenko, E.V. Bondarevskaya, Yu.N. Kulyutkina, N.A. Morevoy, A.A. Orlova, O.G. Prikota, V.I. Slobodchikov.
The basics of the theory and methodology of vocational education were studied according to the works of: S.G. Vershlovsky, A.M. Kuznetsova, M.M. Levina, A.K. Markova, L.M. Mitina, V.A. Slastenina, N.E. Erganova.
To achieve the goal, solve the tasks and check
hypothesis, a combination of empirical and theoretical research methods, complementary and enriching each other:
theoretical: historical and pedagogical method, which involves a comparative analysis of historical and methodological literature, as well as scientific works on the psychology and pedagogy of the issue under study and their interpretation based on a systematic approach;
empirical methods: collection and accumulation of data (pedagogical observation); data measurement (peer review of credit lessons); data processing (quantitative and qualitative analysis); study and generalization of pedagogical experience; pedagogical experiment.
Experimental research base.
The experimental study is of a longitudinal nature and was carried out on the basis of the Academy of Russian Ballet. AND I. Vaganova. The experiment involved pupils of the lower grades of the ARB (boys 28 people), including ten people of the experimental class A, and as part of a comparative analysis, the results of training in two parallel classes - B and C (18 people) were evaluated.
The main stages of the study.
The study was carried out in three stages:
At the first stage (2005 - 2006) - an analysis of pedagogical, psychological and methodological literature was carried out in order to theoretically comprehend this problem, its relevance and development in scientific research. An assessment of the current state of the problem was carried out, tools and methods of research were developed, the problem was clarified, and a preliminary research hypothesis was formulated.
At the second stage (2007 - 2008), a study was conducted of the level of professional training of future ballet dancers in the performance of jumping movements. The following activities were carried out: identification of the level of preparation of future ballet dancers for the performance of jumping movements; experimental testing of the new system of evaluation of learning outcomes; development of the content of methodological support for the preparation of future ballet dancers to perform jumping movements. On the basis of experimental studies, individual educational routes were built for each student. In the process of work, the initial hypothesis of the study was refined and deepened.
At the third stage (2009 - 2010), the effectiveness of the methodological system of teaching jumping movements in the training of future ballet dancers was tested, the results of the study were analyzed and generalized, the main conclusions were formulated, and the prospects for further research were determined.
Provisions for defense:
1. Conceptual provisions for the design of a methodological system for the professional training of future ballet dancers for the performance of jumping movements, suggesting:
Setting to expand the choreographic language of modern ballet in connection with a change in dance vocabulary and an increase in the power (sports) component of the jump, which requires changes in the technique of performance: changes in approaches to jumps, an increase in the height of the opening of the leg in a jump, changes in the technique of jumping;
Reliance on the traditions of Western European and Russian ballet schools,
allowing to reveal invariant ways of professional
training of future ballet dancers in the field of Allegro: defining the role
exercise of classical dance in the process of learning Allegro; increased attention to the implementation of pHo and other exercise movements in the development of Allegro; development of exercises for the development of the jump; execution of springboard jumps; development of elevation and ballooning skills; determination of the role of jumps in the creation of characters and images in ballet;
Implementation of a systematic and holistic process of professional training that meets the requirements for the professional training of future ballet dancers, reflected in the content of the federal state standard of higher professional education, the first in the history of training future ballet dancers,
2. A methodological system that reflects the requirements for professional
preparation of future ballet dancers for the performance of jumping movements in
elementary grades of vocational schools within the section
Allegro discipline "Classical dance", the model of which is presented on
page 17, allowing:
Organize a systematic and holistic process of their professional training, when the content and teaching methods are substantiated by conceptual and methodological guidelines that reflect the specifics of modern ballet and a system of developed criteria for assessing the performance of jumping movements;
Develop organizational and methodological support for the professional training process, first of all, a description of a holistic methodology for the execution of jumping movements according to the selected criteria;
To carry out professional training of future ballet dancers in the strategy of individually oriented learning, when an individual educational route is developed for each student and the results of educational activities are monitored.
3. The system of criteria for evaluating the performance of jumping movements:
methodical (accuracy of the jump, coordination of the whole body during
jump execution); performing (performing pHo before and after the jump,
push, landing after the jump, fixing the posture in the air, initial
elevation and ballooning skills); emotional and psychological
(psychological attitude to perform jumping combinations,
expressiveness and musicality of performance) on the basis of which
developed a toolkit for assessing the quality of the performance of jumps of each
difficulty groups - scorecards that allow you to
monitoring the quality of training of future ballet dancers and determining the trajectory of individual educational routes for future ballet dancers, taking into account the physical data of students, the methodological literacy of performing jumps, the development of coordination of movements, the correct psychological attitude: physical, coordination-methodical, emotional-psychological and combined types.
Scientific novelty of the research:
The criteria for evaluating the level of students' preparation for performing jumping movements are determined - methodological, performing, emotional and psychological.
A methodical system for training future ballet dancers to perform jumping movements has been developed, which makes it possible to organize the educational process in the lower grades of a professional educational institution based on certain conceptual and methodological guidelines.
The dependence of the successful mastering of jumping movements on four interrelated factors was found and substantiated: the physical data of students; methodical literacy of performance; coordination of movements; correct mental attitude.
Theoretical significance of the study:
A comprehensive study of the Allegro section in classical dance has been carried out, developing knowledge about the principles, content and methods of professional training of future ballet dancers: the history of the development of jumping movements has been summarized, new methodological techniques for performing Allegro have been substantiated, and the psychological and pedagogical aspects of teaching Allegro have been revealed.
Based on the criteria for assessing the level of professional training in the performance of jumping movements, the typology of individual educational routes of students was determined: physical, coordination-methodical, emotional-psychological and combined types.
