S.P. Mikheev

METHODOLOGICAL PRINCIPLES OF PROFESSIONAL TRAINING OF A BALLET ARTIST

The professional training of a ballet dancer has its own specificity, which dictates a number of methodological principles, proven by the practice of centuries of ballet art. This allows the future ballet dancer, along with knowledge, skills, to comprehend a whole range of phenomena related to the performing culture of dance, which determines its identity, which distinguishes the national school.

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 (lat. s1siysh - exemplary) 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. “In order to master the high performing skills of classical dance, it is necessary to know and assimilate its nature, its means of expression, its school.” School of classical dance - the basis of the foundations of a systematic, consistent, methodical teaching profession of a ballet dancer.

Loyalty to traditions, the strictest continuity of generations are the key to the unity of the school and its high professional culture which determines the creative viability of the ballet school. “Today, the vocabulary of classical ballet is a multidimensional complex of elements of stage dance, formed by successive plastic oral tradition and enriched by the work of outstanding choreographers of the past.

Each student, or, as he is still called, pupil, of such a school passes the “test” of the classics - the main major subject in the professional training of a ballet dancer, which in the future allows him to become an organic dancer not only in the classical repertoire, but also in productions contemporary choreographers. "Vaganova's technique is such a foundation that you can build a house of any style on it, from classic to modern".

The profession of a ballet dancer is extraordinary and, as a result, training has its own specifics. Its essence lies in the exceptionally important role of the basic eight-year training and acceptance of children on a strict competitive basis. The specifics of teaching the profession of a ballet dancer dictates a number of methodological principles, proven by the practice of centuries of ballet art:

1) availability of relevant professional data;

2) the beginning of education from an early age (from the age of 10);

3) strict consistency;

4) the principle of oral-plastic education;

5) annual exams (with the right to drop out poor students);

6) training is conducted in parallel with stage practice (study of the classical heritage, participation in theatrical performances, concerts, etc.);

7) an integrated approach to teaching choreographic and general education disciplines based on their interaction and mutual enrichment.

Let's take a closer look at each of the above points.

1. “Ballet is perceived primarily by the eye. Unlike opera or drama, it cannot be broadcast over the radio. In this elementary truth, the pictorial essence of ballet is revealed. And this causes special requirements for many of its components, and first of all for the main character - the ballet dancer. “In the theory and practice of the cycle (8 years) of professional ballet performance education that has been established for centuries, in the process of which not only the professional potential of knowledge, skills, and abilities, including the creative potential of the ballet dancer, is created, but also his extremely complex and vulnerable professional tool - the body of the ballet dancer , unique, but necessarily meeting the tough professional criteria» .

Speaking about professional data, we note that it is they that largely determine the student's progress, and in the future - the qualifications and nature of the work of a ballet dancer in the theater. “Without innate talent, talent is not acquired,” says Augusta Bournonville (1795-1878), the founder of the Danish ballet. That is why "... the performance data of each student should be comprehensively assessed by a teacher of classical dance, since this subject is the leading one in the system of professional choreographic education" . History shows that the list of necessary external, physiological, psychophysical and other data was formed according to the requirements of the profession itself as a result of professional selection. Outstanding ballet theorist, choreographer and dancer of the 18th century. Jean-Georges Noverre (1727-1810) wrote: "Everyone who intends to devote himself to the art of dancing must first of all ... carefully weigh all the advantages and disadvantages of his physique."

The great teacher of the 19th century, dancer, choreographer and dance theorist Carlo Blasis (1795-1878), whose works still arouse professional interest not only from a theoretical but also a practical point of view, wrote about the importance of professional data in training a ballet dancer in in his treatise Manuel complet de la danse (Complete Guide to Dance), written in 1830: “Those who do not have everted legs will never become good dancers, despite their best efforts. From this it follows that it is necessary for the one who devotes himself to dance to study the constitution and possibilities of his body in the most careful way before proceeding to familiarize himself with an art in which one cannot excel without possessing certain natural gifts. A teacher who has experience and

long practice helped to cultivate a sublime taste in himself, before starting classes with a student, he must make sure how the addition of the latter is suitable for the postures and movements of the dance, and if the student still needs to develop, whether he has enough graceful bearing, whether the gait is beautiful and whether the limbs are flexible because without these natural data, the student will never be able to create a name for himself.

