Specific features and psychological structure of the activity of a ballet dancer. The concept of "professionalism" in ballet, the study of its level and methods of formation
Professional perspective of ballet dancers, in pedagogical activity, specific features of pedagogy in the system of additional education for children; creative self-realization in the DOD system, tasks of the teacher-choreographer, methods of education and training of pupils, the use of a competency-based approach in additional education of children.
professional activity
teacher-choreographer
ballet dancer
additional education for children.
1. Andreeva T.F. Construction of a classical dance lesson by the method of one "pas" // University of culture and arts in the educational system of the region: materials of the Fifth All-Russian electronic scientific and practical conference. (Samara, October-December 2007). - Samara: Samara State Academy of Culture and Arts, 2008. - S. 253-255.
2. Berezina V.A. Additional education of children as a means of their creative development: dis. … cand. ped. Sciences: 13.00.01. - Moscow, 1998. - 147 p.
3. Borisov A.I. Psychological and pedagogical aspects of training a teacher-choreographer: author. dis. … cand. psychol. Sciences: 19.00.07. – Samara: Samar. state ped. un-t, 2001. - 24 p. – Bibliography: 24 p.
4. Brusnitsyna A.N. Education of the dance culture of schoolchildren in choreographic groups of institutions of additional education for children: a personal-activity approach: dis. … cand. ped. Sciences: 13.00.01. - M., 2008. - 208 p. – Bibliography: C. 165-184.
5. Buylova L.N. Organization of additional education for children at school / L.N. Buylova, N.V. Klenova // Handbook of the Deputy Director of the School. - 2009. - No. 2. - P. 49-63.
6. Burtseva G.V. Management of the development of creative thinking of students-choreographers in the process of university training: dis. … cand. ped. Sciences. - Barnaul, 2000. - 165 p.
7. Valeeva M.A. Development of professionalism of a teacher of additional education: dis. … cand. ped. Sciences: 13.00.01. - Orenburg, 1999. - 167 p.
8. State educational standard of higher professional education in the field of culture and art. Specialty: 050700 Ballet Pedagogy. Qualifications: teacher-choreographer, teacher of ballroom dance: approved. Ministry of Education of the Russian Federation on February 11, 2003. – M.: Raduga, 2003. – 32 p.
9. State educational standard. State requirements for the minimum content and level of training of graduates in the specialty 0317 Pedagogy of additional education (advanced level of secondary vocational education). - M., 2003.
10. Deutsch B.A. Social Pedagogy and Additional Education: Proc. allowance. - Novosibirsk: Publishing House of NGPU, 2005. - 120 p.
11. Deutsch B.A. Socio-pedagogical aspects of additional education // Socialization of youth in the conditions of development of modern education. - Novosibirsk: NGPU, 2004. - Part 2. - C. 21-25.
12. Ermolaeva E.P. Identification aspects of social adaptation of professionals // Psychology of adaptation and social environment: modern approaches, problems, prospects / ed. ed. L.G. Dikaya, A.L. Zhuravlev. - M.: Publishing House of IP RAS, 2007. - S. 368-392.
13. Zaretskaya I.I. Professional culture of the teacher: textbook. allowance. - M.: Armanov-center, 2010. - 144 p.
14. Ivleva L.D. Methods of pedagogical management of an amateur choreographic group: a teaching aid. - Chelyabinsk, 2003. - 58 p.
15. Illarionov B. Professional ballet education in Russia (Petersburg tradition) // History of art education in Russia. - St. Petersburg: Composer, 2007. - Issue. 1/2. - S. 122-161.
16. Kuznetsova T.M. Individual style of activity of the teacher-choreographer and its formation: abstract of the thesis. dis. … cand. ped. Sciences: 13.00.01 / Nizhny Novgorod. state ped. in-t im. M. Gorky. - Nizhny Novgorod, 1992. - 15 p.
17. Kulagina I.E. Artistic movement. (Method of L.N. Alekseeva): a guide for preschool teachers. institutions and general education. school; Ros. acad. Education, Institute of Arts. education, Lab. music. art. – M.: Flinta: Nauka, 1999. – 62 p.
18. Markova A.K. Psychology of professionalism. - M., 1996. - 308 p.
19. On the concept of continuous choreographic education // Choreographic education: development trends: collection of abstracts of the scientific and practical conference (Moscow, April 28-30, 2001). - M.: MGUKI, 2001. - S. 4-6.
20. Poltavets G.A. Scientific and methodological materials on the analysis of the practical problem of quality assessment in the system of additional education for children: method. manual for managers and teachers of institutions of additional education / G.A. Poltavets, S.K. Nikulin; Center for technical creativity of students. - M.: B.i., 2000. - 94 p. – Bibliography: 79-85 p.
21. Poselskaya N.S. Formation and development of the school of classical dance in the Republic of Sakha (Yakutia): dis. … cand. ped. Sciences: 13.00.01. - Yakutsk, 2010. - 230 p.
22. Slastenin V.A. Leading trends in continuous pedagogical education // Continuous pedagogical education: state, trends, development prospects. – Lipetsk; M., 2000. - Part 1. - S. 1-15.
23. Fokina E.N. Choreography in a secondary school as a means of harmonizing the development of personality: Ph.D. dis. … cand. ped. Sciences: 13.00.01. Tyum. state university - Tyumen, 2002. - 24 p.: tab. – Bibliography: 23-24 p.
24. Shikhanova N.Yu. The relationship of traditional and innovative methods in working with a choreographic team [Electronic resource] // Innovative information and pedagogical technologies in education - 2011: Intern. Internet conf. – [B.m.], 14.04.2011.
25. Shchugareva I.N. Moral education of younger schoolchildren by means of choreography: author. dis. … cand. ped. Sciences: 13.00.01. - Rostov-on-Don: Yuzh. feder. un-t, 2009. - 24 p.
PROFESSIONAL SELF-REALIZATION BALLET IN ADDITIONAL EDUCATION OF CHILDREN
Matsarenko T.N. one1 Academy for Advanced Studies and Retraining of Education
Abstract:
Professional ballet dancers perspective in educational activities, specific features of pedagogy in the system of supplementary education for children; creative self-realization in the DOD, the task of the teacher-choreographer, methods of education and training of students, the use of competency approach in further education of children.
keywords:
professional activity
additional education of children.
Additional education for children is an educational practice designed to realize creative potential in any professional field, including choreographic activities.
Ballet dancers can successfully continue their professional activities and successfully realize their creative potential in the additional education of children, the features of which are: the informal nature of education, freedom of creativity, openness, which allows us to assert that this area is productive for the self-realization of ballet dancers as leaders of choreographic groups.
In science, there are a number of studies addressed to the activities of teachers of additional education (N.V. Anokhina, N.K. Bespyatova, L.N. Buylova, Z.A. Kargina, G.N. Popova, etc.); analysis of the pedagogical process and the work of teachers of out-of-school institutions (M.A. Valeeva, M.A. Uglitskaya, I.V. Chendeva, etc.); certain aspects of the activities of teachers of out-of-school associations (S.V. Saltseva, E.S. Starzhinskaya).
The activities of institutions of additional education for children take place in the free time of students. The specificity of this sphere lies in the possibility of a voluntary choice by the child, his family of the direction and type of activity. This is done taking into account the interests and desires, abilities and needs of the pupil. The student himself determines in which circle he will be engaged and chooses a leader.
Unlike school, in additional education institutions, the student voluntarily chooses the children's community in which he feels most comfortable. Often it is this factor that has a direct impact on the primary choice of students in a studio or circle. Students come to classes in their free time from the main studies, they are given the opportunity to move from one group to another (according to the age composition). The educational process takes place in an informal community of children and adults, united by common interests and joint activities. Voluntariness in institutions of additional education for children is also manifested in the fact that a student can change the circle or leave the institution at any time.
The success of the development of the system of additional education for children depends on the ability to attract new people from among creative workers who professionally own a craft (in our case, choreography) and wish to pass on its secrets to children. For a teacher of additional education for children, it is important to find new meanings for their activities. The search for meaning is carried out both at the level of worldview self-determination, and in solving situational pedagogical problems, when one has to make a choice, evaluate the factors that help the teacher to realize himself.
The professional choreographic training of ballet dancers is fundamentally different from the dance art of the general aesthetic orientation of additional education for children (amateur groups, clubs, circles). The main tasks of the institution of additional education for children:
Providing the necessary conditions for personal development, health promotion, professional self-determination and creative work of children;
Formation of a common culture;
Organization of meaningful leisure;
Satisfying the needs of children in creative activities.
N.A. Alexandrova, N.P. Bazarova, T.F. Berestova, G.V. Berezova, G.V. Burtseva, L.V. Bukhvostova, E.I. Gerasimova, G.A. Gusev, O.V. Ershova, T.I. Kalashnikova, O.G. Kalugina, E.V. Koronova, V.F. Kulova, L.N. Makarova, V.E. Moritz, V.P. May, V.I. Panferov, L.E. Pulyaeva, G. Regazzioni, V.Ya. Rushanin, E.G. Salimgareeva, V.I. Uralskaya and others.
In order to more accurately understand the difficulties of the transition of ballet dancers to pedagogical activity, it is necessary to consider the specific features of the activity of a teacher-choreographer of additional education for children.
An essential feature is the right of freedom of choice, independent determination of the content, methodology, organization of classes, professional self-expression in the author's educational program.
Teachers of additional education for children have the right to freedom of choice and use of teaching and upbringing methods, teaching aids and materials, textbooks, to the manifestation of creativity, public and pedagogical initiative.
In the system of additional education for children, the task of preparing students as professional dancers is not set, the teacher-choreographer needs to open the world of dance to the pupils, introduce them to this type of art, teach the elementary basics of choreography, and create the foundation for a more serious hobby. Students receive initial choreographic training, including the dance alphabet: the main expressive means of classical dance (posture, dance step, eversion, jump, plie, flexibility); the main elements of folk, historical, everyday, ballroom, modern dances; knowledge about the characteristic features and history of dance of various eras and peoples. It is supposed to develop the musicality of students in choreography lessons, as well as mandatory stage practice, participation in school productions.
The methods of working with the choreographic team include:
Dance show method - a method of teaching in which the teacher-choreographer demonstrates a dance composition, individual figures and elements and analyzes them accordingly;
Oral presentation of educational material - the teacher-choreographer informs students about the history and current state of choreography, talks about dance music, thus helping students understand the nature of dance vocabulary and the features of dance music;
Reception dance- practical action- the dance lesson is built as practical lesson to learn dances and consolidate skills. Training exercises are a systematic repetition of dance movements that students, under the guidance of a teacher-choreographer, carry out each lesson. With the help of dance tasks, students reproduce dance vocabulary in order to further consolidate it;
Method cognitive activity: illustrative and explanatory, problematic, research. The use of these methods by the teacher-choreographer contributes to a more conscious assimilation of the basics of dance training.
The teacher-choreographer is constantly faced with the task of improving the forms and methods of teaching, discovering new ways for himself and for others to explain the program material and interpret the plastic elements of dance. The formation of a new look, the identification of new characteristics in the vision of one or another plastic element is the direction of the creative search of the teacher-choreographer.
Programs, the authors of which are teachers-choreographers of additional education for children, are the result of comprehension and analysis of scientific and methodological literature and their own practical experience. The implementation of such programs in practice leads to the fact that in the process of pedagogical interaction the teaching methods and personal abilities of children are taken into account, conditions are created for the advanced development of more prepared students, and an individual rate of transmission of material is provided for children who have difficulties in mastering it.
. "Dance Rhythm for Children" - paired, characteristic dances, musical and rhythmic compositions for children of preschool and primary school age (author T. Suvorova);
. "Pearl" - aesthetic education of students in the process of choreography (O.A. Ryndina);
. "Journey to the Country of Choreography" - the development of the creative abilities of children by means of choreographic art (author A.A. Matyashina);
. "Rhythmic Mosaic" - a musical movement aimed at the integral development of the student's personality (author A.I. Burenina);
. "In the world of ballroom dance" - a program for teaching the elements of ballroom dance in a preschool institution (author N.P. Tsirkova).
The author's program "Artistic Movement" (author L.N. Alekseeva) is a natural form of movement, in which there is a complete internal emancipation of the body and spirit and gives awareness of power over the movement of one's body. At the same time, it is also an organic connection between movement and music, the harmonious combination of which is achieved by a special approach to processing the material of the classes. The result is a work of art - a dance study.
One of the key issues of teaching choreography in the additional education of children is the problem of the style of the teacher-choreographer, communication between the student and the teacher.
In choreographic schools, professional choreographic groups, a certain trend of an authoritarian leadership style has developed, since the teacher-choreographer must first take place as a dancer, traditionally in conditions of strict (sometimes tough) discipline. In the field of additional education of children, a democratic style of communication prevails, the interaction in the team of the teacher-choreographer and students allows them to complement each other, the teacher-choreographer helps to realize the position of a teacher, mentor, older friend, specialist with a wide range of professional interests. In the process of organizing joint activities, personally equal relations between the teacher and pupils are established. Communication in this system has its own specific features - it is a joint activity of like-minded people who live by common interests.
For students, in the first place is the personality of the teacher and the head of the choreographic team (the style of his communication, enthusiasm and interest), and then the subject of interest itself (choreography).
The head of the choreographic team is:
A professional who is a model for students in their chosen type of creative activity;
A person who can help the student become an independent and creative person;
An educator who can have a significant positive impact on the formation of the student's personality.
The creative enthusiasm of the teacher-choreographer and students leads to informal communication, which is attractive in the eyes of students, as it not only contributes to the establishment of a friendly atmosphere, but also to the growth of self-esteem, a sense of social significance and adulthood. A feature of collective life is the existence of a specific language that structures the communication between the teacher-choreographer and students. Teachers-choreographers introduce specific vocabulary related to the peculiarities of choreographic classes into communication with students. The inclusion of pupils in their speech of elements of a special language used by teachers - choreographers introduces pupils to the choreographic culture.
The specific features of pedagogical interaction in institutions of additional education contribute to compensating for the lack of attention experienced by a certain part of students in school and family. Pedagogical interaction is aimed at helping to solve the problems of pedagogically neglected students by creating conditions for them to interesting work raising their status in the children's community. The issues of interaction between the teacher-choreographer and the student in the process of choreographic classes were considered by A.V. Dolgopolova, T.G. Sevastyanina and others.
For successful social and professional adaptation of ballet dancers to pedagogical activity in the system of additional education of children, one of effective ways is the organization and holding of mass events, where students are involved in the world of games, competitions, contests, festivals, holidays; mastering the traditional and innovative experience of organizing leisure through knowledge, education, communication.
Each event is an independent link in the pedagogical process and solves specific educational goals and objectives. It is these forms that enable choreographers to show their strength in teaching, earn approval, compare the achievements of their choreographic team with the achievements of other teams. Such activities become a kind of advertising for spending leisure time, and also stimulate pupils to achieve new results and, finally, become a test indicator of the effectiveness of the activities of children and teachers of additional education for children.
The system of additional education for children provides former ballet dancers with unlimited opportunities for creative self-realization, creates an atmosphere of artistic and creative search, the opportunity to implement creative ideas and pedagogical ideas. The specificity of pedagogical interaction makes it possible to more fully use the potential of an individual approach in working with students, since in the field of additional education there is no attachment to state educational standards and the number of students with whom the teacher-choreographer works is less than in the school class. Problems are solved in the process of classes in improvisation, composition. The teacher-choreographer leads the student to independent research and search. These classes require the student's creative understanding, his active involvement in communication with the teacher-choreographer and the team of students.
Additional education of children allows choreographers to develop creative activity, to realize their personal qualities, to demonstrate those abilities that were unclaimed in stage activities: the ability to effective communication, the ability to freely present educational material, win over students with democratic communication, organizational skills, the formulation of specific goals.