Practical significance of the study:
A multi-criteria map for assessing the level of training has been developed
performing jumping movements by future ballet dancers,
containing the most complete requirements for students when performing
software jumps.
A methodology has been developed for preparing future ballet dancers to perform jumping movements in the lower grades of a professional educational institution, which is distinguished by: a holistic description of the techniques for performing a jump, indicating possible errors of students during performance; description of the jump with decomposition into musical score; development of methodological principles for making combinations.
Reliability and scientific validity guidelines and
the conclusions of the study are due to the consistent implementation
methodological basis of the study, logically consistent
problem analysis, purposeful use
complementary methods of pedagogical research, a combination of quantitative and qualitative analysis, practical confirmation of the main provisions of the study in experimental work.
Approbation of work was held at the Department of Classical and Duet-Classical Dance of the Performing Faculty, in the lower grades of the ARB. A. Vaganova, where the author has been teaching since 2003, and since 2008 he has been teaching a course in classical dance methodology at the Department of Classical and Duet-Classical Dance of the Pedagogical Faculty. The main provisions of the dissertation are reflected in publications and reported at the international seminar on the methods of classical dance (2007).
Volume and structure: the dissertation consists of an introduction, two chapters, a conclusion, a list of references and appendices. The main content of the dissertation is presented on 168 pages of typewritten text.
The history of teaching allegro in the Russian ballet school
Classical dance absorbed and brought to the perfect form the movement of the human body. This was preceded by a long way of development, search, observation and selection of the most expressive dance means. At the same time, jumping has always been an integral part of the movements of both humans and animals. An ancient artist, trying to capture fellow tribesmen, painted them in swift, sometimes very expressive jumping poses. In the primitive drawings of the fixed poses, one could already see the dance.
Antiquity with the cult of a healthy, harmoniously developed human body provides numerous evidence of various dances and jumping movements imprinted in them. The purpose of these movements and exercises was: "higher", "further" and, finally, "original".
Lucian of Samosata in his treatise "On the Dance" wrote about jumping. Some were performed in a circle, others he called jumps, others were just big jumps. And again the uncertainty: what are these movements, what did they look like? Lucian noted that the performers took care of the fitness of the body, strength, flexibility, stability.
In antiquity, and then later, in the Middle Ages, during the Renaissance, professional shows necessarily included various kinds of jumps, both small and large.
From the 15th century, treatises on dance began to appear in Italy. Note that these were textbooks on ballroom dancing. It was in Italy that public dance found its first theoretical development, took conditional, scientific forms, and developed its own terminology.
Starting from the 15th - 16th centuries, the dances performed by the people and the dances of the nobility are increasingly different in technical techniques and style of performance. Simple people could freely express feelings and emotions in strong, dynamic, sometimes inventive and complex movements. The professional actors who replaced the amateurs at the end of the 15th and the beginning of the 16th centuries belonged for the most part to the lower strata of society, they were not “fettered” by the rules. But by the nature of their activity, some especially gifted people could perform at the invitation in the castles of the nobility. This gave them the opportunity to see solemn, unhurried ballroom dancing, and then ennoble the style and movement in their performances.
From among the best dancers, masters of their craft, people appeared who tried to record dance figures, movements, and determine the technique of performance. Among the first known are D. da Ferrara and his work “On the Art of Dance and Dance” (late XIV-XV). He is followed by G. Ebreo "Treatise on the Art of Dance" (1463) and A. Cornazano "The Book of the Art of Dancing" (1465), F. Caroso's book "Dancer" (1581) and C. Negri, his work was called "New Inventions ballet” (1604). Note that these were treatises on ballroom, later on, serious dance.
One of the first C. Negri in his work analyzes jumps and tours in detail, as the most difficult movements to perform. He divides jumps into four groups:
Note that the term cabriole then meant many types of jumps, but "tours in the air and skidding, giving the dance a shine, did not include the concept of flight."
Then the author of the textbook describes some difficult jumps and advises to train them at a table or chair. The same practice, only at the stick, exists to this day in the training of dancers. The technique of each jumping movement, according to Negri, includes the work of both legs and arms. Sometimes he pays attention to the body and head. For the first time, the choreographer comprehends the work and coordination of the whole body of the dancer in the dance. And to put into practice the technique of performance, combining it with nobility and grace, was to be another emerging dance school.
Pierre Beauchamp - the legendary French dancer and choreographer of the 17th century - greatly contributed to the establishment and development of serious dance. He was a contemporary of J. Lully and a choreographer in his operas. In 1661, Beauchamp headed the newly founded Royal Academy of Dance. By that time, interest in dance entertainment was extremely high. The development of the art of dance in France was facilitated by a large number of touring Italian troupes. Naturally, the passion for the dance of the reigning persons, their entourage. Beauchamp taught King Louis XIV, danced and staged at his court. Ballet historian V1. Krasovskaya notes "that Beauchamp introduced the jump pas de ciseaux en tournant or revoltade en tournant into the male dance". It was Beauchamp who fixed and legalized the five positions of the feet in a serious dance;
He was the first to be awarded the title of maitre de ballet (1671) at the Royal Academy of Music. Beauchamp was the first to respond to the new forms of dance music proposed by the composer, and began to compose "for Lully's arias a conditional dance that gravitated toward virtuoso instrumentalism." And further: “The solo dance lined the stage in different directions with sliding horizontals pas glissade and pas chasses. Plies deepened the plane in curtseys. Splashes and splashes of drifts, on the contrary, affirmed the vertical, interrupted the smooth line of dance with a break, ... allegro tempos developed and improved the vertical. New techniques were perfected with strict observance of positions en dehors ... ". From now on, dancers and choreographers will study and improve the outlines of movement in space. It was Beauchamp's generation that "directed the dance towards the conquest of space. The scope and height of movements have multiplied. It can be assumed that, starting from the second half of the 17th century, in the built-up sequence of the classical lesson, the section - "jumps" - finds its specific place.