Today, after almost two hundred years have passed since the writing of these lines, when the art of ballet has more than once stepped to a new, higher level of development, the requirements for the professional data of ballet dancers have increased accordingly. One of the founders of the department of choreography at GITIS, professor and artistic director of the pedagogical department of the choreographer's faculty of the now Russian Academy theatrical art, who worked as a teacher of classical dance at the Moscow Choreographic School from 1923 to 1960, N.I. Tarasov in his book "Classical Dance" (1971) wrote: " Professional quality students are made up of external data: physique, proportional slimness of the figure, height; psychophysical data: attention, memory, will, activity, dexterity (free and precise coordination of movements), muscle strength, flexibility and endurance of the entire motor apparatus; musical and acting data: musicality, emotionality, creative imagination. Of course, - the maestro makes a reservation, - this distinction is very conditional, but it allows you to clearly imagine what factors make up the complex of a student's professional data. "The ABC of Classical Dance" (1983) by N. Bazarova, V. Mei defines the indispensable conditions for the comprehension of classical dance - eversion of the legs, a large dance step, flexibility, stability, rotation, light, high jump, free and plastic possession of hands, clear coordination of movements and lastly, stamina and strength.

Over the past decade, significant advances have again taken place in the art of dance, especially with regard to the amplitude of the performance of movements. In the light of the current established dance aesthetics, the demand for the quality of professional data continues to grow. This once again confirms the need for high professional and personal qualities from the teacher in whose hands such students fall. After all, the more capable the student, the greater the responsibility lies with the teacher.

2. Professional training of ballet dancers begins at the age of 9-10 on the basis of primary general education.

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", 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 ninety ... Missed childhood years, as the initial period of training for a future dancer,

will certainly be reflected in something and somewhere in his performing arts as a kind of shady and not fully disclosed side. It is no less important that “childhood is especially receptive to the beautiful - music and dance. It is childhood that is a time of great emotional saturation, impressionability, dreams and activity of action ”, 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 the child, excite and captivate his soul and creatively inquisitively begin to develop it.

In the work of Carlo Blasis we read: “Eight years is the most suitable age to get acquainted with the elements of dance. The young disciple is able to understand the instructions of the mentor, who, being able to weigh well the possibilities of the disciple, teaches him in the most suitable way for the case. Time only confirms the infallibility of this assurance and once again convinces of its correctness, as evidenced by the following fact. Pupils of the Imperial Theater School from the moment of its foundation were accepted there at the age of 7-10 years. Of course, here, first of all, physiological laws dictate their own rules. “It is in this age period that the student’s body is most pliable, flexible and receptive in its psychophysical development, which makes it possible to master the school of classical dance most naturally, thoroughly, without haste, in a more stable and in-depth plan. It is from childhood that the student must thoroughly delve into, get used to the technique of classical dance and its elements, so that later on the stage he does not think about overcoming the hardships of physical stress, but gives all his moral-volitional and mental strength to create an image in dance "- with this statement Tarasov, it is impossible not to agree.

3. Strict consistency accompanies the training of a ballet dancer from the first days. It is inherent in both the entire course of his professional training in classical dance, and each of his lessons separately. Classical dance is the basis of the foundations of a systematic, consistent, methodical training in the profession of a ballet dancer. Classical dance is a purely practical discipline, not a theoretical one. In the system of vocational training, a classical dance lesson is studied for 8 years for 2 academic hours daily. This number of hours allows the student to master the subject at the proper professional level within the framework of the program offered to him.