The educational process in the choreographic group of additional education for children is the learning of dances, when communication is established and maintained between the teacher-choreographer and students, which is based on both common love to dance, and common cultural values, interests, mutual sympathies. The ability to emotionally support and stimulate students in the realization of their potential determines the dynamics of the successful development of children. Using the art of dance, the interest of students, choreographers:
They use the ethical features of dance to educate morality, discipline, a sense of duty, collectivism, organization;
They teach dance etiquette, form the ability to transfer the culture of behavior and communication in dance to interpersonal communication in everyday life;
Provide emotional relief to students;
Form the correct posture, develop natural physical data;
Satisfy the need for physical activity as the basis of a healthy lifestyle.
The requirements for choreographers in the system of amateur art, the qualification "head of a dance group" are based on the specifics of the specialty - the leadership of a dance group - which involves not only creative (staging) work, but also managerial and organizational functions. The State Standard for this specialty provides for the following aspects of activity: “organizational, staging and rehearsal, concert and performing, teaching and educational work.
The use of a competency-based approach in the activities of a choreographic teacher involves the use of professionally oriented knowledge and skills in working with a children's choreographic team, the ability to solve certain managerial tasks, and perform the following functions of the leader of a choreographic team (Fig. 1):
Organizational and managerial (the teacher-choreographer acts as the organizer of the choreographic team, contributes to its functioning);
Teaching and educational (the teacher-choreographer teaches performing skills, increases the level of knowledge of students, provides spiritual and aesthetic education);
Developing (equivalent physical, emotional, aesthetic, intellectual development);
Tutoring (the teacher-choreographer carries out the rehearsal process in the choreographic team, contributes to the build-up of dance technique, combination of movements);
Staged (the teacher-choreographer is the choreographer of dance numbers - embodying the artistic conception, creates a composition and drawing, selects music and costumes).
One of the main functions of the teacher-choreographer is the function of the organizer and leader of the choreographic team, in this regard, the communicative competence of the teacher-choreographer should be highlighted. The effectiveness of communication, which is of great importance, is substantiated in the works of many famous scientists (A.A. Bodalev, E.S. Kuzmin, V.N. Kunitsyna, A.A. Leontiev, B.F. Lomov, A.A. Rean and etc.). One of the central places is occupied by the problem of effective pedagogical communication (I.I. Zaretskaya, I.A. Zimnyaya, V.A. Kan-Kalik, Ya.L. Kolominsky, S.V. Kondratyeva, N.V. Kuzmina, A. A. Leontiev, A. V. Mudrik, A. A. Rean, G. V. Rogova and others).
I.I. Zaretskaya notes that the humanistic position of the teacher of additional education is manifested in the acceptance of the child, respect for his individual abilities, focus on developing the abilities of everyone, taking into account the motives for participating in specific creative activities. It is not for nothing that one of the indicators of the effectiveness of the work of a teacher of additional education for children is the safety of the contingent.
The dissertation research reflects various problems related to the role of the head of the choreographic team (N.M. Chernikova, V.D. Shakhgulavri), the formation of the individual style of activity of the teacher-choreographer (T.M. Kuznetsova) .
According to N.I. Tarasov, the teacher-choreographer should choose the most effective methods and forms of organizing the educational process, formulate and solve pedagogical tasks, taking into account the level of dance training of students, choose the optimal physical activity for the student's body, promote the creative manifestation of the student's dancing abilities, encourage him to self-improvement and growth of performing skills. skill.
Rice. 1. Functions of the head of the choreographic team
For successful social and professional adaptation to teaching activities, former ballet dancers must use the following forms of conducting choreography classes:
Educational lessons. The dance movement is analyzed in detail. Training begins with learning the exercises at a slow pace. The technique of performing a dance movement is explained;
Reinforcing lessons. Assume the repetition of dance movements or combinations. The first repetitions are performed together with the teacher-choreographer. When repeating, one of the students is selected who performs the movement correctly or better than others, and this student acts as an assistant to the teacher;
Final lessons. Students practically independently should be able to perform all the movements and dance combinations mastered by them;
improvisational work. In these classes, students perform variations they have invented or compose a dance on a theme given to them by a teacher-choreographer.
When preparing choreographic lessons, it is necessary to design possible teaching aids (a system of exercises) based on the intended goals and objectives. For example, a choreographic lesson on the topic "Music and Rhythm", where the purpose of the lesson is to develop students' rhythm and musicality.
Lesson objectives:
Learn to distinguish between strong and weak beats in music;
Master the musical time signature 2/4;
Develop general physical fitness (strength, endurance, agility);
Develop dance data (position and position of the legs, raising the extended and shortened foot, the position of the leg at the ankle, exercises to develop the mobility of the foot).
The purpose of the choreographic lesson on the topic: "Physical training in choreography" is the development of the physical qualities of students, since modern trends in choreography impose more requirements on physical fitness. Lesson objectives:
Formation of correct posture and strengthening of the musculoskeletal system;
The development of stage expressiveness in pupils;
Development of flexibility, stretching, eversion, stability, endurance;
Mastering somersaults, handstands, wheels, splits.
A feature of additional education for children is its educational dominant, which contributes to the development of "cultural talent" in leisure conditions, creates organizational, pedagogical, methodological conditions in which the education of dance culture takes place on the basis of an organic combination of many forms of activity: rehearsals, recording concert activities, participation in holidays. The educational aspects of choreographic activity are devoted to the research of V.V. Gerashchenko, S.B. Zhukenova, L.D. Ivleva, E.A. Koroleva, Yu.M. Churko, M.Ya. Zhornitskaya, N.M. Yatsenko. Teaching and educational work is an integral part and an indispensable condition for the creative activity of a choreographic group. The level of performance, viability, stability, prospects for creative growth primarily depend on the quality of educational work.
Theoretical provisions on the pedagogical possibilities of choreography are formulated: the art of dance is available for study by any child, regardless of his natural talents and age; the choreography has a huge educational and training potential, which is practically not used in a general education school.
Special role in development moral personality student belongs precisely to the art of choreography. Solving the specific tasks of education by means of dance, the teacher-choreographer considers them as an integral part of a complex educational process which is conducted in an institution of additional education for children. The systematic practice of dance art lays the foundation on which the “building” of the moral and aesthetic values of the individual is built in the future. An educational moment is also the full employment of students in the repertoire of the team, which gives an incentive for classes, as students know that none of them will be left behind.
An educational element is the tradition in the dance group - this is both initiation into choreographers, and the transition from the younger group to the older one; education of discipline, which instills the skills of organization in the process of work, educates active attitude to him, internal organization and purposefulness.
The task of the teacher-choreographer in the additional education of children is the harmonious development of the intellect, will and emotions of students. Dance classes not only aesthetically develop students and form artistic taste, but also contribute to physical improvement, discipline and increase the level of culture of behavior, develop imaginative thinking, fantasy, and provide harmonious plastic development.
Like any kind of art, dance contributes to the moral education of the student, reflecting the surrounding life in artistic images. It is with the system of artistic images that the ability of choreographic art to perform a specific function is connected - to awaken in the student an artist who is able to create according to the laws of beauty and bring beauty to life.
Education by means of choreography in additional education of children is understood as:
Formation of moral qualities through familiarization with the choreographic art;
Formation of the need for a healthy lifestyle;
Moral educational interaction between the teacher-choreographer and the student;
Acquaintance with the world artistic culture;
Formation of creativity.
In the process of joint creative activity of the teacher-choreographer and students, dance practice turns out to be an essential factor in the overall intellectual growth of children. THEN. Bilchenko conducted a study in children's choreographic groups with more than 300 students of different ages. The results showed that the majority of students involved in choreography have the ability to "understand themselves", the ability to manage their emotions.
The social and professional adaptation of former ballet dancers to teaching includes the ability to conduct a rehearsal process, which is the main link in educational, organizational, methodological, educational and educational work with a choreographic team. The effectiveness of a rehearsal largely depends on a skillfully drawn up work plan. The knowledge of the teacher-choreographer of the creative abilities of students allows you to draw up a plan for each rehearsal quite accurately and in detail. This requirement applies to both beginners and fairly experienced managers. The rehearsal plan includes the main activities and tasks to be solved by the team. Based on the plan, the teacher-choreographer preliminarily sets specific tasks for the students: to learn the movements, to present the figurative content of the performance, its artistic and performing features, etc.
The structure of the choreography lesson is classical: preparatory, main, final parts. In the preparatory part of the lesson, the tasks of organizing students, preparing to perform the exercises of the main part of the lesson are solved. The means by which these tasks are solved are varieties of walking and running, general developmental exercises, various dance elements based on folk dances. Such exercises help to mobilize attention, prepare the joint-muscular apparatus, the respiratory system for subsequent work. The next part of the lesson, in which the main tasks are solved, is the main one. The solution of the tasks set is achieved by using a large arsenal of various movements: elements of classical dance, elements of folk dances, elements of free plasticity, acrobatic and general developmental exercises.
There are three types of the main part of the classes:
The first is built on the basis of classical dance;
The second is based on elements of folk, ballroom, modern dances;
The third one is based on free plastic movements.
In most cases, mixed options are used, where various means of choreographic training alternate in various combinations. The simplest form is a set of exercises at the barre and in the middle of the hall.
In the final part of the lesson, it is necessary to reduce the load with the help of specially selected exercises: relaxation, stretching.
The mastering of movements by students in a choreography lesson is carried out under the direct influence of a teacher-choreographer, since a feature of mastering this type of activity is the repetition and reproduction by the student of the movement seen (arms, legs, turning the head, tilting the body, etc.), technique or combination, when the teacher-choreographer shows and explains, and the student repeats.
Conducting rehearsal classes by a teacher-choreographer forms his style of presenting choreographic material for students: the manner and nature of conveying the image, polishing the technique of movement, each element of the dance. Passing through the physical stress of the lesson, the head of the choreographic team must accurately feel the dosage of the allowable load, which makes it possible to change the pace of the lesson and the nature of the presentation of the material in time. This is how the conditions for a comfortable psychological climate are formed, which means positive and stable emotions, in which students have an interest and a desire to come back to choreography classes.
Referring to the experience of current choreographers, one can find such methods and techniques of conducting classes that are currently in demand, interesting, able to help master the dance, understand it from the inside, for example, the method of one “pas”, which is the main link in the development of coordination movements. The essence of applying this method is as follows: a new movement is included in each combination, which allows you to carefully work out this "pas". If one of the students does not have time to master it in the first combination, then by the end of the lesson it is already acquired methodically correctly.
The teacher-choreographer V.D.Tikhomirov argued that “there are two main parts in preparation for mastering the art of choreography: this is the technique of art and artistry. There are two factors in the work of a teacher-choreographer - this is the desire to achieve the best result in performing activities (taking into account the different preparation of children) and the need to correct the composition in time, taking into account their attendance.
Conducting a dress rehearsal has its own characteristics, determined by the fact that it is a rehearsal, but at the same time it bears the signs of a concert performance (costumes, makeup, light, sound). The general rehearsal is the final one for a certain stage of preparing the repertoire for the concert, so it is important to prepare students psychologically for the concert.
Social and professional adaptation to pedagogical activity includes the ability of former ballet dancers to engage in choreographic productions, which is a complex aspect of the work of a choreographer, requiring imaginative thinking, creative imagination, communication and organizational skills, performing, pedagogical and rehearsal and production skills. A teacher-choreographer needs not only professional knowledge of his subject, but also the ability to work with a creative team.
The development of amateur artistic creativity has led to diversity in the thematic focus of choreographic groups. Unfortunately, the novice leaders of choreographic groups do not have a clear orientation in the work of the group, and therefore the repertoire is of a random nature. And only the arrival of an interesting creative person as a leader allows us to clarify the direction of training of the choreographic group itself. In choreographic amateur performances, quite clear directions of groups have developed: folk dance (of one people, different peoples), classical, ballroom, variety, sports, modern, etc. These are the most common, frequently encountered directions of choreographic groups, but not only the direction determines the choice of repertoire. What makes the team unique and interesting is its individual style. For example, if there are two folk dance ensembles side by side, while one performs well-known and well-learned dances, the other has a special direction that can individualize the handwriting of this group.
Staged work is an individually unique process of creating a choreographic work, which is carried out in stages:
Selection of musical and choreographic material;
Formation of the idea and concept of a choreographic work;
Genre definition (tragedy dance, dramatic dance, comic dance, lyrical dance, educational dance, etc.);
Construction of a dramatic line of a choreographic work; work with musical material;
Definition of vocabulary, the language of movements, with which the director will create a work. Vocabulary is largely determined by the choice of the style of the future dance: classical dance, folk stage dance, social dance, jazz dance, modern dance, etc .;
Rehearsal and production work with performers.
The skill of the teacher-choreographer includes the creation of the composition of the plot, which streamlines the visual and semantic series of the performance, and the viewer perceives what he sees not only from the point of view of choreography, but also from the point of view of interest in storyline. The composition of the visual, physical form (the plastic picture that the viewer sees) is part of the staging process, which is thought out by the choreographer.
Proposed by G.V. Burtseva in the study “Management of the development of creative thinking of students-choreographers in the process of university training”, the development of an idea at the level of “concept-understanding-implementation” corresponds to the essence of staging activity. This idea is designed to combine all the variety of types of independent choreographic tasks (educational and creative choreographic task - UTHZ). The list of types of UTKhZ includes the simplest tasks for composing training combinations using a variety of vocabulary (dance movements), creating a holistic choreographic work, and developing fragments of rhythm lessons.
One of the criteria in the selection of repertoire for a children's choreographic group is its reality, the correspondence of the repertoire to the abilities of students. When creating the repertoire of a choreographic group, it is important to take into account certain requirements:
Compliance of productions with the age and level of development of students, dance numbers should be understandable to students;
The use of productions of different genres: game, plot;
Statements take into account educational and training goals;
Performances are designed for the entire team.
The process of creativity is expressed in the creation of new, non-standard ways of solving choreographic problems, the desire to realize their creative potential, improvisation. Thanks to the creative activity, originality of the dance director's thinking, new directions of choreography are developing. Dance is currently acquiring a new meaning, a new role: it is becoming a sport (sports and ballroom dancing), part of therapy (dance therapy), the basis of social (youth) self-identification (hip-hop), etc.
The sphere of additional education for children provides an opportunity for self-realization to former ballet dancers in the status of the head of a choreographic group, where they can use the accumulated experience they acquired earlier in stage activities. Additional education for children helps former ballet dancers expand their pedagogical knowledge, get acquainted with the specific features of teaching choreography in the system of additional education for children, and see creative opportunities in pedagogical activity.
Features of the social and professional adaptation of former ballet dancers during the transition to teaching
The specificity of choreographic art in the narrowest sense lies in the motor (dance) performance, that is, the ability to convey the ideological intent of the author of the work through the body and acting.
The educational environment of a professional choreographic educational institution, in which ballet dancers studied, has its own characteristics, different from the upbringing and personal development of students by means of choreography in the additional education of children.
Features of choreographic education are a special competitive admission procedure, which includes the identification of the parameters (abilities) of the body. The presence of a competitive procedure for intermediate certification, as a result of which students who are not capable of continuing choreographic training are excluded not only on the basis of the results of mastering a professional program, but also on bodily (physical) parameters. Education in a choreographic educational institution (choreographic school, ballet academy) is considered as professional training from the first steps, from the age of 10, and is distinguished by specific features:
The special regimen and load level of a student are comparable to the regimen and load of an adult artist, which corresponds to the physical loads of high-performance sports;
General (school) education and vocational education are combined in a single educational process, often it is impossible to draw a clear distinction between them;
Direct transfer of skills, knowledge, experience from generation to generation (“from hand to hand - from foot to foot”, bypassing material information carriers);
The functioning of the choreographic school (ballet academy) both as an educational institution and as a theater group, the unity of the actual educational process and practice;
Mandatory interaction of the choreographic school (ballet academy) with a professional, "basic" ballet troupe (theater): the troupe mostly consists of graduates of this educational institution, and most of its teachers are former and current artists of the troupe; orientation of the educational process to the style features and repertoire of the troupe; the opportunity for students to participate in professional performances from the first years of study.