L. Blok quotes the statement of the dancer Depreo: "Beauchamp was the first to dismember the tempos." Then, she explains: "This is the dismemberment of dance steps into tempo ...". Let us clarify that the concept of tempo in ballet at that time (17th century) and up to the beginning of the 20th century is a combination of several movements, for example, the still known temps leve, temps lie, temps lie saute, etc.
Thus, the forms and style of dance, brought from Italy by numerous small touring troupes, fell on prepared and fertile ground in France. And the development of the dance continued in accordance with the characteristics of this country.
By the beginning of the 18th century, there was a clear separation of the styles of professional dance in Italy and France. Italian performers are technical to the point of virtuosity, they boldly use elements of acrobatics, but they are sharp, often to the point of rudeness and grotesque-comic. Their performing style originates in the folk comedy theater dell arte.
By the beginning of the 18th century, French professionals allowed virtuosity, but to certain limits. They are mannered and cutesy. In their performance there is more lightness, grace, nobility. Serious dance in France at that time was technical and not as easy as it might seem to modern eyes.
The technique of women's dance was not visible because of the puffy long skirts in accordance with the fashion of those years, in part, so jumps in women's dance were not used to the fullest.
Marie Camargo (1710-1770), the most famous French dancer of her time, was a temperamental Spaniard by nationality. She was the first to shorten skirts to the ankle, introduced jumps into the arsenal of a professional dancer and began to do entrechat-quatre. Noverre saw Camargo dancing. He noted that "all those pas ... attractive and brilliant, all these jetes, battus, royales, entrechats, done without "daub", Camargo performed with extraordinary ease." These movements have long been part of the male dance, the artist borrowed them for herself. “Madame Camargo was the first to dance like a man,” Voltaire remarked. The followers of the dancer began to use the achievements of male dance even more boldly.
Formation of methods for teaching jumping movements in the Russian ballet school
That is why the development of the base of research criteria was focused in the areas of development of the activity (performing skills, physical development), cognitive (learning the technique of jumping movements) and emotional and psychological spheres of the personality.
Consider the aspects of the formation of criteria for assessing the professional skills of future ballet dancers on the example of the Allegro section of the discipline "Classical dance".
The discipline "Classical dance" is a fundamental autonomous system in the professional education of a dancer, which is aimed at developing physical data and creative aspects of the personality. It is this discipline that contributes to the formation of professional skills of future ballet dancers in the performance of jumping movements.
The classical dance teaching system is based on methods that have been built for decades in the Russian ballet school and passed down from generation to generation. All the various methods of teaching dance are guided by the student, by his individual characteristics (physiological, psychological). In this regard: it is important how the relationship between the teacher and the student will develop, since the features of their relationship will affect the success of the educational process as a whole.
Classical dance has a huge developmental and educational impact on the activity, cognitive, emotional and psychological spheres of the individual. Mastering any kind of art requires special volitional efforts. And the art of dance is also based on great physical effort.
As pedagogical observation shows, it is at the beginning of classical dance training that the activity sphere of the personality is more intensively involved, and only later, in the process of regular lessons, the cognitive and emotional-psychological spheres of the personality begin to develop.
It is important to note that the main attention at the stage of admission to the ARB when assessing the physical data of children for the performance of jumps is given to the elasticity of the Achilles tendon (the child is asked to do a demi plie, while assessing the possibility of stretching the elasticity of the Achilles tendon); further, the strength of the natural push is evaluated (the child performs 16 springboard jumps) and coordination - the selection committee looks at the positions of the hands and body when performing springboard jumps. Hands should be tightly pressed to the body on the belt and not "twitch" during the jump. In this case, the body in the jump should go vertically up.
Throughout the educational process, children work on strengthening the musculoskeletal system of the body, on the development of physical data, on the development of plasticity and expressiveness of movements. Accuracy and technical performance, freedom, coordination and expressiveness of movement - the achievement of these qualities is the main goal of teaching classical dance. They determine the level of professional skills of students.
Teaching children classical dance is a dynamic process. At each of its stages, the main goal should be identified, which determines the integrity and effectiveness of teaching. At the initial stage of training (junior grades - 1-3), such a goal is: setting the body, legs, arms, head in exercise at stick No. in the middle of the hall, initial mastery of jumps, setting feet on, fingers, developing elementary skills for coordinating movements, that is. formation of initial professional skills of future artists. ballet.
Mastering movements in the course of a classical dance lesson is the main indicator of a student's professional readiness to participate in the ballet theater repertoire. Jumping movements are the final part of the classical dance lesson. The level of performance by a student of the section of jumping movements is also an indicator of his professional skills and readiness for further dance practice at all stages of classical dance training.
Thus, jumping movements are one of the main components of the professional skills of the future ballet dancer as the most important part of the classical dance lesson.
Readiness to perform jumps in the lower grades is determined by the presence of physical data and psychological characteristics of the student. In addition, the technique of performing jumps in classical dance has its own performing techniques. Elevation and balloon, the initial skills of which are laid in the lower grades, are the most difficult techniques to achieve. jump performance. At the same time, the presence of an elevation and a balloon in the performer characterizes the level of the artist's skill in performing jumps. It is with their help that the “image of flight” is achieved.
As noted at the beginning of the chapter, to develop criteria for assessing the level of professional skill of students in performing jumping movements in classical dance lessons, the method of expert assessments was chosen. Based on the results of the work of the expert group, three groups of criteria were established: methodological, performance and emotional-psychological.