As an academic subject, classical dance is a strictly structured system of movements that can be mastered only “from simple to complex”, with daily (systemic) repetition and consolidation of what has been previously completed and is, as it were, the next, progressively more complex link in the system of the entire course of study. The repetition of movements is the dominant factor in the educational process.

The construction of the lesson is the same for both the first and subsequent classes, with the only difference being that in the first class the movements are performed separately and in the simplest combinations. The daily classical dance lesson consists of exercises at the stick and exercises in the middle of the hall, which are divided into exercise and adagio (combination of postures and positions of classical dance).

tsa), allegro (jumping) and finger exercises (female class).

The sequence of exercises at the stick: pIe, battements tendus, battements tendus jetes, rond de jambe par terre, battements fondus (or battements soutenus), battements frappes, battements double frappes, rond de jambe en "l" air, petits battements, battements developpes, grands battements jets.

Exercises in the middle of the hall are performed in the same sequence as for the stick. Then adagio is introduced into the exercises in the middle of the hall. The adagio is followed by allegro - small and large jumps, and in the women's class - at least two or three times a week, finger exercises instead of allegro, or the time allotted to jumps is reduced.

Classical dance is studied separately by pupils and pupils. differs in the material of the program, techniques and performing style. And this is also within the framework of a system developed and corrected by the practice of centuries.

In addition, there is a hierarchy of subordination of various substructures and elements included in the learning system, in which the methodology for compiling combined tasks is essential in building a lesson. The construction of combined tasks does not fit into the framework of a stable method at all. In the lessons of classical dance, a sequence of sections and the passage of individual movements was established, but the combined tasks mainly depend on the ability of teachers to bring educational material into a certain combination with each other. These tasks can be very diverse: large or small, elementary or complex; but all of them should work on the development of certain performing techniques of dance technique. At the same time, the personality of the teacher, his creative individuality, skill and experience play an extremely important role, which inevitably causes differences in the methods and manner of compiling combined tasks by individual teachers, although they are united by the same orientation of the educational process.

4. The principle of oral-plastic training is a key principle in the professional training of a ballet dancer - as continuity, as a tradition, as a necessity. Despite the history of almost three hundred years of vocational training, knowledge, skills and abilities in the educational process are passed on to students from generation to generation from “hand to hand”. It has already been noted above that classical dance is a purely practical subject. It is impossible for him to learn from textbooks or theoretical lectures. A classical dance teacher - "a living thread of transferring experience, traditions" - transfers his knowledge not only through a story, but also through an obligatory pedagogical demonstration, i.e. oral-plastic. "Every step, every posture and every movement comes from the teacher, is indicated by him and must be understood, learned, rehearsed and performed." Only in this way, along with knowledge, skills and abilities, it is possible to comprehend a whole range of phenomena associated with performing culture, which determine its originality, development trends, characteristic

style features, i.e. what distinguishes the national ballet school. The specificity of the teaching method once again emphasizes the role of a teacher - a personality, a high professional practitioner, whose importance is invaluably increasing and whose role cannot be replaced by any detailed recommendations and programs. That is why, teaching the same things and offering students the same requirements, we have classes that are so different from each other. There are other factors, but the main one is the teacher himself. Each teacher has his own methods, his own system, his own pedagogical gift, his own combination of pedagogical abilities and skills, and finally, each has his own language, the "language" of practical actions, the "language" of plasticity. “When showing a movement or correcting a student, the teacher sees it with inner vision. perfect image, constantly checking simultaneously with their motor sensations and a conceivable visual standard. And therefore the personality of the teacher, the artist, his spiritual world, his values, his vision are of decisive importance both for the learning process itself and for the formation of the future ballet dancer in mastering the laws of classical dance.