The activity of the head of the children's choreographic group in the system of additional education of children is characterized by the presence of its own specific features, which causes difficulties in the social and professional adaptation of former ballet dancers to this activity.
Currently, there are many studies devoted to the study of the change of profession and the reorientation of people in adulthood. The results of these studies indicate that a conscious departure from the profession can be carried out at any stage of professional development.
Some former ballet dancers consider the activity of a teacher-choreographer and head of a choreographic group as one of the forms of work focused on the continuation of choreographic activity in the system of additional education for children. The motives are:
Desire to continue doing choreography (interest),
Pedagogical opportunities (availability of abilities),
Attractiveness of choreography for children, teenagers, youth (popularity).
Former ballet dancers do not just “choose a profession”, but to a large extent predetermine their future lifestyle and social circle. The socio-professional adaptation of former ballet dancers to the pedagogical field of activity is the need to adapt to the conditions and requirements of a new profession. This is a period of acquiring a new social status, active entry into the profession, a period of transition to a new situation and living conditions, getting used to a team of colleagues, students and their parents, a new measure of duty and responsibility not only for oneself, but also for others.
E.P. Ermolaeva in her study “Identification Aspects of Social Adaptation of Professionals” (2007) indicates that professional identity is the basis of successful professional adaptation, and the degree of its implementation depends on the type of the leading motivation of the individual. The transforming function of professional identity depends on the range of changes in professionally important qualities and the degree of self-identification with the profession - the possibility of adaptation is higher for people with a broad identification. Distancing the image of one's profession from others - professional self-isolation makes it difficult to adapt to changing conditions when moving to a different professional space. All these factors make up the transformative potential of a professional. How successfully and in what form it is implemented in practice is determined by the leading type of incentive-activity activity of the individual.
Former ballet dancers are sincerely interested in choreographic activity, consider it their vocation, are confident in the correctness of their professional choice and are not inclined to change it, but experience difficulties during the period of adaptation to pedagogical activity. Studies show that out of 100 ballet dancers of professional choreographic groups Academic Ensemble songs and dances of the Moscow Military District, the Moscow Regional State Theater "Russian Ballet", the Ensemble of the Airborne Troops, the State Academic choreographic ensemble"Birch", Theater of Plastic Ballet "New Ballet", Choreographic School-Studio of Dance of the Choir. Pyatnitsky, St. Petersburg State Music Hall Theater, 55 people who came to additional education for children during the first three years of teaching practice, faced with difficulties and unpreparedness, stopped teaching.
The difficulty of the social and professional adaptation of ballet dancers is an unformed attitude towards pedagogical activity. The installation ensures the appropriate attitude of the specialist to his pedagogical activity, serves as the basis for the formation of a professional and pedagogical orientation of the individual (A. Kossakovsky, A.K. Markova, D.N. Uznadze, etc.).
The formation of an attitude towards pedagogical activity proceeds as a result of passing through several stages.
First stage. In order for ballet dancers to be included in the pedagogical process, their interest in new ways of working is necessary. The stage is associated with the development of cognitive interests, a focus on self-development, involves the formation of the ballet dancers' necessary knowledge about pedagogical activity and includes the solution of the following tasks:
Strengthening the motivation for choosing a profession;
Activation of independence, initiative;
Awareness of the social significance and creative potential of the teaching profession.
The activities of the head of the choreographic team attract former ballet dancers with the opportunity to implement creative ideas and pedagogical ideas.
The second stage is aimed at mastering the techniques, skills and abilities of pedagogical activity. At the core this stage the following theoretical prerequisites are laid down: knowledge becomes attitudes if they are realized as practically and personally significant, a pedagogical attitude is formed if a person activates pedagogical activity.
Ballet dancers should form a system of ideas about their capabilities and skills to implement them in a children's choreographic team. Research shows that new ways of using developmental opportunities are currently being implemented:
. "Psycho-gymnastics" - mimic and pantomimic studies;
. "Fitball" - a program that includes exercises that are performed while sitting or lying on a special gymnastic ball;
. "Rhythmic exercises" education of children with various developmental disabilities;
. "Correctional dance" is a special complex lesson, in which the psycho-emotional states of students are corrected by means of music and special motor exercises.
When carrying out pedagogical activities, beginning leaders of choreographic groups feel the need for self-development, the acquisition of new information, replenishment of their own theoretical baggage of pedagogical knowledge, which in turn contributes to the improvement of pedagogical skills.
The peculiarity of the third stage of the formation of an attitude towards pedagogical activity lies in the direction of the novice leader to motivate the success of the choreographic team under his control and solves the following tasks:
Independent mastery of the methods of pedagogical activity, communication and behavior;
Self-assessment of own results of professional growth;
Orientation of the individual in professional values;
Designing your own professional development.
This component of the pedagogical attitude must be developed among ballet dancers, since they have a dominant rehearsal orientation, which implies success in stage activity and is difficult if there is no motivation to achieve success in pedagogical activity.
According to A.K. Markova, for successful professional activity, the motivation for success, the mood for positive results of one's work is extremely important. Achieving success is a personality motive, manifested in the desire for success, which is especially important quality for the successful activity of the head of the choreographic team.
Individuals with a high level of achievement motivation have distinctive characteristics:
Perseverance in achieving goals;
Dissatisfaction with what has been achieved;
Passion for your work;
The need to invent new methods of work in the performance of ordinary affairs;
Willingness to accept help and give it to others.
The formation of an attitude towards pedagogical activity is directly related to the disclosure of the possibility of personal growth. With the help of the installation, the need of ballet dancers in the status of the head of the choreographic group, demonstration of their creative experience, readiness to manage the actions of the group is satisfied.
The difficulties of social and professional adaptation to pedagogical activity in the system of additional education of children are due to the fact that former ballet dancers do not realize the peculiarities of working with the children's choreographic team of the institution of additional education for children and face ignorance of the specific features of the work.
A study of the activities of the leaders of choreographic groups shows that the transition to the teaching profession is carried out by ballet dancers in conditions of ignorance of the content of this activity. This is predetermined by the insufficient development of methodological literature for choreography classes with students in the system of additional education for children. The specificity of choreographic classes here is the general development of students, and not the professional mastery of choreography.
The basic component of the educational process in the additional education of children is to attract students to the world of dance, the development of the foundations of musical culture, dance, coordination of movements, artistry, emotional sphere, the formation of the artistic and aesthetic culture of the child. The orientation of the training and education of the choreographic team depends primarily on the qualifications of the choreographers who directly manage the educational activities. The successful activity of the choreographic group largely depends on the skillful and competent leadership.
Among the most significant professional and personal qualities of the leaders of choreographic groups of additional education of children are:
Research abilities, involving self-knowledge, self-development, the ability to analyze and make forecasts of one's own activities;
Organizational skills, that is, the ability to activate students, give them a charge of their own energy, understand the psychology of students, initiative, purposefulness, responsibility;
Communication skills that help to establish relationships with students, their parents, colleagues, the ability to cooperate, business communication;
Creative abilities, expressed in the ability to see a problem, quickly find original ways to solve it, flexibility of thinking;
The ability to empathize, that is, the ability to empathize, get used to the experience of another person;
Openness and emotional responsiveness, the ability to accept another person, a friendly attitude towards another, building informal relationships with children and adults.
A prerequisite for the successful social and professional adaptation of former ballet dancers to pedagogical activity is effective pedagogical guidance for the development of the personality of students of a choreographic group in the system of additional education for children, the ability of the head of a choreographic group to set goals, plan their activities, determine the forms of organization of activities. Planning is the initial stage of management, on which the success of the choreographic team in the future depends. It involves interconnected, deliberate decisions with the maximum use of the capabilities and abilities of both the head of the choreographic team and the students.
The main tasks in the choreography classes are the activation of the motor activity of students, the development of the elementary foundations of dance, the prevention of common deviations in the physical development of students (violation of posture, flat feet, obesity, etc.), the disclosure of creative individuality and the identification of abilities for this type of activity, followed by a recommendation engage in one or another type of choreography in amateur dance groups.
The works of A.N. Brusnitsyna, G.V. Burtseva, E.I. Gerasimova, V.T. Giglauri, I.E. Eresko, L.D. Ivleva, T.I. Kalashnikova, O.G. Kalugina, T.M. Kuznetsova, B.V. Kupriyanova, V.N. Nilova, L.E. Pulyaeva, O.A. Ryndina, E.G. Salimgareeva, N.G. Smirnova, E.V. Sytovoi, T.V. Tarasenko and others. The problems associated with teaching choreography are reflected in the works of A.O. Dragan, Yu.A. Kivshenko, L.A. Mitakovich, Zh.A. Oncha, S.M. Parshuk and others.
The specificity of additional education for children is that students who do not have special data (poor sense of rhythm, lack of musical-motor coordination, etc.) come to classes.
It is important for the teacher-choreographer to take into account that classes should be designed for the level of development of students, for their specific capabilities and abilities. The organization of classes should be at a level accessible to students, at an acceptable pace. The main goal is not to memorize information, but to comprehend the practical significance of the knowledge gained by the student, so that the student can say: "I can do it."
The first acquaintance with dance occurs in the classroom with the help of dance exercises, musical games. In the first year of work, there is an intuitive perception of the material, and it is impossible to present especially complex requirements for students. At the initial stage of training, more attention and time is given to parterre exercise and musical-rhythmic exercises. According to choreographers, at the initial stage, the task is not to teach a student to dance. First of all, it is necessary that students orient themselves in space, interact with other students. At the next stage, students are given more complex elements, both game (adding improvisation) and dance (movements for coordination).
For a certain time in the course of the lesson, the teacher-choreographer pays attention to musical and dance games, which contributes to a more vivid disclosure and development of the musical and emotional expressiveness of students. Learning dance movements that require concentration and physical effort, which is combined with game exercises, helps to keep students' involuntary attention and interest. This develops the ability to listen and feel music, to express it in motion. Specially selected and organized dance-games contribute to a faster assimilation of dance elements, the development of the ability to hear and understand music. The next stage contains a complete set of basic elements of choreography: setting the body, positions of arms, legs, stretching, jumping.
Teacher-choreographer of additional education for children of MDST (Moscow House of Amateur Creativity) Shikhanova N.Yu. uses outdoor games in his work to make them an organic component of the lesson, a means of achieving the goal set by the teacher. Using the example of such a lesson, one can trace how traditional exercises of the parterre barre acquire animated forms in the form of animals, plants, natural phenomena, objects, which helps to make them clearer, more interesting, and also develops imagination and emotionality.
The main goal of choreographic classes for students in the additional education of children is the formation of initial choreographic skills and abilities, the assimilation of simple dance movements and etudes. The disclosure and development of the creative potential of students occurs through the use of the method of learning dance combinations "from simple to complex". This method includes:
Visual component (visual presentation of the material by the teacher-choreographer, video material of ideal examples of dance culture);
Theoretical component (explanation by the teacher-choreographer of the rules for performing movements, taking into account the age characteristics of students);
Practical component (learning a dance combination, strengthening by repeated repetition, muscle memory training).
Teacher-choreographer, teacher of the Shchelkovo municipal school of choreography, author of the book “Components of staging and performing work in the art of movement” (2011) V. Giglauri emphasizes that a person is given by nature certain limits of his capabilities, above which he cannot rise, but great indulgence nature lies in the fact that it does not give a person the slightest hint of where these boundaries are located, giving him the opportunity to improve depending on his desire. Faced with choreographers who support the system of limitation according to the principle “this is impossible, because no one has been able to do it yet”, students either follow it, or, overcoming this inertia, sometimes suddenly discover some “incredible” abilities in themselves and skills. A teacher-choreographer, who has managed to find ways to develop natural data in students, pushes the boundaries of his pedagogical individuality, becomes a more popular teacher, quickly comprehends the secrets of pedagogical skill.
To form students' sustainable motivation for choreography, the teacher-choreographer uses various individual-group forms of work, depending on the preparation of students:
Group form (groups are formed taking into account the age of the students, the group may consist of participants in any dance or sketch);
Collective form (used for joint rehearsals, ensembles, dance performances, where several age groups are involved);
Individual form (used for students who have not mastered the material covered).
Such an integrated approach makes choreographic classes meaningful, diverse, interesting, and also provides an opportunity to determine the abilities of students for their subsequent development.
The learning process in choreographic groups of additional education for children is based on the general pedagogical principles of didactics:
Activities - methods of educational work in a choreographic team contribute to motor activity, develop the creative activity of pupils;
Visualization - before staging dances, with the help of illustrations, photos and videos, pupils get acquainted with the culture, traditions, national costumes of a particular people. When learning new movements, visualization is an impeccable practical demonstration of movements by a teacher;
The principle of accessibility and individualization provides for taking into account the age characteristics and capabilities of the student, determining tasks that are feasible for him;
Systematicity - the continuity and regularity of classes. Otherwise, there is a decrease in the already achieved level of knowledge and skill;
Openness - joint activities of like-minded people (the head of the choreographic team and students) who live by common interests;
The principle of phasing - consists in setting up and performing more difficult new tasks for the pupil, in a gradual increase in the volume and intensity of loads. The transition to new, more complex exercises should occur gradually, as the emerging skills are consolidated and the body adapts to the loads.
Former ballet dancers experience difficulties in interacting with students, which is associated with the involvement of children in the team, their consolidation, the formation of sustainable motivation for classes.
Students at any time can change the circle or leave the institution altogether, which is associated with voluntariness in attending classes. To keep them, a teacher of additional education cannot use the arsenal of disciplinary techniques that choreographers have in choreographic schools, studios at Academic ballet theaters. Therefore, the teacher-choreographer of additional education for children should be a fan of two aspects: the world of classes into which he introduces students, and the world of raising children. The requirement of fanaticism or enthusiasm is explained by the fact that without this above-standard attitude to classes, it is impossible to infect students with this practice. Only the attractiveness of the activity itself, the forms and methods of its organization, the comfortable atmosphere in the children's community, the bright personality, sincerity and friendliness of the teacher contribute to the fact that the child spends his leisure time in an institution of additional education for a long time.
Practical activities the head of the choreographic team in the system of additional education of children is realized through building subject-subject relationships, creating a dialogue with students, which requires special artistry, the ability to organize the pedagogical process so that it is bright, original and at the same time personally significant for students. The structure of pedagogical artistry was considered by M.G. Grishchenko in his study "The formation of artistry among artistic directors of choreographic groups in universities of culture and arts" (2009) based on verbal (sounding speech, intonation and semantic accents) and non-verbal (gestures, facial expressions, plasticity) means of influencing students. These means are interrelated, have a dynamic nature and change depending on the specific situation at various stages of the professional development of the head of the choreographic team.
The solution of creative tasks in cooperation with the head of the choreographic team in the system of additional education of children changes the psychological structure of the educational process as a whole, a system of internal stimulation of the widest range of interactions, relationships, communication between all participants is created (I like to be with everyone, captivates a common cause, ambition is satisfied, shows pride in oneself, etc.)
Involving students in systematic choreography classes, the leaders of choreographic groups should be aware that the peculiarity of working in the system of additional education for children is not only the identification of creative abilities, the development of an ear for music, a sense of rhythm in students, but also the ability to help closed, uncommunicative, emotionally unbalanced students. The need to support children with physical disabilities, to form a sense of responsibility and striving for certain achievements, to compensate for the lack of attention from school teachers and parents.
The leader can influence the formation and development of the choreographic team:
Through a friendly and comfortable atmosphere in which each student feels necessary and significant;
Creating a "success situation" for each student to teach him to assert himself among his peers in a socially appropriate way;
The use of various forms of mass educational work, in which each pupil acquires social experience.
The specifics of additional education for children is that if ballet dancers, as leaders of choreographic groups, do not have the ability to win over students, arouse interest in choreography, convince, motivate them to study, then groups are not recruited from them.