Methodological criteria for evaluating the performance of jumping movements provide for the compliance of the completed jump with the requirements; developed by teachers of the Russian ballet school and preserved and approved at the moment by the ARB methodological office. The methodological criteria for assessing the performance of a jump include:
The methodical accuracy (correctness) of performing a jump in accordance with the modern requirements of classical dance implies the observance and fulfillment of the basic rules of each specific jump - the musical alignment, maintaining the eversion in all phases of the jump, observing the positions of the legs and arms, stable landing after the jump, stretching the legs in the air, preservation of the nature of each jump (air, parterre, on the spot, with a span, with the arrival on one or two legs, on one leg, etc.).
Coordination of the whole body during the performance of the jump (coordinated movements of the legs, arms, body and head during the execution of the jump) implies precise work of the legs, smooth movement of the arms and at the same time their help (hands) in performing jumps, accurate head turns, correct work of the body. The student's coordination is determined by natural data, and it can also develop in the process of learning classical dance.
Designing a model of a methodological system for professional training of future ballet dancers to perform jumping movements
Upon admission, the student had favorable physical data for learning. Grade 3+. During the first four months of study at the ARB, Artem V. quite freely mastered the basics of classical dance. At the same time, psychological difficulties were revealed. According to the type of temperament, student Artem V. is a pronounced phlegmatic person, so his psychological mood was extremely low. In the first months of study, he had no motivation, so the expressiveness of his performance remained at an extremely low level.
The educational type of the route for the student was chosen No. 3 (emotional-psychological). When working in the classroom, special attention was paid to increasing psychological motivation.
Methodological instructions were perceived by Artem V. attentively, but extremely unemotional, even infantile. By the end of the 1st year of study, the student's progress mark was Artem V.'s good physical data attracted attention. We note in particular that
psychological criteria (motivation, expressiveness), the student received an unsatisfactory grade (2).
Over the next two years of study (2nd, 3rd grades), a clear increase in all professional criteria is visible. In the process of study, the successful mastery of program movements significantly influenced the emergence of a positive psychological attitude and expressiveness of performance.
In this case, there is a direct correlation between the successful mastering of the program and the emergence of psychological motivation. As a result, the educational route No. 3 chosen for the student was correct. Table 2.3.6. The results of the jumps performed by Roman B. +).
During the first four months of study at the ARB, Roman B. successfully mastered program movements. At the same time, the student showed a high level of perception of methodological requirements, good coordination and natural elevation (rare at the initial stage of training).
The psychological mood of the student was very high. At the end of the 1st year, Roman B. showed good results in all jump performance criteria. At the same time, against the background of success, the student began to show psychological qualities that interfere with the learning process: self-confidence, disrespectful attitude towards comrades, etc. The student felt his superiority in physical data and did not always behave correctly in the classroom.
The educational type of the route for the student was adopted No. 3 (emotional-psychological). Much attention was paid to the correction of personal qualities of Roman B. Revealing the individuality of the student, the teacher led. work on the next; development, such important natural data as artistry and expressiveness.
Educational route No. 3 was chosen correctly; Proof! This is the "growth of all indicators in. performance! jumps.. The student's behavior in the classroom has become more even?
F the end of the 2nd year of study; the student's grade was 4- (the highest-highest-in the class). Roman B; stood out not only due to excellent physical data, but also artistic abilities. All jump combinations were performed by the student not formally, but at: a high emotional level.
In the 3rd grade, work continued on the further development of the student's abilities. There was an obvious increase in all the main indicators: the power of the push, soft landing and elevation. According to the result of the 3rd grade exam, Roman B. received a mark of 4 (the highest among third grade students).
In this case, there is a direct relationship between psychological correction and an increase in the level of jump performance.
As a result, the educational route No. 3 chosen for the student was correct.
Comparison of the results of the experimental data of Artem: V: and Roman B. shows that the choice of an emotional and psychological educational route is effective for students with a low level of motivation; to learning (Artem V.), as well as with high self-esteem (Roman B.). With such an almost polar emotional and psychological attitude, both students successfully completed their education in the primary grades, because. a necessary factor in the effectiveness of this educational route was the good physical data of the students, corresponding to the performing and methodological criteria.
The combined type of an individual route in various combinations was proposed by Ilya V. (No. 2, 3), Stanislav G. (No. 1, 3), Vikenty Ya. (No. 1.3), Yuri B. (No. 1.3).
A combined educational route is a combination of no more than two educational directions for students with specific problems of a physiological (lack of coordination, high (low) growth, fullness) and psychological (self-doubt, anxiety, distracted attention, laziness) character.
As practice has shown, there are more students studying on a combined educational route than those who are studying on any one fixed educational route.
For all students who studied on the combined educational route, the emotional-psychological (No. 3) route was applied, and simultaneously with this direction, three students went through the physical (No. 1) learning route and one student coordinated and methodological educational route.
Studying the effectiveness of the methodological system of professional training of future ballet dancers to perform jumping movements
Grand changemant de pieds en toumant no 1/4 turn is learned in the second grade after grand changemant de pieds is taught. This jump prepares students to perform jumps en tournant (boys to perform tours en Gaig). First, each jump must be learned for 1 beat 4/4. Starting position V position en face.
When performing this jump, you should strongly push off and jump with a straight body straight up. In the jump, you need to turn around and change legs in the same way as when performing petit changement de pied. You do not need to turn right away: jumping to point 1 and in the air, the shoulders help to complete 1/4 of the turn. The next jump is from point 3 to point 5, then from point 5 to point 7, and the last jump is from point 7 to point 1.