5. Annual exams (with the right to drop out poor students). “The inexorable professional requirements for the future ballet dancer leave behind a huge number of children who dream of joining the performing arts of ballet. And not everyone who meets these requirements at 10 years old will be able to satisfy them throughout the entire eight-year study. That is why students must annually prove that they have outstanding ballet abilities in the form of an intermediate certification on a competitive basis. During the examination, the results of mastering the program of the corresponding year of study by students should be shown, which confirms or denies the further possibility of studying.

6. Within the framework of tradition (and the system at the same time), training is carried out in parallel with stage practice (study of the classical heritage, participation in theatrical performances, concerts, etc.).

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

Stage practice begins from the second year of study. The material chosen by the classical dance teacher must correspond to the educational goals and objectives of the corresponding class, the level of preparedness and the abilities of the students. It is important for the teacher to achieve coherence and complementarity of the educational and rehearsal processes. From students, in turn, are required already defined, albeit still elementary, but every year more and more advanced professional skills and abilities, quite accurate and well-developed. A well-chosen repertoire for stage practice helps to target and prepare students for more

free and technically perfect mastery of the performing culture of classical dance, as well as the development of their musicality, individuality and artistry. The final stage of such work is the stage, i.e. participation in concerts and performances of the school.

A special place in stage practice is occupied by the obligatory participation of students in performances of the theatrical repertoire. Where, no matter how on the stage of the theater, the future ballet dancer can have the opportunity to learn stage behavior, a sense of responsibility and the opportunity to feel the significance of being involved in the performance on a par with professional dancers, who always have something to learn. Since the beginning of the school, masters of choreography have included children's numbers in their performances, realizing the need to familiarize the younger generation with the art of dance. Thanks to this, students have the opportunity not only to observe the best examples of choreography, but also, by taking direct part in them, gain experience future profession, thus joining not only the culture, but also the manner and style of performance, which is so important in the work of a ballet dancer.

7. An integrated approach to teaching choreographic and general education disciplines based on their interaction and mutual enrichment.

The school day of students at the choreographic school is not like the school day of an ordinary student. As a rule, here it starts in the morning and ends in the late evening. The number, and the list of lessons themselves, is far from ordinary.

The choreographic school, as it were, unites three educational institutions under its roof. Here, the cycle of special subjects, which includes art history disciplines, is combined with the full course of a general education school and elementary music education. Therefore, the entire educational process is structured in such a way that the subjects studied by students in the choreographic school are interconnected and work in complete unity for the main task, which makes it possible to train highly qualified ballet dancers who combine professional skills with a high artistic orientation in performing activities. After all, the main goal of professional choreographic education is the training of highly qualified ballet dancers who combine professional skills with the ability to create psychologically complex stage images.

One of the main traditions of the national school of classical dance is the education of not just performers, but independent artists, comprehensively developed personalities, creative individuals. Perfect dance technique has never been an end in itself in the Russian school. At the forefront has always been an artist-artist, whose main task was to create meaningful choreographic images by means of dance that meet the tasks of a choreographer, because only "artistic quality makes a dance exemplary, that is, the so-called classical." .

LITERATURE

1. Vaganova A.Ya. Soviet ballet and classical dance // Vaganova A.Ya. Articles. Memories. Materials. L., M.: Art, 1958. S. 67-68.

2. Tarasov N.I. Classic dance. School of male performance. 2nd ed., rev. and additional Moscow: Art, 1971. 479 p.

3. Bezuglaya G.A. The unity of music and choreography: the role of the expressive means of music in comprehending the iconic imagery of the lexicon of classical

dance / G. A. Bezuglaya, L.V. Kovaleva // Choreographic education at the turn of the 21st century: experience, problems, development prospects: Mater. and articles of the 1st All-Russian. scientific-practical. conf. / Rev. ed. M.N. Yuriev. Tambov: Pershina, 2005, pp. 107-111.

4. Asylmuratova A.A. Vaganova's technique - the foundation for a house of any style // Vestnik ARB im. AND I. Vaganova. 2001. No. 9. S. 8-10.