Analyzing the features of social and professional adaptation and the entry of former ballet dancers into pedagogical activity, it should be noted that they are fixed in this profession through self-education. Many leaders of choreographic groups working in the system of additional education for children do not have a special pedagogical education, and their professional development in the field of pedagogical work begins simultaneously with their implementation in independent practical pedagogical activity. Various forms of retraining, advanced training of the cultural level of people are needed.
The subject of retraining (specialist) differs from the subject of primary vocational training in the presence of previously formed professional self-awareness, life and professional experience. Obviously, the learning process should be built not as a broadcasting or training process, but as a transformative, personality-changing process that helps the subject of retraining to carry out professional reorientation within himself, within his consciousness.
The leaders of children's choreographic groups are increasingly convinced that they need deep knowledge of the pedagogical process for successful professional activity. In accordance with the state educational standard of secondary vocational education, a teacher of additional education for children in the field of choreography, the organizer of a children's dance group must have knowledge of:
History of choreographic art;
Fundamentals of various types of dance: classical, folk, modern, ballroom;
Techniques for performing various movements;
Structures and content of training exercises, methods of their implementation with children in the conditions of additional education of children;
Folk dance culture of the region, region, city;
Means of musical expressiveness, the nature of their influence on the performance of dance movements;
Techniques for composing small and large forms of dance compositions;
Dramaturgical development of dance images;
Features of a dance costume for performing modern dances of various types.
Such high requirements for the head of the choreographic team are explained by the fact that they are the key to the successful development of the choreographic team and their professional activities.
The leaders of choreographic groups choose their own educational route, taking into account their educational level, experience in teaching. Participation in seminars, workshops, round tables shows that today the topical issues for the teacher-choreographer of additional education for children are: "Organization of the pedagogical process to maintain students' interest in classes", "Organization of the activities of the choreographic team for the result."
The participation of the leaders of choreographic groups in "master classes", trainings makes it possible to more deeply assimilate the choreographic material and workshop, as well as projecting it onto specific pedagogical experience.
The result of the activity of the head of the choreographic team has some relativity. On the one hand, the result can be considered the sum of achievements: titles, places, awards, results of competitions and competitions in which the team participated, on the other hand, the level that students achieve when studying in a choreographic team (the level of general culture, discipline, knowledge, skills ). In the first case, the leader and students count on official recognition, victory at reviews and competitions. Others are guided, first of all, by joint leisure activities, communication, acquaintance with the art of choreography, and collective involvement in creativity.
N.S. Poselskaya, a teacher-choreographer, Honored Worker of Culture of the Russian Federation and the Republic of Sakha (Yakutia), the initiator of organizing a choreographic school in Yakutia, based on surveys among dance teachers, reveals their lack of knowledge of the history of pedagogy and the theory of choreographic education in their region. A variety of forms and methods of choreographic education associated with the pedagogical activities of choreographers in the region, unfortunately, are not used in the practice of teaching choreography. Meanwhile, reliance on the traditions of folk dance is one of the sources of creativity of the head of the children's choreographic group. If the repertoire is dominated by local folklore dances in their own processing, the role of such groups increases.
Folk choreographic culture is presented in the studies of A.G. Burnaeva, E.V. Zelentsova, V.G. Schukina and others. Scientific works devoted to the training of choreographers based on folk choreography (G.Ya. Vlasenko, G.P. Gusev, N.I. Zaikin, K.S. Zatsepin, A.A. Klimov, M. P. Murashko, T. N. Tkachenko, N. M. Tolstaya, T. A. Ustinova, etc.).
There are works that are of interest for the formation of a holistic perception of folk culture. “Russian Folk Round Dances and Dances”, compiled by the teacher-choreographer of the Moscow House of Amateur Creativity V.V. Okunev, which describes the results of research work on the study of Russian folk dance in a children's choreographic group, during which a system of training and education was found by means of Russian folk dance. Master class of the teacher - choreographer of the All-Russian Center for Children's Creativity L.N. Kornileva - the study of the traditional vocabulary of Russian folk dance in the main forms of building round dances, dances, quadrilles.
Teacher of additional education in choreography S.A. Mongush (Kyzyl) conducts Tuvan folk dance classes, which are characterized by dance elements for boys, and elements performed only by girls. Jumps, tricks, somersaults predominate in male dance, the dance is distinguished by expression and mobility. All this can be noted in the dance "Jumps" (horse riding is a favorite pastime of Tuvans), which is performed only by boys. Temperamental, tempo dance well conveys the moment of the horsemen's competition. For the female Tuvan folk Ghana, movements of the hands are characteristic (rotation inward and outward; flexion and extension at the wrist; slight "shudder" of the hands), they perform it while sitting on the floor on their knees, smooth hand movements should be continuous, should not be interrupted. Women's dance is characterized by slow and smooth movements in space, maintaining the correct posture, grace in movements.
Choreographic classes are the sphere of direct contact of the child's personal creative experience with the artistic experience accumulated in folk art. This circumstance explains the importance of introducing students to folk choreographic culture.
In order to carry out the activities of the head of the children's choreographic group, former ballet dancers need to form an attitude towards pedagogical activity, knowledge of the specific features of pedagogical activity in the system of additional education for children, search for an author's method of working with the children's choreographic group. All these features are necessary components of the organization of a choreographic group in the system of additional education for children.
Bibliographic link
Matsarenko T.N. PROFESSIONAL SELF-REALIZATION OF BALLET ARTISTS IN THE SPHERE OF ADDITIONAL EDUCATION FOR CHILDREN // Scientific Review. Pedagogical Sciences. - 2016. - No. 1. - P. 35-52;URL: http://science-pedagogy.ru/ru/article/view?id=1508 (date of access: 04/06/2019). We bring to your attention the journals published by the publishing house "Academy of Natural History"
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 do something all the time (seriously), then it should be a favorite thing that you are ready to give most yourself, and perhaps completely immerse yourself in it.
a talented person become impossible, 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. The parent can understand this in a personal conversation or on open lesson- you can only feel such people, no regalia and great amount knowledge will not help if a person:
- Not a creative person.
- 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 many 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 creative family. 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 about the 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 is 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 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 the troupes of musical and dance theaters, be in demand in creative world.
- Choreographic art in Russian universities (higher education):
- Barnaul. Altai State Academy of Culture and Arts
- Belgorod. Belgorod State Institute of Arts and Culture
- Vladivostok. Far Eastern Federal University
- Vladimir. Vladimir State University
- Volgograd. Volgograd State Institute of Arts and Culture
- Yoshkar-Ola. Mari State University
- Kazan. Kazan (Volga Region) Federal University
- Kaliningrad. Immanuel Kant Baltic Federal University
- Kaluga. Kaluga State University K.E. Tsiolkovsky
- Krasnoyarsk. Siberian Federal University
- Magnitogorsk. Magnitogorsk State Conservatory (Academy) named after M.I. Glinka
- Moscow. Moscow Pedagogical State University,
- Russian State Social University, Moscow State Academy of Choreography, Institute of Contemporary Art
- Nalchik. North Caucasian State Institute of Arts
- Omsk. Omsk State University F.M. Dostoevsky
- Permian. Perm State Institute of Culture, Perm State Choreographic School
- St. 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, a 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 Mariinskii Opera House
— 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 more deep meaning 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 oneself 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 its size wages 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.
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.” The school of classical dance is the basis of the foundations of a systematic, consistent, methodical training in the 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 a 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 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 strict 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 most carefully 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 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 ballet master faculty of the now Russian Academy of Theater Arts, who worked as a classical dance teacher at the Moscow Choreographic School from 1923 to 1960, N.I. Tarasov in his book “Classical Dance” (1971) wrote: “The professional qualities of 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, they 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 creating 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 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. “Showing a movement or correcting a student, the teacher sees his ideal image with his inner vision, constantly checking simultaneously with his 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 a 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 the comprehensive development and improvement of the performing skills of students on the basis of rehearsal work and stage performances, including theater performances. Stage practice is an integral, final part of the educational process.
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 mandatory participation of students in performances. theater 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 an equal footing with professional artists 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, taking direct part in them, gain experience in their future profession, thus becoming familiar not only with culture, but also with the manner and style of performance, which is so important in the work of an artist. ballet.
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, a cycle of special subjects, including art history disciplines, is combined with a 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. The artist-artist has always been at the forefront, whose main task was to create meaningful choreographic images by means of dance that meet the tasks of the choreographer, because only "artistic quality makes the 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 expressive means of music in comprehending the iconic imagery of classical vocabulary
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 DESCRIPTION OF THE WORK The relevance of the research topic is due to the logic of the development of acmeology as a science and the solution of scientific and practical problems related to increasing the productivity of performing artistic and creative activities. The development of acmeology is associated with the development of new subject and object areas, among which artistic and creative performing activities stand out, in which there are many psychological and acmeological problems. Their solution is largely determined by the type and specifics of artistic performance activity, among which a special place belongs to ballet - the oldest type of performing art. Therefore, the development of acmeological problems of ballet creativity is relevant from a scientific point of view.
The state of development of the research problem The study of the essential characteristics of the performing arts of artists was carried out mainly on the examples of the creativity of artists of drama theaters. A great contribution to the development of this problem was made by outstanding theater practitioners (Stanislavsky K.S., Nemirovich-Danchenko V.I., Vakhtangov E.B., Meyerhold V.E., Tairov A.L., Zavadsky Yu.A., Zakhava B. E., Tovstonogov G. A. and many others).
Significant are psychological research in this subject area (Abramyan D.N., Berezanekaya N.A., Wilson G., Drankov B.JL, Ershov P.M., V.I. Kochnev, Markus S., Natadze R. G., Petrov V.V., Silantieva I.I., Simonov P.V., Tarasov V.I., Teplov B.M., Shpet G.G., Yakobson P.M., etc.). Among the applied psychological research, it is worth highlighting the works on the creative self-concept of artists (Borisov-Fishman B.M.), artistic introspection (Andreykina O.V.), the psychology of stage reincarnation (Kisin B.V.), transpersonal psychotechnics (Groysman A.L. , Rassokhin A.V.), artistic abilities and abilities for reincarnation (Rozhdestvenskaya N.V.), acting skills (Naidenkin S.M. and others).
Actually, psychological studies of personal and 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. AT.). [~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:
Theoretical and methodological basis of the dissertation research are works in the field of psychology of creativity (Abramyan D.N., Bogoyavlenskaya D.B., Ponomarev Ya.A., Prangishvili A.S., Savransky I.L., Semenov I.N., Stepanov S.Yu., Stolovich L.N., Tikhomirov O.K., Torrance E., Sheroziya A.E. and others);
psychology of performing artistic creativity (Bochkarev L.L., Wilson G., Groysman A.JI, Ershov P.M., V.I. Kochnev, S. Markus, Natadze R.G., Rozhdestvenskaya N.V. and others. ); theory of acmeology, acmeological approach to personal and professional development and the formation of professionalism of a person and activity (Agapov V.S., Anisimov O.S., Bodalev A.A., Ganzhin V.T., Derkach A.A., Zazyyuan V.G., Kuzmina N. V., Laptev L.G., Markova A.K., Ognev A.S., Rean A.A., Selezneva E.V., Stepnova L.A. and others); acmeology of artistic creativity (Zazykin V.G., Fetisova E.V.); art and theater studies of ballet (Belova E.P., Belyaeva-Chelombitko G.V., Gaevsky V.M., Grishina E.M.. Vartanov A.S. Ilupina A.P., Krasovskaya V.M., Lvova-Anokhin B.A., Lutskaya E. Ya., Sabashnikova E.S., Surits E.Ya., Chernova N.M., Elyash H.A.).
Research methods: To solve the tasks set in the dissertation research, a complex methodological toolkit was used, including general scientific methods: complex analysis theoretical aspects 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 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 complete acceptance of the concept by the artist to the proposal and implementation of his options.
2. It has been established that the most important abilities of a ballet dancer are: spsmeological - self-realization, self-development, self-realization, self-actualization, self-disclosure and self-affirmation; psychomotor - plastic expressiveness, muscular freedom and emancipation, the ability to control the body (accuracy of expressive movements), the ability to fill with thoughts and feelings of movement, gestures and postures; musical (rhythmic) - ear for music, musical memory, sense of rhythm; autopsychological - self-attitude, self-acceptance, the ability to arbitrary self-regulation, self-identity; cognitive - intellect, developmental psychology and superconscious qualities peculiar only to man; cognitive | in the acmeological context of creative activity, they reflect the interaction of self-consciousness and professional activity; creative - the search for an extraordinary solution to a creative problem, reincarnation and the creation of new images; social-perceptual - in an acmeological context, reflect self-esteem in interpersonal interaction (overestimated, underestimated or adequate); artistic - a mental reflection of an affective nature, passion, sensuality, conscious expression in the facial expressions of the sign and modality of the emotional accompaniment of the action; empathic - emotional susceptibility, lability and plasticity of emotional reactions
3. It is proved that the productivity of the creative activity of ballet dancers depends on the level of personal and professional development, the skill of the subject of creative activity and individuality and acmeological potential, which includes a system of high-level interconnected 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, which is focused on the formal observance of the rules and canons of this type of professional activity, is unproductive ; 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: actualization of the need for professionalism in ballet creativity, optimization of interactions in the process of co-creation, development of psychological and acmeological competence of ballet masters and tutors, 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 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 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 educational 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, stable features - a combination of personal and professional qualities, special private abilities, motivational formations in the context of the productivity of personal and professional development and movement towards acme) and acmeological potential, the ability for arbitrary self-development and multiplication of potential, the level of general and special acmeological invariants of professionalism ( the main qualities and skills of a professional that ensure high stable efficiency and reliability of the activities performed are the potentials of the individual,
strength of personality, anticipatory consistency, high level of self-regulation, decision-making ability, creativity, high and adequate motivation for achievements), 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 position 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, subject and instrument" of theatrical art, therefore, the more complex and significant the personality of the artist, the more multifaceted his abilities, the brighter his individuality and the more interesting his work. Drankov B.JI made a great contribution to the study of the psychological content of acting abilities. (the versatility of abilities in the work of artists), Bogoyavlenskaya D.B. (intellectual activity and intellectual needs in the personal development of artistic thinking), Rozhdestvenskaya N.V. (psychology of artistic creativity and creative activity), Petrov V.V. (readiness for performing artistic activity), Tarasov V.I. (spiritual needs of the individual in creative activity), etc. They noted that acting and artistic abilities cannot be studied in isolation from the creative process, a deep study of the creative personality.
An important area of psychological research is the study of personal properties and qualities of the subjects of creative activity. In psychological studies, it was noted that many general personal and professional characteristics of artists as subjects of creative activity are inherent in creative individuals, regardless of the specific specifics of their creative activity. N.V. Rozhdestvenskaya, who studied the personality and creativity of artists for a long time, singled out the following special psychological characteristics of them: general emotionality; emotional susceptibility; excitability and plasticity of emotional reactions; the ability to reincarnate; empathy inner freedom; ability to self-regulation; performance; creative will. In psychological studies, the correlations of actor's emotionality with suggestibility, the level of voluntary self-regulation, anxiety (the so-called "a kind of actor's nerve"), which determines reflexive sensitivity and plasticity, were studied (Bakeev V.A., Zakharov A.I., Popova E.P., etc.). A special role was assigned to the imagination, the ability to create new images: it is necessary to easily "surrender to imaginary circumstances, believe them, live them as if they really existed" (Zakhava B.E.).
In recent years, psychological and acmeological studies have appeared related to the study of acmeological aspects of the professional skills of artists. The structure and specificity of the actor's skill presupposes the integration of various qualities, skills, and features of the personality's orientation towards development. The professional skill of an artist is directly related to the productivity of his self-concept (B.C. Agapov, V.K. Naidenkin, B.M. Fishman-Borisov, etc.), which ensure his self-actualization, self-disclosure and self-affirmation in creativity.