At the end of the year, you can do several grand changemant de pieds en toumant in a row. Each jump is performed at 1/4. Hands are in a preparatory position. Grand changemant de pieds en toumant no 1/2 turn is studied in the third grade. First, each jump must be learned for 1 measure 4/4, then for 1/4. Changemant de pieds with advancement to the side, forward and backward
The jump is learned in the third grade after having learned the temps saute with advancement and the grand changemant de pieds. Changemant de pieds with advancement develops leg strength and strong propulsion. This jump is performed according to the rules of changemant de pieds en face - tight legs in V position must be shown in the air and changed upon landing.
First changemant de pieds with advancement should be learned in 4/4 with a stop after each jump, then this jump is performed in succession in 1/4. Forward and backward, this jump must be performed en face and eppaulemant croise. Hands in preparatory position or in III position.
Changemant de pieds with advancing to the side is usually performed in the en face position. Hands can be in III position or one hand in I position, the other hand in III position. Petit changemant de pied Petit changemant de pied is taught in third grade. Petit changemant de pied is a ground jump, that is, without taking your fingers off the floor. At the same time, in the jump, the fingers must be stretched out. During the jump, the legs, as in the usual changemant de pied, change. At the initial study of the hand in the preparatory position, the head is straight. First, you need to perform two, three jumps, then increase the number of jumps i to seven, eight. The push doesn't have to be strong. You have to jump so high; so that the fingers are extended in the air, but at the same time remain on the floor.
Petit changemant de pied is the jump in which the landing must; be restrained, due to the strength of the feet. Therefore petit changemant de pied strengthens the feet. First, each jump must be performed at -1/4, later at 1/8.
Care must be taken to keep the pHo very soft and restrained, the knees to open with each demi-plie. The hips should rise in a jump - without a sharp push, as if squeezing on your feet.
In the future, petit changemant de pied en tournant is studied. Seven, eight jumps should be performed in a row at a faster pace. Each jump is performed on "1/8. The body before the movement leans down and forward. The head and gaze “remain” in the mirror, then the first head “returns” - back. During the movement, the body gradually rises, the shoulders should be very open. Hands, on the instructions of the teacher, can smoothly rise to the LI position and lower through the II position to the preparatory position.
Pas echappe is learned in the first year of study, first facing the stick. We begin to study this jump when the students have not yet made two jumps in a row, so for the purity of execution pas echappe can be divided into two. halves: first half - jump from the 5th position to the 2nd position, after which the knees are extended; and the second half - a jump from the II position to the V position. Pas echappe is learned in 2 bars 4/4. First measure: On the count of "one" - demi-plie in the V position.
With the same score, the movement is studied in the middle of the hall. Hands at the initial study are in a preparatory position. In the jump, the arms retain the correct shape and do not “twitch”. Head position en face.
Pas echappe - a small jump, but during the initial study, it is not necessary to deliberately lower the height of the jump. In the air, it is necessary to show extended legs in the V position. From the II position, the legs are extended and collected in the V position. Hold - legs in the P position is not necessary. It is necessary to monitor the accuracy of positions in the air and during landing. The loin on the plie must be tucked up before and after the jump. After each jump, you need to extend the plie.
Simultaneously with the jump in the V position, the arms rise to the I position, then, simultaneously with the opening of the legs to the II position, the hands open to the II position (girls have a low II position), while the head turns towards the leg that stood in front in the V position, and leans a little; brush look.
Simultaneously with the jump of CO II positions, the hands turn, open, and simultaneously with the arrival in the V position, the hands fall into the preparatory position. The head changes on landing, turning towards the leg that comes forward in the 5th position.
First, for accuracy of execution, pas echappe in IV position can be taught en face, then this jump is performed epaulemant croise. In the jump, the arms rise to the 1st position and, on landing, open to the position of a small croise position; during the second jump from the IV position to the V position, the hands lengthen, turn and lower into the preparatory position. This jump can also be performed by epaulement efface. At the beginning of the study, before the jump, you can stand up epaulement efface, and later, pas echappe on efface must be performed from the position of epaulement croise. In this case, one must keep the heels firmly on the floor before jumping and perform the jump up and with a slight turn of the epaulement efface. Hands through the I position open - into a small - pose efface. When performing pas echappe for IV in a row, the head should go down and down (look at the hand) and slightly turn away, simultaneously with lowering the arms to the preparatory position
Basic professional requirements for the individual characteristics of a ballet dancer
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Professional Requirements activities |
Professionally important qualities |
Adequate methods research |
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Makings (morphological and psychological) |
Special body requirements |
The ratio of height and weight of a ballet dancer |
Height-weight index |
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"Dancer's Foot" The musculoskeletal system of a ballet dancer carries an important and purposeful load |
Foot loading index. Lateral foot orientation |
Methodology M. Sulkhanishvili |
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Among the numerous manifestations of temperament, the manifestations of those of its properties, on which the dynamics of the ballet dancer's activity, his working capacity primarily depend, are of particular importance for choreography. |
Emotional excitability, emotional stability, plasticity, impulsiveness, extraversion |
1. Jung's association experiment. 2. "Fixed installation in the haptic sphere" Uznadze. 3. Cattell's Unstructured Drawings |
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General abilities (emotional-volitional and intellectual sphere) |
Regular intense and maximum physical and mental stress, requiring significant volitional effort |
High emotional-volitional regulation of purposeful activity |
"Finding numbers with switching" |
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Ballet is the integration of thought and movement, therefore, creative talent in ballet is based not only on muscle activity, but also on the creativity of thinking. |
Fluency, flexibility, originality and thoughtfulness |
"Research on the creativity of thinking" E. Torrens |
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Special choreographic abilities |
Artistry, the ability to convey the emotions of the hero and music with movements |
Danceability is a complex indicator that combines musicality and emotional expressiveness of movements |
Methodology of expert and scoring assessments |
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Orientation to achieve the goal - continuous improvement of the level of professional skills |
Motivation, the need to master the profession | ||
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The object of the will and consciousness of a ballet dancer in his professional activity is his own body, his motor skills. To master a complex dance technique, a fine differentiation of the spatial and power characteristics of movement is necessary. |
Highly developed ability to regulate movements in speed, strength, amplitude |
Kinematometry, maximum tapping test in 1 minute, coordination of movements |
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Special choreographic abilities |
A ballet dancer should get satisfaction from monotonous work, feel muscular joy from performing complex movements at rehearsals, from choreography |
Emotional appeal of choreographic movements |
Modified technique T. V. Dembo, S. Ya. Rubinshtein |
The first group (30 people), which included the subjects - laureates, prize-winners and diploma winners of international ballet competitions, as well as those who graduated from college with excellent marks, was designated as "highly capable", the other (52 people) - "capable".