5. Karp P.M. About ballet. Moscow: Art, 1967. 227 p.

6. Isakov V.M. On recognition of the status of a non-standard educational institution for the ballet academy, teaching citizens with outstanding

abilities // Proceedings of the VIII International Conference " Modern technologies learning". SPb., 2002. S. 190-192.

7. Classics of choreography. L.; M.: Art, 1937. 357p.

8. NoverrZh.Zh. Letters about dance and ballets / Per. A.G. Movshenson. L.; Moscow: Art, 1965. 376 p.

9. Bazarova N.P., Mei V.P. ABC of classical dance: Textbook-method. allowance. 2nd ed. L.: Art, 1983. 207 p.

As a manuscript

SOBOLEVA OLGA SERGEEVNA

PRODUCTIVITY OF CREATIVE] ACTIVITIES OF BALLET ARTISTS

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

dissertations for the degree of candidate psychological sciences

Moscow - 2005

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

Scientific adviser - candidate of psychological sciences,

Official opponents:

doctor of psychological sciences, professor Agapov Valeriy Sergeevich

Candidate of Psychological Sciences Badaeva Anna Vyacheslavovna

Lead Organization: International Independent

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

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

Associate Professor Gorobets Tatyana Nikolaevna

University of Ecology and Political Science

Defense will take place

hours at the meeting

Scientific secretary ^

dissertation council /U /U

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

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

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

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

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

b- GGKA C f RK

Research hypothesis

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

Research objectives:

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

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

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

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

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

1. It is substantiated that the creative activity of ballet dancers is co-creation with choreographers and tutors. In psychological terms, the content of co-creation is the adoption and stage implementation of the concept, creative decisions, characteristics of images and

their enrichment with their own creative solutions, expressive means that correspond to common intentions choreographer and tutor. The range of co-creation depends on the scale of the talent of the ballet dancer, the creative position of the choreographer, and can take the form of the artist's complete acceptance of the concept to the proposal and implementation of his options.

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

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

4. It has been established that the psychological and acmeological characteristics of ballet dancers are largely related to their professional social status of "stars" and "ordinary" ballet "stars" they are qualitatively different in almost all parameters and indicators (expert assessments of acmeological invariants of professionalism, levels of emotional hearing , accentuations of character, levels of personality traits) than that of "ordinary" artists, and not only in terms of

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

5. The qualitative systemic level-by-level structure of the psychological and acmeological characteristics of ballet dancers is determined. At the level of natural properties, the influence of temperament, neuroticism, personal potentials, personality strength, activity, age, gender, physical development was determined; mental properties - will, mental processes, emotions, feelings; character - the most important personal and professional properties; experience - professional excellence, self-efficacy; personality orientation - worldview, individual "acme preferences, creative standards and standards, motives for creative self-realization. A linearly determined dependence of the productivity of creative activity on psychological and acmeological characteristics is revealed. Such creativity of ballet dancers is unproductive, which is focused on the formal observance of the rules and canons of this type of professional activity ; creativity is highly productive, focused on self-education, self-development, self-improvement and movement towards acme.

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

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

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

2. The productivity of the creative activity of ballet dancers depends on the levels of development of the most important abilities of ballet dancers (acmeological, psychomotor, musical, autopsychological, cognitive, creative, artistic, social-perceptual, empathic, etc.), their psychological and acmeological properties (as generalizing personal characteristics, sustainable features - a combination of personal and professional qualities, special private abilities, motivational formations in the context of the productivity of personal and professional development and movement towards acme) and acmeological potential, the ability for arbitrary self-development and multiplication of potential, the level of general and special acmeological invariants of professionalism (basic qualities and professional skills that ensure high stable efficiency and reliability of the activities performed - the potentials of the individual,