The psychological features of self-expression were studied by G. Wilson. It was noted that the artist's self-expression process is characterized by stages and heterochrony, there are a significant number of implicit
psychological factors that influence him, which are not always amenable to arbitrary regulation (emotional ups and downs, substituting experience, catharsis, audience understanding, individual characteristics, genre environment).
Specific psychological (mainly empirical) studies of the personal characteristics of ballet dancers, their mental states, some psychological aspects of creative activity began to be carried out from the second half of the last century and are being carried out to the present (Bochkarev L.L.: readiness for performing activities; Vysotskaya N.E. .: personal psychological qualitative characteristics; 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 the theoretical works of outstanding theater figures, choreographers, directors, ballet teachers R. Zakharov, F. Lopukhov, L.D. Blok, V.M. Krasovskaya, M. Fokin, K. Goleizovsky, M. Bejart and others. There is a lot of psychological and acmeological information used in this study.
From applied psychological research, the works of E.V. Fetisova should be singled out; she obtained results that, first of all, have an acmeological content. In particular, a comparative analysis of a number of the most important psychological characteristics of "stars" and "ordinary" ballet dancers was carried out in terms of indicators of low and highly productive creative activity.
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 critics, 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, increasing the level of acmeological, invariants of professionalism, 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. Khodayeva). is a system of interrelated potentials (creative, characterological, natural, etc.) that have a high level, have the property of resource replenishment (resource recovery) and are the basis for productive personal and professional development, progressive movement towards acme.Accordingly, acmeological potential can have different levels (high, medium and low).
The theoretical and methodological analysis of problem 5 carried out in the first chapter became the basis for organizing and conducting phased applied psychological
acmeological empirical research. At the first stage, an expert psychological and acmeological analysis (assessment) of the problem was carried out. Fourteen experts took part in it: leading soloists of ballet troupes of famous theaters, awarded with honorary titles and state awards (four people), choreographers-tutors and teachers-tutors of leading ballet theaters (four people), art historians - recognized experts in the field of ballet creativity, the author several monographs (three people), psychologists, recognized specialists in the field of psychology of performing artistic and creative activity, with experience in psychological work with ballet dancers (three people).
Professional ballet experts have consistently emphasized that an empirical study of the psychological characteristics of ballet dancers will
necessarily associated with the following significant factors of psychological complexity: a high level of reflection (mostly unproductive) in many artists; high level of image behavior; unwillingness to make contacts with a specialist psychologist; the characteristic vulnerability and touchiness of artists; a high need (often insufficiently satisfied) for social and professional approval; the presence of character accentuations; manifestation of negative features of professional mentality; fear that the results of psychological diagnostics will be made public. Experts have developed criteria for dividing artists into "stars" and "ordinary".
At the second stage, actual empirical studies were carried out using instrumental and non-instrumental methods of psychological diagnostics and other methods noted above. These empirical studies were carried out in the period from 2001 to 2005 in various professional ballet groups (ballet theaters and ballet companies 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
№ 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 creative activity itself; the artistic value of the created works and images, the temporal imperative in the context of relevance for any era, the highest level of performance, public recognition, innovation in creativity. A high level of development of these characteristics is characteristic of "stars": it determines the algorithm for the self-fulfillment of stars in an acme-oriented life perspective in the context of the productivity of creative activity and is the structural and functional basis of the acmeological potential.
Acmeological invariants of professionalism of ballet dancers were studied using observation, Luscher color test data and peer review. In the study of the productivity of the creative activity of ballet dancers, traditional expert assessment and acmeological examination are combined: methods of pair (group) comparison, projective and rating assessment - these methods revealed objective conditions and factors that contribute to productive personal and professional creative development. Descriptions of general and special invariants were described at a qualitative level and demonstrated a significant difference (high and low levels) in their severity and content in "stars" and "ordinary" artists.
Common 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. "Ordinary" have a low level of personality strength and relative to the "stars" a low level of personal potential; other types of invariants for "ordinary" have a very wide range of spread.
The special acmeological invariants of the creative activity of ballet dancers in this study include: the level of musicality; psychomotor; figurative thinking; self-efficacy. "Stars" have equally high scores on all special invariants.
Other empirical studies of reactions to frustration were also carried out - the Rosenzweig test, the determination of the cognitive-emotive characteristics of ballet dancers (according to Yu M. Orlov), personality relationships (the neurotic triad is determined on the main scales of LNSobchik), medical and biological ("big batman", serial dynamometry, haptic reflexes, neurodynamic, etc., which made it possible to identify functional disorders of the nervous system - the mobility of the nervous processes of fatigue and typological variants of the personal norm); A total of 107 people were examined. Their results
used in the development of systematic descriptions of the psychological and acmeological characteristics of ballet dancers, as well as for practical recommendations for optimizing the creative activity of ballet dancers using self-regulation and psycho-correction techniques used for the productivity of creative activity.
The theoretical and methodological analysis of the problem, the results of empirical research, made it possible to carry out a systematic description of the general and special psychological and acmeological characteristics of ballet dancers. A qualitatively strict linguistic description was chosen based on the personality models of K.K. Platonov and V.S. Merlin.
The first type of systematic description of the psychological and acmeological characteristics of ballet dancers, which influence the increase in the productivity of creative activity, reflects systemic ideas about personality traits (K.K. Platonov).
At the level of natural properties for ballet dancers, the temperamental characteristic of neuroticism plays the main role - the emotional instability necessary for the artist to reincarnate; with age, ballet dancers have reduced "motor capabilities" and increased artistry, the depth of penetration into the image. The personal potential of ballet dancers is a system of renewable resources, so the potentials of the individual can be multiplied. The activity and strength of the personality of ballet dancers dialectically combines dependence on the situation with overcoming its direct influences; psychopathological properties of ballet dancers are distinguished by a pronounced polarity of dyads in different types activities: independence - conformism, seriousness - childishness, etc.
At the level of mental processes and functions - volitional qualities of ballet dancers (especially "stars") are manifested in the ability to arbitrarily control the processes of goal formation and overcoming - performances with injuries and during illness, negative mental states; the mental functions of ballet dancers are distinguished by well-developed attention, trained muscle memory, rich imagination; thinking is distinguished by imagery and the ability to insight; the emotional sphere and feelings provide the ballet dancers with the reincarnation into the created images, and the ballet dancers are capable of arbitrary regulation of emotional states
At the level of character - training in the art of ballet begins at an early age and therefore the main features of ballet dancers are - respect for the teacher, diligence, discipline, empathy, purposefulness and perseverance; in the process of creative activity, accentuations of character 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 necessary condition 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, 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 general and special characteristics 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 unproductive 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 (conditions as objective circumstances) are described: 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 existing highly professional models of productive creative activity; development of psychological and acmeological competence of the subjects of creative activity and of 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 for professional psychological selection in choreographic educational institutions.
2. The developed systematic description of psychological and acmeological characteristics can be used in the development of individual plans for the personal and professional development of ballet dancers, the disclosure of their creative potential.
3. Based on the identified characteristics of ballet dancers, it is advisable to implement psychological self-regulation and correction, which will contribute to the productivity of creative activity.
Prospects for further research are:
■ an in-depth study of psychological barriers and restrictions at all levels of the personality structure that impede the productive disclosure of the creative and acmeological potential of ballet dancers;
■ study of changes in the creative individuality and creative orientation of the personality of ballet dancers in the entire range of their active creative activity;
■ development of acmeological models of professionalism of the personality of ballet dancers and the conditions for their practical application;
■ development of acmeograms for young artists with significant creative and acmeological potential;
■ development of an algorithm and technologies for psychological and acmeological support of the processes of creative development of ballet dancers;
■ in-depth development of acme problems in ballet art
1. Methodology for determining creative indicators in the process of artistic and creative activity (on the example of the creative performance of a ballet dancer). - M: Kogito-Tseitr, 2002. - 0.5 p.l. (together with A.L. Groisman and V.A. Pozdnyakov).
2. Studies of the quality of life of ballet dancers. Toolkit. - M.: Kogiu-Teshr, 2003. - 1 sheet.
3. An empirical study of the psychological and acmeological characteristics of ballet dancers. - M.: International Academy of Acmeological Sciences, 2005. - 1.5 pp.
4. Soboleva O S. Acmeological approach in the study of the psychological characteristics of ballet dancers. - M "International Academy of Acmeological Sciences, 2005. - 4.5 pp.
5. Psychological and acmeological characteristics of ballet dancers and their expert assessment. //Akmeological study of the potential of reserves and human resources, - M .: RAGS, 2005. - 0.5 p.
Dissertations for the degree of candidate of psychological sciences
Soboleva Olga Sergeevna
Productivity of creative activity of ballet dancers
Supervisor 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 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 (Andreikina O.V.), the psychology of stage reincarnation (Kissin 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. .AT.).
Thus, the problem of studying the productivity of the creative activity of ballet dancers in an 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 that 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 development of psychological and acmeological characteristics), expert assessments, psychodiagnostic methods - psychological testing (Luscher's eight-color test, projective tests, test "emotional hearing ”, etc.), participant observation, interviewing.
The empirical base of the study was the results of an expert assessment (14 experts - leading soloists, choreographers, tutors, psychologists, ballet critics in the field of ballet creativity), the results of psychological testing (187 ballet theater artists in Moscow and St. Petersburg) , data obtained in the course of interviews, participant observation, conversations, discussions, as well as the results of generalization and analysis of psychological and art criticism studies of ballet creativity.
The reliability and validity of the obtained scientific results is ensured by the theoretical and methodological study of the problem, the use of proven and reliable research methods, and the representativeness of the sample.
The main scientific results obtained personally by the applicant, and their scientific novelty.
1. It is substantiated that the creative activity of ballet dancers is co-creation with choreographers and tutors. In psychological terms, the content of co-creation is the adoption and stage implementation of the concept, creative solutions, characteristics of images and their enrichment with their own creative solutions, expressive means that correspond to the general ideas of the choreographer and teacher-repetiteur. The range of co-creation depends on the scale of the talent of the ballet dancer, the creative position of the choreographer, and can take the form of the complete acceptance of the concept by the artist 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 thoughts and feelings with movements, gestures and postures; musical (rhythmic) - ear for music, musical memory, sense of rhythm; autopsychological - self-attitude, self-acceptance, the ability to arbitrary self-regulation, self-identity; cognitive - intellect, developmental psychology and superconscious qualities peculiar only to man; cognitive - in the acmeological context of creative activity, reflect the interaction of self-consciousness and professional activity; creative - search for an extraordinary solution to a creative problem, reincarnation and creation of new images; social-perceptual - in an acmeological context, reflect self-esteem in interpersonal interaction (overestimated, underestimated or adequate); artistic - a mental reflection of an affective nature, passion, sensuality, conscious expression in the facial expressions of the sign and modality of the emotional accompaniment of the action; empathic - emotional susceptibility, lability and plasticity of emotional reactions.
3. It is proved that the productivity of the creative activity of ballet dancers depends on the level of personal and professional development, the skill of the subject of creative activity and individuality and acmeological potential, which includes a system of 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, 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 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 educational 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 them. 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, stable features - a combination of personal and professional qualities, special private abilities, motivational formations in the context of the productivity of personal and professional development and movement towards acme) and acmeological potential, the ability for arbitrary self-development and multiplication of potential, the level of general and special acmeological invariants of professionalism ( the main qualities and skills of a professional that ensure high stable efficiency and reliability of the activities performed are the potentials of the individual, the strength of the individual, anticipatory competence, a high level of self-regulation, the ability to accept solutions, 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 examination), the specifics of empirical studies of the psychological and acmeological characteristics of the creative activity of ballet dancers were determined, the grounds for 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), eliminating constraints 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 the only "language" is expressive movements. 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 examination), the specifics of empirical studies of the psychological and acmeological characteristics of ballet dancers were determined, the grounds for stratifying artists by the level of acmeological potential were determined, 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 notion of "acmeological potential" substantiated in the dissertation research should be used in the co-creation of artists and choreographers to form an image of the result that one should strive 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.
List of references of the dissertation author of scientific work: candidate of psychological sciences, Soboleva, Olga Sergeevna, Moscow
1. Abramyan D.N. About the features of artistic creation. -Yerevan: Minpros Arm. SSR, 1979. 83 p.
2. Abulkhanova-Slavskaya K.A. Life strategy. -M., 1991.
3. Abulkhanova-Slavskaya K.A. Acmeological understanding of the subject.-In the book: Fundamentals of General and Applied Acmeology.-M.: RAGS and VAD, 1995.- P.249.
4. Agapov B.C. Mechanisms for the productive development of the self-concept of leaders. - M .: Institute of Youth, 2000.-26 p.
5. Acmeology / Ed. A.A. Derkach. M.: RAGS, 2002. - 681 p.
6. Acmeology: personal and professional development. Materials of the International scientific conference. Moscow October 7-8, 2004. 614 p.
7. Alexey Ermolaev. Digest of articles. M.: Art, 1974. - 232p.
8. Ananiev B.G. On the problems of modern human knowledge. M.: Nauka, 1977. 380 p.
9. Ananiev B.G. Selected psychological works. In 2 volumes.-M.: Enlightenment, 1980.
10. Anisimov S.A., Derkach A.A., Konyukhov N.I. "Ego" of VIPs / Public Service. 1998. No. 1-2. - S. 24-33.
11. Andreikina O.V. "My life in art" by K.S. Stanislavsky as an experience of actistic introspection: (On the problems of the director's creative subconscious): Dis. Cand. Art History.-M., 2001.- 143 p.
12. Antsyferova L.I. On the psychology of personality as a developing system// Psychology of personality formation and development. Ed. Antsyferova L.I. M.: Nauka, 1981. - S.3-19.
13. Antsyferova L.I. On a dynamic approach to the study of personality // Psikhol. journal - 1981. No. 2. - P.51-62.
14. Antsyferova JI.I. Conditions of personality development deformations and human constructive forces // Psychology of Personality: New Research. Ed. Antsyferova L.I. M.: IP RAN, 1998. S.25-38.
15. Artemyeva T.I. Psychology of abilities and comprehensive development of personality // Principle of development in psychology. Ed. Antsyferova L.I. M.: Nauka, 1978. - S.142-156.
16. Artemyeva T.I. Relationship between potential and actual in personality development // Psychology of personality formation and development. -M.: Nauka, 1981. S.87-106.
17. Babaeva N.A. Productivity of self-regulation methods in acmeological practice: Abstract of the thesis. diss. cand. psychol. Sciences. M., 2004. - 26 p.
18. Ballet. Encyclopedia. Ed. Grigorovich Yu.I. M.: Soviet Encyclopedia, 1981. - 623 p.
19. Choreographer A.A. Gorsky. Materials. Articles. Memories. St. Petersburg: DB, 2000. - 370 p.
20. Bakhrushin Yu.A. History of Russian ballet. Edition 2nd. M.: Enlightenment, 1973. - 273 p.
21. Bejart M. A moment in the life of another. M.: STD USSR, 1989. -238 p.
22. Belova E.P. Soviet original television ballet: Abstract of the thesis. diss. cand. art history. M., 1986. - 23 p.
23. Belyaeva-Chelombitko G.V. Ballet: The era of Sovietica (1917-1991). M.: University of Natalia Nesterova. - 2005. - 300 p.
24. Blok L.D. Classic dance. History and Modernity (Russian Thought on Ballet). M.: Art, 1987. - 556 p.
25. Bogdanov E.N., Zazykin V.G. Applied psychology for managers and HR specialists. Kaluga: KSPU, 2003. -86 p.
26. Bogdanov-Berezovsky V. Ulanova. M.: Art, 1961. - 191s.
27. Bodalev A.A. Peak in the development of an adult: characteristics and conditions for achievement. M.: Flinta-nauka, 1998. - 166 p.