It was assumed that dance abilities at different levels of their development would differ: firstly, in the greater or lesser severity of individual components; secondly, the peculiarity of the correlations between their indicators.
Comparison of the average values of the indicators of the components of the choreographic abilities of these groups according to Student's t-test showed that there are a number of significant differences:
- "highly capable" students are distinguished by the optimal ratio of height and weight for ballet (p<0,01), меньшим индексом нагруженности стопы (р<0,05), меньшей импульсивностью (р<0,05), меньшей эмоциональной возбудимостью (р<0,01), более высокой активностью волевой регуляции (р<0,05), более высокими показателями беглости и оригинальности мышления (р<0,01), более высокими показателями максимального теппинг-теста и танцевальности (р<0,001);
- "capable" students are distinguished by a higher severity of indicators of the emotional attractiveness of movements (p<0,05).
To identify the features of the structure of choreographic abilities in the groups of "highly capable" and "capable" correlation and factor analyzes were performed for each group separately. As a result, it was revealed that the structure of choreographic abilities in the group of "capable" consists of four factors, and in the group of "highly capable" - of five. At the group "able":I factor absorbed with the greatest weights all four indicators of creative thinking, an indicator of the activity of volitional regulation, indicators of psychodynamic properties (emotional excitability and plasticity), indicators of the structure of the foot and coordination of movements, which indicates the severity of inclinations and general abilities, this factor was designated as "inclinations and general abilities"; in II factor with the highest factor weights included indicators of the emotional attractiveness of movements and dance performance, which indicates the severity of special choreographic abilities, this factor was designated as "special abilities"; in III factor with the highest factor weights included indicators of accuracy of movements at medium and large amplitudes, accuracy of measuring efforts, maximum tapping test in 1 minute, impulsivity and the need to master a profession, this factor is called "psychomotor", it indicates the severity of special choreographic abilities; IV factor, combining indicators of extraversion and emotional instability, is designated as "psychodynamic" which indicates the severity of these inclinations. At the group "high capable"in I factor with the highest factor weights included indicators of the accuracy of measuring efforts and movements at small amplitudes, the emotional attractiveness of movements (the level of special abilities), the impulsivity index, the foot load index (the level of inclinations) and the indicator of the development of thinking (the level of general abilities); in II factor with the highest factor weights included indicators of danceability and the need to master a profession (level of special abilities) and an indicator of fluency in thinking (level of general abilities); in III factor with the highest factor weights included indicators: introversion, emotional calmness, emotional stability (the level of inclinations), the activity of volitional regulation and originality of thinking (the level of general abilities), the accuracy of movements at a large amplitude (the level of special abilities); IV factor incorporated indicators of coordination and accuracy of movements at medium amplitudes (level of special abilities) and an indicator of the structure of the foot (level of inclinations); V V factor with the highest factor weight included the indicator of the maximum tapping test for 1 min. (level of special abilities), indicators of plasticity and height-weight index (level of inclinations), as well as an indicator of flexibility of thinking (general abilities).
A comparative analysis of the structure of the choreographic abilities of groups with different levels of development showed that in the “capable” group, two factors include indicators of the components of the level of special choreographic abilities, one factor is inclinations, and one factor combines indicators of the level of inclinations and general abilities, while groups of "highly capable" each of the five factors combines the indicators of all three levels of choreographic abilities: inclinations, general abilities and special choreographic abilities. Consequently, the higher the level of development of the ballet dancer's special abilities, the closer the relationship between the indicators of general abilities, special choreographic abilities and inclinations. Thus, it has been established that the structure of choreographic abilities is largely determined by the level of their development.
Further, it was studied how the features of the structure of the choreographic abilities of "highly capable" and "capable" are manifested in the nature of the relationship between the indicators of inclinations, general abilities and special choreographic abilities, i.e. with indicators of multi-level properties of integral individuality.
It was found that the higher the level of development of choreographic abilities, the more indicators of individuality properties are associated with their indicators. Moreover, it should be noted that the “capable” group showed close links between indicators of special and general abilities (mainly with indicators of will and thinking), and in the group of “highly capable” morphological indicators were associated with indicators of general abilities, as well as indicators of accuracy, speed and coordination of movements, danceability, emotional attractiveness of movements and motivation to master a profession, in the group of "highly capable" there are more connections with the level of inclinations than among "capable". Based on these data, the author concludes that general abilities ensure the success of the activities of persons with an average level of development of choreographic abilities, and a high level of development of choreographic abilities depends more on inclinations than on general abilities, i.e. the basis of highly successful activity in ballet is significantly determined by natural inclinations. Something else is important to us: the higher the level of development of abilities, the greater the number of multi-level properties they are interconnected. Consequently, the idea that a certain combination of different levels of individual properties acts as a prerequisite for the development of abilities is confirmed to some extent.
So, the results of the study by I. G. Sosnina indicate the following.
1. Artistic and creative abilities, in particular the special abilities of a ballet dancer, are determined by the specific and very strict requirements of professional activity imposed on the body, psyche and personality of the artist.