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

tablesh

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

No. Indicators Stars Private

1. Acmeological abilities High Low

2. Psychomotor abilities High High

3. Musical (rhythmic) ability High High

4. Autopsychological High Low

5. Cognitive High High

6. Cognitive High Low

7. Socio-perceptual High Low

8. Creative High Low

9. Empathic High Low

10. Artistic High Low

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

distributed as follows:

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

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

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

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

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

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

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

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

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

The special acmeological invariants of the creative activity of ballet dancers in this study include: the level of musicality; psychomotor; figurative thinking; self-efficacy. "Stars" have equally high scores on all special invariants.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Prospects for further research are:

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

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

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

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

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

■ in-depth development of acme problems in ballet art

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

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

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

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

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

Dissertations for the degree of candidate of psychological sciences

Soboleva Olga Sergeevna

Productivity of creative activity of ballet dancers

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

Production of the original layout: Soboleva Olga Sergeevna

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

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

RNB Russian Fund

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

INTRODUCTION

CHAPTER 1 THEORETICAL AND METHODOLOGICAL

RESEARCH BASIS

1.1. Psychological and acmeological studies of creative performing activity.

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

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

Conclusions on the first chapter

CHAPTER 2. RESULTS OF THE RESEARCH OF PRODUCTIVITY OF CREATIVE ACTIVITY

BALLET ARTISTS.

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

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

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

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

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

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

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

The state of development of the research problem

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

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

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

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

Research hypothesis

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

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

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

Object of study: professional creative activity of ballet dancers.

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

Research objectives:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Testing and implementation of research results.

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

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

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

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

Provisions for defense

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

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

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

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

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

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

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

Conclusions on the second chapter

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

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

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

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

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

CONCLUSION

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Bases of classifications of types of mental processes

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

Properties of the productivity of mental processes

3.7. The structure of cognitive abilities

3.8. Psychology of special abilities

Feeling

4. Psychology of general abilities

4.1. About the scientist-poet

4.2. Creative personality and its life path

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

4.4. Psychogenetics of creativity and learning

4.5. Learning, creativity and intelligence

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

5.1. Research objectives and hypotheses

5.2. About the concept of integral abilities of a person

5.3. Reflexivity in the structure of general abilities

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

Results of "oblique" factorization

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

Principal Component Factorization Results

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

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

5.4. Level status of metacognitive abilities

6. Psychology of multilateral and special abilities

6.3. On the psychology of musical abilities

Analysis of some components of musical abilities

Mid frequencies of vowel formants (in Hz)

6.5. The genesis of musical perception

Perception of musical rhythm

6.7. musical memory

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

6.9. The Psychology of Literary Ability

Personality

6.11. A Brief Overview of Research on Mathematical Ability

6.12. Pedagogical abilities

6.13. Meta-individual characteristics of the teacher

Resilience to mental stress

6.14. Artistic and creative abilities

Basic professional requirements for the individual characteristics of a ballet dancer

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

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

Value orientations of temperament types

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

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

Research methodology

Research results and discussion

Ranks of professional careers according to J. Holland

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

Material and methods

Results and its discussion

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

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

7.6. Gender and professional differences in self-actualization

Methodology

results

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

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

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

The discussion of the results

7.7. Value-semantic concept of self-actualization

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

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

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

Conclusion and Conclusions

Conclusion

General list of references

Basic professional requirements for individual characteristics ballet dancer

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Review questions

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

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

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

4. What is musicality?

5. Name the components musical ability.

6. What is a modal feeling?

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

8. What is inner hearing?

9. How is the interaction of sensations carried out?

10. What types of musical ear can you name?

11. What can cause irregular performance?

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

13. What is the difference between sensation and perception?

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

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

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

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

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

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

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

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

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

Creativity as a way of life

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

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

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

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

Introduction to the world of dance.

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

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

When a hobby becomes a profession

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

1. Physical data:

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

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

3. Musicality, sense of rhythm

4. Stage data (appearance, artistry)

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

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

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

Some are invited to work immediately after the exams. Others enter a new life on their own.