28. Bodalev A.A., Rudkevich JI.A. How do you become great or outstanding? M.: MPSI, 1997. - 264 p.
29. Borisov M.B. Acmeological conditions and factors for the formation of a positive self-concept of an actor in the system of professional skills.-M. : TI, 2004. 109 p.
30. Bochkarev JI.JI. Psychological aspects of public performance of musicians-performers // Questions of psychology. 1975. -№1. - P.68-79.
31. Boyadzhiev G. Theatricality and truth. M.-JL: Art, 1945. -123 p.
32. Burchak E.A. Psychological features of the formation of extra- and introverted personality traits: Abstract of the thesis. diss. cand. psychol. Sciences. M., 1997. - 23 p.
33. Varlamova E.P., Stepanov S.Yu. Psychology of creative uniqueness of a person. M.: IP RAN, 2002. - 253 p.
34. Vasiliev V.V. The path to mastery / Artistic creativity. Ed. Mailach JI.M. JL: Science, 1983. - pp. 226-229.
35. Vakhtangov E.B. Memoirs, letters, articles.-M., 1987.-271 p.
36. Vegerchuk I.E. The development of the social-perceptual competence of a civil servant and the problem of "its evaluation. St. Petersburg: Publishing House of the Russian State Pedagogical University named after F.I. Herzen., 1999.-20 p.
37. Wilson G. Psychology of artistic activity. M.: Kogito-Centre, 2001.-384 p.
38. Wittenbeck N.V. Personal determination of the productivity of solving creative problems: author. diss. cand. psychol. Sciences. M., 2005. -24 p.
39. Vishnyakova N.F. Study of a personality-oriented system of training and retraining of creative specialists // Journal of a practical psychologist. 1998. No. 7. - P.59-66.
40. All about ballet. Dictionary reference. Compiled by E.Ya.Surits. JL: Music, 1966. - 452 p.
41. Vysotskaya N.E., Sukhareva A.M. Psychophysiological characteristics of students of the choreographic school / Psychophysiology of sports and labor characteristics of a person. JL, 1974. - S. 68 - 72.
42. Vysotskaya N.E. The study individual qualities that affect the success of mastering the profession of a ballet dancer. M., 1976.
43. Ganzen V.A. System descriptions in psychology. JL: LSU, 1986.
44. Gippius S.V. Explore acting talent // Stage Pedagogy. L., 1973. - S.234-235.
45. Gostev A.A. Figurative sphere in creative activity.-M.: GKTR, 1988.- 256 p.
46. Groysman A.L. A consistent concept of artistic creativity // Reader on the psychology of artistic creativity / Ed. comp. A.L. Groysman. M.: Master, 1996. - S. 195-198.
47. Groysman A. L. Complex correction of mental states of ballet dancers / Groysman A. L., Anokhin A. M., Pozdnyakov V. A. // Psychological journal. 2004. - T. 25, No. 1. - S. 83-89.
48. Groysman A.L., Psychohygiene of a ballet dancer. M.: GITIS, 1987.- 158 p.
49. Groisman A.L., Pozdnyakov V.A. Dynamics of mental states in ballet dancers. M., 2000. - 32 p.
50. Groisman A., Evseeva M. Gestalt-correction of psychological problems in the personal and professional development of the actor // Applied Psychology and Psychoanalysis. 2000. - No. 3. - P.45-51.
51. Groysman A.L., Soboleva O.S., Pozdnyakov V.A. 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-Centre, 2002. - 12s.
52. Guseva A.S., Derkach A.A. Optimization of humanitarian and technological development of civil servants: theory, methodology, practice. M.: MPAKTS, 1997.- 300s.
53. Derkach A.A., Mikhailov G.S. Methodology and strategy of acmeological research. M.: MPA, 1998. - 148 p.
54. Derkach A.A., Semenov I.N., Stepanov S.Yu. Psychological and acmeological foundations for the study and development of the reflective culture of civil servants. M.: RAGS, 1998. - 227 p.
55. Derkach A.A., Zazykin V.G., Sinyagin Yu.V. Monitoring of personal and professional development in the system of training and retraining of civil servants. M.: RAGS, 1999. - 141 p.
56. Derkach A.A., Isaev A.A. Coach creativity. M .: "Physical culture and sport", 1982. - 240 p.
57. Derkach A.A., Perelygina E.B. Image as a phenomenon of intersubjective interaction, content and ways of development, - M .: "Intellect-Center", 2003, -797 p.
58. Derkach A.A. Methodological and applied foundations of acmeological research. M.: RAGS, 2000. - 392 p.
59. Derkach A.A. Acmeology: personal and professional development of a person. M.: RAGS, 2000. - 533 p.
60. Derkach A.A. Acmeological bases of management activity. M.: RAGS, 2000. - 532 p.
61. Derkach A.A., Zazykin V.G., Markova A.K. Psychology of professional development. M.: RAGS, 2000. - 124 p.
62. Derkach A.A., Zazykin V.G. Acmeology. St. Petersburg: PETER, 2003. -252 p.
63. Derkach A.A., Zazykin V.G. Professionalism of activity in special and extreme conditions. M.: RAGS, 2003. - 152.
64. Derkach A.A. Acmeological foundations for the development of a professional. M.-Voronezh: MPSI, 2004. - 752s.
65. Dzhidaryan I.A. aesthetic need. M.: Nauka, 1976. -191 p.
66. Diary of Vaslav Nijinsky: Memories of Nijinsky. -M.: Artist, Director, Theater. 1995. - 267 p.
67. Dyachkova E.V. Entrepreneurial potential of the individual: psychological and acmeological characteristics and psychodiagnostics. - Ivanovo: SZAGS, 2003.
68. Epifantsev S.N. Expert-psychological analysis of paranoidly accentuated personality traits of a modern leader: Abstract of the thesis. diss. cand. psychol. Sciences M., 1996. - 23 p.
69. Ermachenko L.I. Formation of professionalism of teachers with hysterical personality traits: Abstract of the thesis. diss. cand. psychol. Sciences. -M., 1997.-21 p.
70. Ershov P.M. Directing as practical psychology. Book 1 and 2. Dubna: Phoenix, 1997. - 341 p. and 572 s.
71. Ershov P.M. The Art of Interpretation. Vol. 1 and 2. - Dubna: Phoenix, 1997.
72. Zhdanov JI.T. Moments. Kasyan Goleizovsky. M.: Planeta, 1972.-226s.
73. Zhelonkin Yu.M. Psychological features of the way to improve the professionalism of the activities of managers with manic traits: Abstract of the thesis. diss. cand. psychol. Sciences. M., 2003. -32 p.
74. Zazykin V.G. Activities of specialists in special conditions (psychological and acmeological foundations). Depository hands No. 275-94 dep. 7.12.94. NIIVO GKNO. - 267 p.
75. Zazykin V.G. The psychology of insight. M.: RAGS, 2000. - 129 p.
76. Zazykin V.G., Fetisova E.V., Fedorenko E.M. Ballets by Vladimir Vasiliev. M .: TO "Vivaldi's House", 1990. - 62 p.
77. Zazykin V.G. Psychology of creativity. Selected lectures. M.: SGI, 1995.- 114 p.
78. Zarubin V.I. Big theater. M.: Alice Lak, 1998. - 432 p.
79. Zakhava B.E. The skill of the actor and director. M.: Art, 1978.-223 p.
80. Zakharov R. Notes of the choreographer. M.: Art, 1976. - 351s.
81. Singer T.E. Influence of feminized personality traits of a man on professional activity: Abstract of the thesis. diss. cand. psychol. Sciences. M., 2002. - 26 p.
82. Zorich Yu. Magic of Russian ballet. Perm: IPK Zvezda, 2004. -304p.
83. Ivanova S. Marina Semenova. Moscow: Art, 1984. - 198 p.
84. Izard K. Human emotions.-M.: MGU, 1980.
85. Study of the problems of the psychology of creativity / Ed. Ya.A. Ponomareva. M.: Nauka, 1983. - 336 p.
86. Kazakina E.Ya. On one of the ways to study actor's individuality // Psychological problems of individuality. -M.: Nauka, 1983. S.-15-17.
87. Kazakina E.Ya. On the childish beginning in acting talent // Diagnostics and development of acting talent. L.: Art, 1986. -p.32-38.
88. Kan A. Days with Ulanova (translated from English). M.: Publishing House of Foreign Literature, 1963. - 229 p.
89. Kasyan Goleizovsky. Life and work (articles, memoirs, documents). M.: VTO, 1984. - 571 p.
90. Klimov E.A. The image of the world in different types of professions.- M.: MGU, 1995.-224.
91. Konstantinova M. Ekaterina Maksimova. M.: Art, 1982. -358 p.
92. Konyukhov N.I., Shakkum M.JI. Acmeology and testology. M., 1996.-381 p.
93. Konyukhov N.I. Psychology. Dictionary reference. M., 1998. -155p.
94. Queen E.A. Early forms of dance. Kishinev: Shtiitsa, 1977. -214 p.
95. Kochnev V.I. On the problem of studying acting abilities // Questions of Psychology. No. 1, 1983. - S. 108-112.
96. Kochnev V.I. Investigation of the features of the dynamics of emotional reactivity in connection with the problem of acting abilities // Questions of Psychology. - No. 3, 1988. S. 138-144.
97. Kochnev V.I. On the question of the structure of acting abilities // Psychological Zh. T. 10. - No. 2, 1989. - S. 133-143.
98. Kochnev V.I. The concepts of scenic contagiousness, persuasiveness and charm in the system of K.S. Stanislavsky // Questions of psychology. 1991. - No. 5. - S. 108-114.
99. Kochnev V.I. Psychological features of scenic charm // Questions of psychology. 1993. - No. 5. - P.74-80.
100. Krasovskaya V.M. Anna Pavlova. JI.-M.: Art. - 1964. -220 p.
101. Krasovskaya V.M. Nijinsky. L. - 1974. - 208 p.
102. Christy G. Education of the actor of the Stanislavsky school. Moscow: Art, 1972. - 214 p.
103. Kuzmina N.V. Professionalism of the activity of the teacher and the master of industrial training of the vocational school. M.: Higher. school, 1989. - 167 p.
104. Kuzmina N.V., Rean A.A. Professionalism of pedagogical activity. M.: Higher school, 1993. - 121 p.
105. Kuzmina-Garshina N.V., Luneva L.F. Experience of acmeological research of creativity of a scientist-teacher-poet. Shuya: Vesti, 2000. - 157 p.
106. Kuzmina N.V. Acmeological theory of improving the quality of education specialists. M.: ITs, 2001. - 143 p.
107. Kuzmina N.V. Methods of acmeological research. -M.: ITs, 2002. 194 p.
108. Lavrovsky L.M. The documents. Articles. Memories. M.: VTO, 1983. - 422 p.
109. Laptev L.G. Optimization of the administrative activity of military personnel: Abstract of the thesis. Dis. Doctors of Psychology. Sciences - M., 1995. - 43 p.
110. Lambroso C. Genius and insanity. Parallel between great people and lunatics. - St. Petersburg: Publishing House Tetyushinova, 1885. - 351p.
111. Levitov N.D. On the mental states of a person.- M., 1964.-S. 18-35.
112. Leonhard K. Accentuated personalities. R-n-D: Phoenix, 2000. - 539s.
113. Leontiev A.N. Activity. Consciousness. Personality. M.: Politizdat, 1975. - 304 p.
114. Personal and professional competence of civil servants / Ed. A.A. Derkach. M.: RAGS, 2005. -295 p.
115. Lopukhov F. Ways of the choreographer. Berlin: Petropolis, 1925.- 187p.
116. Lopukhov F. Sixty years in ballet. M.: Art, 1968. -289 p.
117. Lopukhov F. Choreographic frankness. M.: Art, 1971. - 275 p.
118. Lvov-Anokhin B. A. Masters of the big ballet. M.: Art, 1976. - 256 p.
119. Lvov-Anokhin B.A. Galina Ulanova. M.: Art, 1984.350s.
120. Lvov-Anokhin B.A. Vladimir Vasiliev. M.: Tsentrpoligraf, 1998. - 430 p.
121. Luneva L.F. Experience of acmeological research of creativity of a scientist-teacher-poet.-Shuya: News. 2000.
122. Maksimova E.S. Ma'am "no". M.: AST-PRESS KNIGA, 2003. - 343 p.
123. Markova A.K. Psychology of professionalism. M.: Knowledge, 1996. - 308 p.
124. Markov V.N. Personal and professional potential of a manager and his evaluation. M.: RAGS, 2001.-265 p.
125. The skill of the actor. Under the editorship of Belov G.P. M.: Theatre, 1999. -259 p.
126. Medvedev V.I. Stability of physiological and psychological functions of a person under the action of extreme factors. L.: Nauka, 1982.-104p.
127. Merlin B.C. Essay on integral research of individuality. M., 1986.
128. Mitina L.M. Psychology of the development of a competitive personality. - M.: MPSI, 2000.
129. Morozov V.P. Interesting bioacoustics. M.: Knowledge, 1987.-305 p.
130. Morozov V.P. Human emotional hearing // Evolutionary biochemistry and physiology. No. 5. - 1987. - S.568-577.
131. Morozov V.P. The art and science of communication: non-verbal communication. M.: IP RAN, 1998. - 161 p.
132. Myshkina V.T. Psychological readiness for artistic and creative activity. Tutorial. Part 1 and 2. M.: VIPK workers of culture. - 136 p.
133. Myasishchev VN Personality and neurosis.-L. : Nauka, 1960 386s.
134. Narushak V.B., Stepnova L.A. Psychology of intrafirm management. M., 1998.
135. Nemirovich-Danchenko V.I. Theatrical heritage. - M., 1954.
136. Nietzsche F. Thus Spoke Zarathustra.-M.: Logos, 1992.
137. Ognev A.S. Theoretical basis psychology of subjectogenesis. - Voronezh, 1997.
138. Fundamentals of the Stanislavsky system / Comp. N.V. Kiseleva, V.A. Frolov. Rostov n / a: Phoenix, 2000. - 128 p.
139. Parygin B.D. Scientific and technical revolution and personality.-M.: Politizdat, 1978.-240 p.
140. Pakhomova T.V. Subculture of the acting environment // Profession-psychologist. 2000. - No. 10 (61). - P.30-31.
141. Perminova I.V. Optimization of organizational activity of management personnel in special conditions: Dis. Candidate of Psychology Sciences. -M., 1997.
142. Pertsov V.O. Materials on the question of professional selection in art. - M. ". Art, 1921, - S.Z.
143. Petrov O. Russian ballet criticism of the late 18th-first half of the 19th century. M.: Art, 1982. - 318 p.
144. Petrushin V. Artistry is training! // Soviet music. - No. 12 - 11971.-S.27-31.
145. Platonov K.K. The system of psychology and the theory of reflection.-M.:- Science, 1982.-321p.
146. Platonov K.K. Problems of abilities.-M.: Profizdat, 1972.- 164 p.
147. Plisetskaya M.M. I am Maya Plisetskaya. Moscow: News, 1994. -496 p.
148. Ponomarev Ya.A. Psychology of creativity. M.: Nauka, 1976.302s.
149. Ponomarev Ya.A. Trends in the development of the psychology of creativity // Psychology of creativity: general, differential, applied. Under the editorship of Ponomarev Ya.A. M.: Nauka, 1990. - S.3-12.
150. Ponomarev Ya.A. On the theory of the psychological mechanism of creativity / / Psychology of creativity: general, differential, applied. Ed. Ponomareva Ya.A. M.: Nauka, 1990. - S.13-36.
151. Practical psychodiagnostics. Methods and tests. Editor-compiler D.Ya. Raygorodsky. - Samara: Bahrakh, 1998.
152. Problems of creative development of personality in the education system. Materials of the interuniversity scientific-practical conference. Ulyanovsk, June, 2002. 103 p.
153. Psychology of personality formation and development / Ed. L.I. Antsyferova. M.: Nauka, 1981. - 365 p.
154. Human psychology from birth to death. Psychological Encyclopedia / Ed. A.A. Reana. St. Petersburg: Neva, 2001.-652 p.