2. The special abilities of a ballet dancer are an integral multi-level and multi-component system that has a complex structure and includes: inclinations, general abilities and proper choreographic abilities that determine the success of professional activity.
3. The special abilities of a ballet dancer are determined by a symptom complex of multi-level properties of an integral individuality, ranging from the characteristics of the organism (structure of the body and its parts) to personality characteristics (motivation, interest, etc.).
4. The structure of the special abilities of a ballet dancer is largely determined by the level of their development. The peculiarity of the structure of the special abilities of ballet dancers at a high level of their development is that the indicators of inclinations, general abilities and special choreographic abilities are interconnected, and at an average level of development such a relationship is practically absent.
5. The high level of development of dance abilities is due mainly to the components of special choreographic abilities, the average level of development is due to the components of general abilities.
6. The level of development of choreographic abilities plays a backbone role in the integral individuality of a ballet dancer. The nature of the relationship between the levels of integral individuality acts as an indicator of special choreographic abilities.
Review questions
1. What is the originality of V.S. Merlin to the problem of abilities?
2. What are the criteria for the abilities of V.S. Merlin?
3. What is the novelty of T.I. Poroshina?
4. What is musicality?
5. Name the components of musical abilities.
6. What is a modal feeling?
7. Define musical-auditory representations and musical-rhythmic feeling.
8. What is inner hearing?
9. How is the interaction of sensations carried out?
10. What types of musical ear can you name?
11. What can cause irregular performance?
12. What is the main approach to the formation of correct motor sensations?
13. What is the difference between sensation and perception?
14. How does the perception of music depend on the socio-demographic parameters of the listener?
15. What are the main differences in the perception of serious and light music?
16. Give examples of the influence of personal meanings on the perception of a piece of music.
17. How can the process of development of perception proceed?
18. What kinds of memory are the most important for a musician?
19. What are the logical methods of memorizing a piece of music?
21. What should be taken into account when repeating a piece of music for its best memorization?
22. What is the structure of literary, pedagogical, visual, acting and choreographic abilities?
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E. V. Leibov in 1904. studied injuries among ballet dancers of the Leningrad Opera and Ballet Theater named after S. M. Kirov and partly among ballet dancers of the Bolshoi Theater of the USSR. He took 100 accident reports from ballet dancers and ran an injury analysis. The results of this method are unreliable, because accident reports are drawn up by safety engineers who do not have a sufficient understanding of the specifics of the work of artists; in the column about the cause of injuries, they most often write "but the fault of the artist."
However, some provisions of E. B. Leibov deserve attention and study. This is the creation of a medical ballet dispensary, uneven distribution of workloads among artists, sanitary and hygienic control over their work, diet and rest.
To reveal the same true causes of injury and disease the musculoskeletal system requires long-term monitoring of ballet dancers, the presence of a doctor in the classroom, the study of the movements of artists, the teaching methods of a particular teacher, the presence at rehearsals, behind the scenes during a performance. The doctor must work in collaboration with teachers and tutors, treat ballet dancers in a clinic and in a hospital.
In February 1965. Decree of the Presidium of the Central Committee of trade unions of cultural workers "On the state and measures to improve the working conditions of ballet dancers" was issued. After that, with the participation of professors M. V. Volkov (CITO)), S. P. Letunov (Research Institute of Physical Education) and the chief physician of the clinic of the Bolshoi Theater of the USSR and the WTO, Honored Doctor of the RSFSR M. I. Gorlovin, at the Bolshoi Theater was organized a prachebpo-balot dispensary with a staff of doctors, nurses and masseurs. Work on the study and prevention of injuries among ballet dancers began on the basis of this dispensary in 1967, which made it possible to reduce the number of injuries and diseases by more than 2.5 times compared to 1965.
In order to correctly interpret mechanism of injury and disease of the musculoskeletal system in ballet dancers, to provide correct medical assistance in order to quickly return the artist to the stage without losing the ballet form, it is necessary to know some elements of choreography, both classical and parodic.
The main means of coupling expressiveness in contemporary ballet- This is a dance that has a number of branches: classical, characteristic, folk, modern dance. Ancillary affinity is pantomime, that is, the art of expressing feelings and thoughts through facial expressions and gestures.
Every kind of dance imposes an imprint on the nature of the injury and the type of disease of a particular department of the musculoskeletal system; The shoes and clothes of the dancer are also of no small importance.
Knowledge of all kinds loads needed for doctors, involved in the treatment of artists . Depending on the type of injury or disease, on the duration of treatment, issues of general and professional rehabilitation are resolved.
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 impact. Leonhard K. introduced the concept of accentuated personalities, taking into account both the accent of character traits, expressed in the features of the mental sphere, human motives, and temperament, which affects the reactive qualities of the personality, in particular, the pace and depth of emotional manifestations.
There are several different classifications of character accentuations, most of which are accompanied by special diagnostic methods that allow you to identify the type of accentuation. Without dwelling on specific methods, we note that the division of people into types is always rather arbitrary. It is possible to single out character traits and types of accentuation that are “favorable” to the profession, but this must be done with caution, paying attention to the holistic perception of the professional’s personality, his professional qualities, the reviews of colleagues, and the social environment in which he is included.
For a creative profession, in the work of a ballet dancer, such character traits as openness, friendliness, patience, responsibility, independence, activity, and initiative are important. This list is not complete, but in general it reflects the specifics of creative professional activity.
Describing the activity of a ballet dancer, it is impossible not to note such a feature of his work as collectivism. A ballet troupe is a large group of people, with their own individual characteristics, in which certain rules of conduct apply, a certain hierarchy of relations has developed. Communication as the ability to find a common language with other people is the most important character trait of a creative person and a ballet dancer as well.