Choreographic schools of the Russian Federation:

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

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

• Germany:

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

— Hochschule fur Musik und Darstellender Kunst, Frankfurt am Main

• Netherlands

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

• Switzerland L'école-atelier Rudra Bejart Lausanne

— (Lausanne)

• Belgium

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

• Hungary

– Budapest contemporary dance academy (Budapest)

• France

– Lyon Conservatoire National Supérieur Musique et Danse (Lyon)

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

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

Career

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

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

— State Academic Mariinsky Theater

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

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

– Tchaikovsky Ballet Theater

– St. Petersburg Theater “Russian Ballet”

- Touring prefabricated corpses

Realization of a dream.

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

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

profession for young people.

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

Conclusion.

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

N. E. Vysotskaya (1979) revealed that all the characteristics of the success in mastering the choreographic art are more pronounced in those students of the choreographic school who have high emotional reactivity (Table 10.2).

Table 10.2

Expression of professional characteristics in students of a choreographic school with different emotional reactivity (points)

In the educational process (during the formation of a ballet dancer) there are many psychological difficulties: 1. Mismatch of expectations (the idea of ​​ballet in general and the real educational process), which often leads to disappointment, decreased motivation. It is possible to single out 2 aspects of "deception of expectations": a) between the typical children's ideas about ballet as a "holiday" (taken from watching TV shows) and real "rough work"; b) between the habit of children (especially younger schoolchildren) to be guided in motor activity by the “principle of pleasure” and the real requirement to work through “I can’t” and “I don’t want to”. 2. The need to positively prove oneself from the first lessons with a complete lack of professional training. 3. For a significant part of students, the problem of overcoming fears is relevant, the most typical of which are: “fear of a teacher”, “fear of professional exams”, “fear of being considered unpromising”. Sosnina I. G., 2004. P 499-500.

E. V. Fetisova (1994) high neuroticism was found in 84.4% of ballet dancers. They were also characterized by high levels of anxiety. Obviously, this is no coincidence. NV Rozhdestvenskaya (1980) showed that low anxiety can interfere with creativity. And the artists themselves pointed to the need for emotional uplift and anxiety. This was also confirmed in the work of N. E. Vysotskaya: only students with poor emotional expressiveness had low neuroticism. Those with high emotional expressiveness most often had moderate neuroticism.

A. X. Pashina (1991) identified 2 groups: knowledgeable soloists" and "ordinary artists". The so-called "ordinary" artists were characterized by high anxiety and emotional instability. These features of the emotional sphere correlated with excessive mental tension, which causes difficulties in self-expression and creative transformation on stage. The emotional hearing of the "ordinary" artists corresponded to the norm. They also revealed some emotional retardation, excessive limitation of feelings.

The "leading soloists" had anxiety at the upper level of the norm or slightly higher, and emotional hearing was highly developed.

In both groups, the emotion of joy and a neutral state were better determined by ear, worse - anger and sadness. This was specific for ballet dancers compared to doctors and engineers, who also best determine the neutral state, but the second most determined is fear, then sadness and anger, and joy comes last in terms of the number of correct identifications (Pashina, 1991 ).

L. N. Kuleshova and T. Yu. Gorbushina (2003) revealed that ballet dancers have a high degree of internality.

According to L.Ya. Dorfman (1988), extrovert dancers choose parts that induce them to experience anger, and introvert dancers choose to experience sadness and fear.

The study of the relationship between the properties of the nervous system and the severity of professionally important qualities in students of a choreographic school showed that emotionality, artistry, and “dancing” are most pronounced in people with mobility of nervous processes and with a predominance of excitation according to the “external” balance. Coordination of movements, vestibular stability, jumping ability are largely associated with the inertia of nervous processes and with the predominance of inhibition according to the "external" balance. Weakness of the nervous system was found primarily in students with good "dancing", coordination, with good rotation.