155. Psychology. Dictionary, - Ed. A.V. Petrovsky and M.G. Yaroshevsky. Moscow: Politizdat, 1990.
156. Razygraev I.I. Hypnosuggestion as a way to optimize the creative performance of a ballet dancer. Proceedings of the international conference / Ed. Groysman A.L. Moscow, 1998. - S.37-39.
157. Ramishvili D. To the nature of some types of expressive movements. Tbilisi: Metsniereba, 1976. - 126 p.
158. Rean A.A. Psychology of personality study. - St. Petersburg, 1999.
159. Rozhdestvenskaya N.V. Psychological analysis of some components of the ability to stage impersonation. D.: ITMiK, 1975. - 189 p.
160. Rozhdestvenskaya N.V. Psychology of artistic creativity. SPb. 1995.- 232 p.
161. Rozhdestvenskaya N.V. Creative giftedness and personality traits // Psychology of artistic creativity processes. Ed. Rozhdestvenskoy N.V. JL: Science, 1980. - pp.57-67.
162. Rubinstein C.JT. Problems of General Psychology.-M.: Education, 1973.
163. Rubinstein C.JI. Fundamentals of general psychology. M., 2002.
164. Russian ballet. Encyclopedia. Ed. Belova G.P. M.: Consent, 1997. - 538 p.
165. Russian ballet and its stars. Ed. E.Ya.Surits.-M.: Great Russian Encyclopedia and Parkstone (Bournemouth), 1998. 208 p.
166. Rybalko E.F. Problems of periodization of human age development // Fundamentals of General and Applied Akmeology. Under the editorship of Derkach A.A. -M.: RAGS and VAD, 1995.
167. Savostyanov A.I. Personality-oriented approach to the professional training of an actor: diss. doctor ped. Sciences. M., 1997. - 380s.
168. Selezneva E.V. Development of acmeological culture of personality. M.: RAGS, 2004. - 260 p.
169. Semenov I.N. Problems of reflective psychology of solving creative problems. M., 1990. - 214 p.
170. Simonov P.V. Higher nervous activity of a person: motivational and emotional aspects. M.: Nauka, 1975. - 175 p.
172. Unconscious: nature, functions, research methods. T.2. -Tbilisi: Metsniereba, 1978. S.518-529.
173. Sinyagin Yu.V. Psychology of intraorganizational relations. M: RAGS, 1995.
174. Sitnikov A.P., Derkach A.A., Elshina I.V. Autopsychological competence of managers: applied psychotechnologies. - M.: Luch, 1994.
175. Slonimsky Yu. In honor of the dance. M.: Art, 1968. - 370s.
176. Slonimsky Yu. Giselle. L.: Music, 1969. - 157 p.
177. Smirnov E.A. Leader personality. St. Petersburg: St. Petersburg State University, 2005.
178. Soboleva O.S. Research on the quality of life of ballet dancers. Toolkit. M.: Kogito-Centre, 2003. - 20 p.
179. Soboleva O.S. An empirical study of the psychological and acmeological characteristics of ballet dancers. M.: MAAN, 2005. -33s.
180. Soboleva O.S. Acmeological approach in the study of the psychological characteristics of ballet dancers. M.: MAAN, 2005. -102p.
181. Solodovnikov A. Olga Lepeshinskaya. M.: Art, 1983. - 226p.
182. Stanislavsky K. Conversations in the studio of the Bolshoi Theater in 1918 -1922. (recorded by Antarova). -M.: Art, 1969. 139 p.
183. Stanislavsky K.S. Sobr. op. in 9 vol. M.: Art, 19891990.
184. Stepin B.C. Philosophical anthropology and philosophy of science. - M.: Nauka, 1992.
185. Stepanov S.Yu. Reflexive-humanistic psychology of co-creation (scientific practice of intensive development of a person and organizations). M., 1996. - 170 p.
186. Stepnova JI. A. Essential characteristics of the autopsychological competence of the individual. M., Edelweiss, 2000. -99 p.
187. Stepnova L. A. Acmeological concept of development of autopsychological competence. M.: Edelweiss, 1999. - 87p.
188. Stepnova L. A. Development of autopsychological competence: mastering acmeological technologies. M.: RAGS, 2001.- 129 p.
189. Surits E.Ya. Choreographic art of the twenties. -M.: Art, 1979. 358 p.
190. Tarasov G.S. The problem of spiritual need. M.: Nauka, 1979. - 190 p.
191. Tarasov N.I. Classic dance. M.: Art, - 1971. P.60.
192. creative process and artistic perception / Ed. B.F. Egorova. L.: Nauka, 1978. - 278 p.
193. Teplov B.M. Selected works. - M., 1985.
194. Tovstonogov G.A. On the criteria for acting and directing talent//Artistic creativity. Issues of complex study.-L.: Nauka, 1983.-S.175-188.
195. Troshchiy A.R. Acmeological aspect of creativity and its mechanisms / Proceedings of the International Scientific Conference. Moscow October 7-8, 2004. S. 294-297.
196. Fetisova E.V. Touches to psychological portrait ballet dancer / Psychological journal. T. 12. - No. 3. - 1991. - S.108-116.
197. Fetisova E.V. Vladimir Vasiliev. Encyclopedia of creative personality. M.: Teatralis, 2000. - 143 p.
198. Fetisova E.V., Zazykin V.G. Acme in artistic and creative activity / Acmeology No. 1. - 2001. - S. 11-19.
199. Fetisova E.V., Zazykin V.G. Ekaterina Maksimova and Vladimir Vasiliev: Acme in ballet art / Acmeology No. 1. -2002.-S.11-18.
200. Fetisova E.V. Ekaterina Maksimova. Vladimir Vasiliev. M.: Terra, 1999. - 264 p.
201. Filatov S.V. From figurative word to expressive movement. - M.: Master, 1993. - 112 p.
202. Fishman-Borisov M.B. The role of self-concept in the professional training of an actor // Akmeologiya. 2003. - No. 1. - S. 55-59.
203. Fishman-Borisov M.B. Acmeological conditions and factors for the formation of a positive self-concept of an actor in the system of professional skills. M.: TI im. B.V. Shchukina, 2004. - 189 p.
204. Fishman-Borisov M.B. Formation of the self-concept in the system of professional skills of the future actor: Abstract of the thesis. diss. cand. psychol. Sciences. M. 2005. - 27 p.
205. Fokin M. Against the current. (Memoirs of a choreographer. Articles, letters). JI-M.: Art, 1962. - 639 p.
206. Fominykh A.F. The psychological complexity of an educational institution as an object of management and development of the leader's acmeological competence. - M.: MAAN, 2000.
207. Artistic creativity. Ed. Belova G.P. D.: Nauka, 1983. - 279 p.
208. Reader on the psychology of artistic creativity / Ed. comp. A.L. Groysman. M.: Master, 1996. - 198 p.
209. Kjell L., Ziegler D. Theories of personality. St. Petersburg: PETER, 1977. - 608s.
210. Shadrikov VD Psychological analysis of activity: system genetic approach: Textbook. Benefit.-Yaroslavl: Publishing house of Yaroslavl. Univ., 1979.-92 p.
211. Shikhmatov JI.M., Lvova V.K. Stage sketches. -M., 1997.-S.17.
212. Yavnoshan A.V. Formation of the foundations of pedagogical skills in educational work among university students (based on the methodology of the course of teaching history and pedagogical practice): Abstract of the thesis. Diss. ped. Sciences. L., 1974.
213. Yakobson P.M. On Expression in the Art of an Actor // Questions of Psychology. 1977. - No. 1. - P.86-96.
214. Argyle M. Bodily Communication. New-York: International Universities Press, 1975. - 212 p.
215 Bakker F.C. Personality differences between young dancers and non-dancers. Personality and Individual Differences. - 1988. - n. 9. - p. 121131.
216 Bakker F.C. Development of personality in dancers: a longitudinal study. Personality and Individual Differences. - 1991. - n. 12.-p. 671-681.
217. Bandura A. Social foundations of thought and action: A social cognitive theory. Englewood Cliffs, N.J.: Prentice Hall, 1986, 256 p.
218. Bolshoi "s Young Dancers. M .: Progress Publishers, - 1975. -312 p.
219. Haskell A.L. The Russian genius in ballet. New-York, - 1963. -327p.
220. James W.T. A study of the expression of bodily posture. -Journal of General Psychology. 1932 - n.7 - 405-437 p.
221. Koegler H. The Concise Oxford Dictionary of Ballet. London, New York, Toronto: Oxford University Press, - 1977.
222. Lane R. The Psychology of the Actor. London: Seeker and Warburg, - 1959.
223. Lazzarini R. Maximova&Vasiliev at the Bolshoi. London: Dance Books, - 1995.
224 Levinson A. Marie Taglioni. Paris, - 1929.
225. Lifar S. Les trois graces du XX-e siecle. Lrgendes et Verite. -Paris, 1957.
226. MacDonald S.T.S. Emotional costs of success in dance. In G.D. Wilson (ed.) Psychology and Performing Arts. - Amsterdam: Swets and Zeitlinger, - 1991.
227. Magriel P. Pavlova. New-York, - 1947.
229. Montague S. Pas de Dueux. Great Partnerships in Dance. New-York: Universe Books, - 1981. - 312 p.
230. Nijinsky Dancing (text and commentary by L. Kirstein). New-York. - 1975. - 279 p.
231. Wills G., Cooper C.L. Pressure sensitive: popular musicians under stress. London: Sage. - 1988.
232. Zuckerman M. Psychology of Personality. Cambridge: Cambridge University Press. - 1991.
480 rub. | 150 UAH | $7.5 ", MOUSEOFF, FGCOLOR, "#FFFFCC",BGCOLOR, "#393939");" onMouseOut="return nd();"> Thesis - 480 rubles, shipping 10 minutes 24 hours a day, seven days a week and holidays
Osipova Marina Kazimirovna Professional training of future ballet dancers for the performance of jumping movements: dissertation ... Candidate of Pedagogical Sciences: 13.00.08 / Osipova Marina Kazimirovna; [Place of protection: Ros. state ped. un-t im. A.I. Herzen].- St. Petersburg, 2011.- 272 p.: ill. RSL OD, 61 11-13/1342
Introduction
CHAPTER I. Traditions of foreign and domestic schools in the preparation of future ballet dancers for the development of jumping movements
1.1. The evolution of jumping movements in the Western European ballet theater
1.2. The history of teaching allegro at the Russian ballet school 24
1.3. Formation of methods for teaching jumping movements in the Russian ballet school
CHAPTER II. Methodological system of training future ballet dancers to perform jumping movements in the lower grades of a professional educational institution.
2.1. Identification of the initial level of training of future ballet dancers to perform jumping movements 77
2.2. Designing a model of a methodological system for professional training of future ballet dancers to perform jumping movements 99
2.3. Studying the effectiveness of the methodological system of professional training of future ballet dancers to perform jumping movements 132
Conclusions Conclusion 165
Bibliography
Introduction to work
h
Relevance of the research topic.
The system of professional training of future ballet dancers is traditionally based on methods that have been formed for decades in the Russian ballet school and passed down from generation to generation. Based on general didactic principles, choreographic pedagogy, as a set of pedagogical experience in the field of training ballet dancers, has developed its own methods and principles that reveal the specifics of classical dance, making it possible to teach it as a living figurative art.
Teaching methodology Allegro (Allegro - the final part of the classical dance lesson, consisting of jumps) - the most important section of classical dance was developed in the works of N.P. Bazarova, A.Ya. Vaganova, B.C. Kostrovitskaya, A.A. Pisareva, N.I. Tarasova, A.I. Chekrygin. However, the available methodological manuals, including the Allegro section, and aimed at the professional training of future ballet dancers, do not reveal the historical background for the emergence and development of jumping movements; insufficient attention is paid to the methodology for developing the height of the jump among primary school students; there are no studies of the psychological aspect of the development of a jump among students and the role of a teacher in teaching jumping movements; criteria for assessing the quality of performance of jumping movements have not been developed.
The development of the modern ballet school implies an increase in the level of performance of jumping movements. The specificity of modern ballet lies in the expansion of the choreographic language. In recent years, many well-known Western choreographers have staged their ballets in Russia (W. Forsyth, J. Neumeier, N. Gelber, etc.), and interest in modern choreography has also grown (A. Ratmansky, B. Eifman, etc.). In this regard, the dance vocabulary has changed. So, in modern ballets, jumps become more powerful, closer to sports, and require a change in the technique of performance, and, consequently, the methodology for mastering this technique.
The listed features of the development of the ballet school and the recorded problems of professional training in the field of Allegro are updated with the introduction of the federal state standard of higher professional education in the direction of training
"Choreographic performance" qualification bachelor (No. 070300), since in this regard there is a question of developing a system of requirements for the professional training of future ballet dancers.
contradictions between the growing requirements for the training of ballet dancers and the insufficient development of a holistic system for their training in the Allegro section of classical dance, as well as the lack of a comprehensive scientific and theoretical understanding of pedagogical experience in this area served as the basis for choosing research topics:"Professional training of future ballet dancers for the performance of jumping movements."
Purpose of the study- development and approbation of a methodological system of professional training of future ballet dancers for the performance of jumping movements in the lower grades of a professional educational institution.
Object of study- the process of professional training of future ballet dancers for the performance of jumping movements.
Subject of study- professional training of future ballet dancers for the performance of jumping movements in the lower grades of a professional educational institution.
Research hypothesis: preparation of future ballet dancers for the performance of jumping movements in the lower grades of a professional educational institution will be effective if:
the conceptual provisions for the preparation of future ballet dancers for the performance of jumping movements were determined;
the criteria for the quality of jumps performance were identified and tools for their assessment were developed;
the content, methodology and organizational and pedagogical conditions for the preparation of future ballet dancers for the performance of jumping movements were developed;
professional training is carried out in the format of individual educational routes, built on the basis of monitoring the success of training according to selected criteria.
Research objectives:
to study the historical and scientific-pedagogical literature on the problem
research in the aspect of the development of the technique of performing jumping
movements in Western European ballet theater and Russian ballet
school;
to analyze the results of scientific research in the field of anatomy, psychology, pedagogy, sports in order to study the physical and psychological capabilities of students that affect the performance of jumping movements;
determine the criteria for assessing the level of professional training of future ballet dancers for the performance of jumping movements;
identify tools for assessing the quality of performance of jumps of all difficulty groups;
develop methodological support for the training program for future ballet dancers to perform jumping movements in the lower grades of a professional educational institution;
to develop a model of a methodological system for the professional training of future ballet dancers to perform jumping movements;
develop educational routes for students to master the Allegro section of the discipline "Classical dance" in the lower grades;
to experimentally test the effectiveness of the developed methodological system for preparing future ballet dancers for the performance of jumping movements.
Theoretical and methodological basis of the study are the works of classical dance teachers, scientific works of Russian and foreign art historians, memoirs and fiction, works of teachers, psychologists, sports coaches, considered within the framework of comparative historical and systemic approaches.
The work used educational literature on the methodology of teaching classical dance to teachers in St. Petersburg and Moscow: the works of A.Ya. Vaganova, N.I. Tarasova and A.I. Chekrygina, N.P. Bazarova and V.P. May, V.S. Kostrovitskaya and A.A. Pisareva, A.M. Messerer.
The study of teaching jumping movements in the Russian ballet school was facilitated by the works of A.Ya. Vaganova, E.O. Vazem, A.L. Volynsky, T.P. Karsavina, V.M. Krasovskaya, M.F. Kshesinskaya, F.V. Lopukhov, M.I. Petipa, M.M. Fokina, G. Cecchetti, A.Ya. Rustle.