.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 laureate of the USSR State Prize, architect I.A. Mikhalev. The opening of the theater was timed to coincide with the 350th anniversary of Krasnoyarsk, located on the square of the same name (now Theater Square).
Eleven premieres marked the 1978-1979 season. The audience was shown wonderful works of opera and ballet repertoire. On December 20, 1978, the premiere of the opera by A.P. Borodin "Prince Igor". This performance has become a kind of hallmark of our theater. On December 21, 1978, the ballet "Swan Lake" by P. I. Tchaikovsky was shown, on December 22, 1978 - the opera "The Barber of Seville" by G. Rossini, on December 23, 1978 - the premieres of two one-act ballets "Carmen Suite" by J. Bizet - R. Shchedrin and "The Young Lady and the Hooligan" by D. Shostakovich, December 24, 1978 - opera by P.I. Tchaikovsky "Eugene Onegin", December 26, 1978 - A. Adam's ballet "Giselle".
In 1979, the theater's repertoire was steadily replenished with wonderful performances: operas - "Hurricane" by V.A. Grokhovsky, "Aida" by G. Verdi, "Iolanta" by P.I. Tchaikovsky and ballets - "Chopiniana" and "Paquita" by L. Minkus, as well as the children's play "The Tale of the Priest and His Worker Balda" by M.I. Chulaki. In just 30 years of the theater's existence, 53 operas, 2 mysteries, 57 ballets and 16 children's performances were staged.
It is necessary to note the names of outstanding masters who contributed to the formation of the Krasnoyarsk Opera and Ballet Theatre. These are production directors - M.S. Vysotsky, R.I. Tikhomirov, G. Pankov, B. Ryabikin, L. Kheifits, V. Tsyupa, E. Buzin; conductors - I. Shavruk, V. Kovalenko, N. Silvestrov, I. Latsanich, A. Kosinsky, A. Chepurnoy, A. Yudasin; artists - N. Kotov, T. Bruni, G. Arutyunov, V. Arkhipov, Cherbadzhi, M. Smirnova-Nesvitskaya; choreographers - N. Markryants, V. Burtsev, V. Fedyanin, A. Gorsky, S. Drechin, A. Polubentsev, Vl. Vasiliev, S. Bobrov. Foreign musicians J. Stanek, M. Pietsukh and others also worked in the Krasnoyarsk Theater.
The names of the leading opera and ballet soloists are widely known both in Russia and abroad. Among them are People's Artist of Russia V. Efimov, People's Artist of Russia A. Kuimov, People's Artist of Russia L. Marzoeva, People's Artist of Russia L. Sycheva, Honored Artists of Russia V. Baranova, Zh. Tarayan, S. Kolyanova, A. Berezin, S. Efremova, G. Efremov, N. Sokolova, I. Klimin, Honored Artist of the Republic of Tuva G. Kontsur. Bright and interesting are the works of young opera soloists A. Lepeshinsky, O. Basova, A. Bocharov, E. Baldanov, and ballet soloists A. Ol, E. Bulgutova, M. Kuimova, I. Karnaukhov, V. Kapustin, V. Guklenkov and etc. The names of the famous dancers N. Chekhovskaya and V. Polushin, the magnificent opera singer D. Hvorostovsky, who worked at the Krasnoyarsk Opera and Ballet Theater, are widely known to the Russian and world public.
Krasnoyarsk Choreographic School was founded in 1978. Its opening is associated with the beginning of the activities of the Krasnoyarsk Opera and Ballet Theater and the Krasnoyarsk Dance Ensemble "Siberia". The first director is I. G. Shevchenko.
Artistic direction at different times was carried out by: G. N. Gurchenko, R. T. Khakulova, V. I. Burtsev, B. G. Fedchenko.
Over the entire period of its existence, more than 150 specialists have graduated from the school, who successfully work in theaters and dance groups of the country.
Leading teachers: G.N. Gurchenko, T. A. Dzyuba, Khakulova, L. V. Vtorushina.
Among the students and graduates of the school are laureates of all-Union, Russian and international ballet competitions (S. V. Dauranova, A. V. Yukhimchuk, E. Koshcheeva, etc.).
conclusions
In the first chapter, we managed to identify the essential features of ballet as an art and as a sphere of professional activity.
The profession of a ballet dancer is versatile and multifaceted. It requires a sufficiently long and high-quality training in the learning process, constant self-improvement after graduation. The work of a ballet dancer is everyday physical training, it is a high level of moral and aesthetic education, intelligence, self-awareness. The profession of a ballet dancer requires the development of a person's personal qualities, the constant activity of cognitive functions, and creative abilities.
The definition of professionalism is a dual process. On the one hand, there are objective tools for measuring physical, intellectual and psychological readiness for a profession. On the other hand, even the highest rates in these areas do not guarantee the emergence of a true master as a result of becoming a professional. What is decisive in the process of preparing a ballet soloist? What are the factors behind its success? The second chapter is devoted to the disclosure of these issues.
Chapter 2
.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 (choreographic choreographer) - a creative worker who, in accordance with the job description, creates (composes) his own choreographic works, resumes previously staged choreographic works and carries out a set of organizational measures for their release on stage.
A tutor is a creative worker who, in accordance with the job description, works on learning the 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 peculiarities of training a ballet dancer in Russia:
§ due to the physiological characteristics of the human body, there are strict deadlines for the professional activity of a ballet dancer: the beginning of professional training at 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 required. 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 owns stylistic features will easily be able to plastically embody the acquired behavioral skills in a specific historical setting with taste.
The discipline of "Character dance" reveals the peculiarities of the 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, the 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 their life's work. 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, I would like to note once again 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. In order to fill a pose with content, it must be revived, some of its elements must be discovered in it, filled with one's 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.