When researching pedagogical techniques and requirements emerging in the XVIII - XIX centuries in Western European and Russian ballet schools, the works of L.D. Blok, M.V. Borisoglebsky, V.M. Krasovskaya, Yu.I. Slonimsky, I.I. Sollertinsky, E.Ya. Suritz, J.-J. Noverra, A. Fridericia, L.V. Jacobson.
The works of G.G. Albert, B.Ya. Bregvadze, E.P. Valukina, S.N. Golovkina, Yu.I. Gromova, V.A. Zvezdochkina, S.S. Chestnut, Yu.N. Myachina, A.V. Nikiforova, P.A. Pestova, L.N. Safronova, L.I. Yarmolovich.
In the study of psychophysical and biomechanical factors affecting the quality of Allegro performance, the author used the work of V.V. Belous, B.C. Vygotsky, N.E. Vysotskaya, B.A. Vyatkina, A.G. Gretsova, A.L. Groysman, E.G. Kotelnikova, N.V. Sokovnikova, A.N. Chefranova.
The works of I.Yu. Aleksashina, VI. Andreeva, T.G. Brazhe, S.L. Bratchenko, E.V. Bondarevskaya, Yu.N. Kulyutkina, N.A. Morevoy, A.A. Orlova, O.G. Prikota, V.I. Slobodchikov.
The basics of the theory and methodology of vocational education were studied according to the works of: S.G. Vershlovsky, A.M. Kuznetsova, M.M. Levina, A.K. Markova, L.M. Mitina, V.A. Slastenina, N.E. Erganova.
To achieve the goal, solve the tasks and check
hypothesis, a combination of empirical and theoretical research methods, complementary and enriching each other:
theoretical: historical and pedagogical method, which involves a comparative analysis of historical and methodological literature, as well as scientific works on the psychology and pedagogy of the issue under study and their interpretation based on a systematic approach;
empirical methods: collection and accumulation of data (pedagogical observation); data measurement (peer review of credit lessons); data processing (quantitative and qualitative analysis); study and generalization of pedagogical experience; pedagogical experiment.
Experimental research base.
The experimental study is of a longitudinal nature and was carried out on the basis of the Academy of Russian Ballet. AND I. Vaganova. The experiment involved pupils of junior classes of ARB (boys 28 people), including ten people of the experimental class A, and as part of a comparative analysis, the results of training in two parallel classes - B and C (18 people) were evaluated.
The main stages of the study.
The study was carried out in three stages:
At the first stage (2005 - 2006) - an analysis of pedagogical, psychological and methodological literature was carried out in order to theoretically comprehend this problem, its relevance and development in scientific research. Evaluated state of the art problems, tools and methods of research have been developed, the problem has been clarified, and a preliminary research hypothesis has been formulated.
At the second stage (2007 - 2008) a study of the level of professional training of future ballet dancers in the performance of jumping movements was carried out. The following activities were carried out: identification of the level of preparation of future ballet dancers for the performance of jumping movements; experimental verification new system assessments of learning outcomes; development of the content of methodological support for the preparation of future ballet dancers to perform jumping movements. On the basis of experimental studies, individual educational routes were built for each student. In the process of work, the initial hypothesis of the study was refined and deepened.
At the third stage (2009 - 2010), the effectiveness of the methodological system of teaching jumping movements in the training of future ballet dancers was tested, the results of the study were analyzed and generalized, the main conclusions were formulated, and the prospects for further research were determined.
Provisions for defense:
1. Conceptual provisions for designing a methodological system of professional training of future ballet dancers for the performance of jumping movements, suggesting:
Setting to expand the choreographic language of modern ballet in connection with a change in dance vocabulary and an increase in the power (sports) component of the jump, which requires changes in the technique of performance: changes in approaches to jumps, an increase in the height of the leg opening in a jump, changes in the technique of jumping;
Reliance on the traditions of Western European and Russian ballet schools,
allowing to reveal invariant ways of professional
training of future ballet dancers in the field of Allegro: defining the role
exercise of classical dance in the process of learning Allegro; increased attention to the implementation of pHo and other exercise movements in the development of Allegro; development of exercises for the development of the jump; execution of springboard jumps; development of elevation and ballooning skills; determination of the role of jumps in the creation of characters and images in ballet;
Implementation of a systematic and holistic process of professional training that meets the requirements for the professional training of future ballet dancers, reflected in the content of the first federal state standard of higher professional education in the history of training future ballet dancers,
2. A methodological system that reflects the requirements for professional
preparation of future ballet dancers for the performance of jumping movements in
elementary grades of vocational schools within the section
Allegro discipline "Classical dance", the model of which is presented on
page 17, allowing:
Organize a system-holistic process of their professional training, when the content and teaching methods are justified by conceptual and methodological guidelines that reflect the specifics of modern ballet and a system of developed criteria for assessing the performance of jumping movements;
Develop organizational and methodological support for the professional training process, first of all, a description of a holistic methodology for the execution of jumping movements according to the selected criteria;
To carry out professional training of future ballet dancers in the strategy of individually oriented learning, when an individual educational route is developed for each student and the results of educational activities are monitored.
3. The system of criteria for evaluating the performance of jumping movements:
methodical (accuracy of the jump, coordination of the whole body during
jump execution); performing (performing pHo before and after the jump,
push, landing after the jump, fixing the posture in the air, initial
elevation and ballooning skills); emotional and psychological
(psychological attitude to perform jumping combinations,
expressiveness and musicality of performance) on the basis of which
developed a toolkit for assessing the quality of the performance of jumps of each
difficulty groups - scorecards that allow you to
monitoring the quality of training of future ballet dancers and determining the trajectory of individual educational routes for future ballet dancers, taking into account the physical data of students, the methodological literacy of jumping, the development of coordination of movements, the correct psychological attitude: physical, coordination-methodical, emotional-psychological and combined types.
Scientific novelty of the research:
The criteria for evaluating the level of students' preparation for performing jumping movements are determined - methodological, performing, emotional and psychological.
A methodical system for training future ballet dancers to perform jumping movements has been developed, which makes it possible to organize the educational process in the lower grades of a professional educational institution based on certain conceptual and methodological guidelines.
The dependence of the successful mastering of jumping movements on four interrelated factors was found and substantiated: the physical data of students; methodical literacy of performance; coordination of movements; correct mental attitude.
Theoretical significance of the study:
A comprehensive study of the Allegro section in classical dance has been carried out, developing knowledge of the principles, content and methods of professional training of future ballet dancers: the history of the development of jumping movements has been summarized, new methodological techniques for performing Allegro have been substantiated, and the psychological and pedagogical aspects of teaching Allegro have been revealed.
Based on the criteria for assessing the level of professional training in the performance of jumping movements, the typology of individual educational routes of students was determined: physical, coordination-methodical, emotional-psychological and combined types.
Practical significance of the study:
A multi-criteria map for assessing the level of training has been developed
performing jumping movements by future ballet dancers,
containing the most complete requirements for students when performing
software jumps.
A methodology has been developed for preparing future ballet dancers to perform jumping movements in the lower grades of a professional educational institution, which is distinguished by: a holistic description of the techniques for performing a jump, indicating possible errors of students during performance; description of the jump with decomposition into musical score; development of methodological principles for making combinations.
Reliability and scientific validity guidelines and
the conclusions of the study are due to the consistent implementation
methodological basis of the study, logically consistent
problem analysis, purposeful use
complementary methods pedagogical research, a combination of quantitative and qualitative analysis, practical confirmation of the main provisions of the study in experimental work.
Approbation of work was held at the Department of Classical and Duet-Classical Dance of the Performing Faculty, in the lower grades of the ARB. A. Vaganova, where the author has been teaching since 2003, and since 2008 he has been teaching a course in the methods of classical dance at the Department of Classical and Duet-Classical Dance of the Pedagogical Faculty. The main provisions of the dissertation are reflected in publications and reported at the international seminar on the methods of classical dance (2007).
Volume and structure: the dissertation consists of an introduction, two chapters, a conclusion, a list of references and appendices. The main content of the dissertation is presented on 168 pages of typewritten text.
The history of teaching allegro in the Russian ballet school
Classical dance absorbed and brought to the perfect form the movement of the human body. This was preceded by a long way of development, search, observation and selection of the most expressive dance means. At the same time, jumping has always been an integral part of the movements of both humans and animals. An ancient artist, trying to capture fellow tribesmen, painted them in swift, sometimes very expressive jumping poses. In the primitive drawings of the fixed poses, one could already see the dance.
Antiquity with the cult of a healthy, harmoniously developed human body provides numerous evidence of various dances and jumping movements imprinted in them. The purpose of these movements and exercises was: "higher", "further" and, finally, "original".
Lucian of Samosata in his treatise "On the Dance" wrote about jumping. Some were performed in a circle, others he called jumps, others were just big jumps. And again the uncertainty: what are these movements, what did they look like? Lucian noted that the performers took care of the fitness of the body, strength, flexibility, stability.
In antiquity, and then later, in the Middle Ages, during the Renaissance, professional shows necessarily included various kinds of jumps, both small and large.
From the 15th century, treatises on dance began to appear in Italy. Note that these were textbooks on ballroom dancing. It was in Italy that public dance found its first theoretical development, took conditional, scientific forms, and developed its own terminology.
Starting from the 15th - 16th centuries, the dances performed by the people and the dances of the nobility are increasingly different in technical techniques and style of performance. Simple people could freely express feelings and emotions in strong, dynamic, sometimes inventive and complex movements. The professional actors who replaced the amateurs at the end of the 15th and the beginning of the 16th centuries belonged for the most part to the lower strata of society, they were not “fettered” by the rules. But by the nature of their activity, some especially gifted people could perform at the invitation in the castles of the nobility. This gave them the opportunity to see solemn, unhurried ballroom dancing, and then ennoble the style and movement in their performances.
From among the best dancers, masters of their craft, people appeared who tried to record dance figures, movements, and determine the technique of performance. Among the first known D. da Ferrara and his work "On the art of dance and dance" (late XIV-XV). He is followed by G. Ebreo "Treatise on the Art of Dance" (1463) and A. Cornazano "The Book of the Art of Dancing" (1465), F. Caroso's book "Dancer" (1581) and C. Negri, his work was called "New Inventions ballet” (1604). Note that these were treatises on ballroom, later on, serious dance.
One of the first C. Negri in his work analyzes jumps and tours in detail, as the most difficult movements to perform. He divides jumps into four groups:
Note that the term cabriole then meant many types of jumps, but "tours in the air and skidding, giving the dance a shine, did not include the concept of flight."
Then the author of the textbook describes some difficult jumps and advises to train them at a table or chair. The same practice, only at the stick, exists to this day in the training of dancers. The technique of each jumping movement, according to Negri, includes the work of both legs and arms. Sometimes he pays attention to the body and head. For the first time, the choreographer comprehends the work and coordination of the whole body of the dancer in the dance. And to put into practice the technique of performance, combining it with nobility and grace, was to be another emerging dance school.
Pierre Beauchamp - the legendary French dancer and choreographer of the 17th century - greatly contributed to the establishment and development of serious dance. He was a contemporary of J. Lully and a choreographer in his operas. In 1661, Beauchamp headed the newly founded Royal Academy of Dance. By that time, interest in dance entertainment was extremely high. The development of the art of dance in France was facilitated by a large number of touring Italian troupes. Naturally, the passion for the dance of the reigning persons, their entourage. Beauchamp taught King Louis XIV, danced and staged at his court. Ballet historian V1. Krasovskaya notes "that Beauchamp introduced the jump pas de ciseaux en tournant or revoltade en tournant into the male dance". It was Beauchamp who fixed and legitimized the five positions of the feet in a serious dance;
He was the first to be awarded the title of maitre de ballet (1671) at the Royal Academy of Music. Beauchamp was the first to respond to the new forms of dance music proposed by the composer, and began to compose "a conditional dance for Lully's arias, gravitating toward virtuoso instrumentalism." And further: “The solo dance lined the stage in different directions with sliding horizontals pas glissade and pas chasses. Plies deepened the plane in curtseys. Splashes and splashes of drifts, on the contrary, affirmed the vertical, interrupted the smooth line of dance with a break, ... allegro tempos developed and improved the vertical. New techniques were perfected with strict observance of positions en dehors ... ". From now on, dancers and choreographers will study and improve the outlines of movement in space. It was Beauchamp's generation that "directed the dance towards the conquest of space. The scope and height of movements have multiplied. It can be assumed that, starting from the second half of the 17th century, in the built-up sequence of the classical lesson, the section - "jumps" - finds its specific place.
L. Blok quotes the statement of the dancer Depreo: “Beauchamp was the first to dismember the tempos.” Then, she explains: "This is the dismemberment of dance steps into tempo ...". Let us clarify that the concept of tempo in ballet at that time (17th century) and up to the beginning of the 20th century is a combination of several movements, for example, the temps leve, temps lie, temps lie saute, etc., known so far.
Thus, the forms and style of dance, brought from Italy by numerous small touring troupes, fell on prepared and fertile ground in France. And the development of the dance continued in accordance with the characteristics of this country.
By the beginning of the XVIII century there is a clear separation of styles professional dance Italy and France. Italian performers are technical to the point of virtuosity, they boldly use elements of acrobatics, but they are sharp, often to the point of rudeness and grotesque-comical. Their performing style originates in the folk comedy theater dell arte.
By the beginning of the 18th century, French professionals allowed virtuosity, but to certain limits. They are mannered and cutesy. In their performance there is more lightness, grace, nobility. Serious dance in France at that time was technical and not as easy as it might seem to modern eyes.
The technique of women's dance was not visible because of the puffy long skirts in accordance with the fashion of those years, in part, so jumps in women's dance were not used to the fullest.
Marie Camargo (1710-1770), the most famous French dancer of her time, was a temperamental Spaniard by nationality. She was the first to shorten skirts to the ankle, introduced jumps into the arsenal of a professional dancer and began to do entrechat-quatre. Noverre saw Camargo dancing. He noted that "all those pas ... attractive and brilliant, all these jetes, battus, royales, entrechats, done without "daub", Camargo performed with extraordinary ease." These movements have long been part of the male dance, the artist borrowed them for herself. “Madame Camargo was the first to dance like a man,” Voltaire remarked. The followers of the dancer began to use the achievements of male dance even more boldly.
Formation of methods for teaching jumping movements in the Russian ballet school
That is why the development of the base of research criteria was focused in the areas of development of the activity (performing skills, physical development), cognitive (learning the technique of jumping movements) and emotional and psychological spheres of the personality.
Consider the aspects of the formation of criteria for assessing the professional skills of future ballet dancers on the example of the Allegro section of the discipline "Classical dance".
The discipline "Classical dance" is a fundamental autonomous system in the professional education of a dancer, which is aimed at developing the physical data and creative aspects of the personality. It is this discipline that contributes to the formation of professional skills of future ballet dancers in the performance of jumping movements.
The classical dance teaching system is based on methods that have been built for decades in the Russian ballet school and passed down from generation to generation. All the various methods of teaching dance are guided by the student, by his individual characteristics (physiological, psychological). In this regard: it is important how the relationship between the teacher and the student will develop, since the features of their relationship will affect the success of the educational process as a whole.
Classical dance has a huge developmental and educational impact on the activity, cognitive, emotional and psychological spheres of the individual. Mastery any kind art requires special willpower. And the art of dance is also based on great physical effort.
As pedagogical observation shows, it is at the beginning of classical dance training that the activity sphere of the personality is more intensively involved, and only later, in the process of regular lessons, the cognitive and emotional-psychological spheres of the personality begin to develop.
It is important to note that at the stage of admission to the ARB, when evaluating the physical data of children for the performance of jumps, the main attention is paid to the elasticity of the Achilles tendon (the child is asked to do a demi plie, while assessing the possibility of stretching the elasticity of the Achilles tendon); further, the strength of the natural push is evaluated (the child performs 16 ski jumps) and coordination - the selection committee looks at the positions of the hands and body when performing ski jumps. Hands should be tightly pressed to the body on the belt and not "twitch" during the jump. In this case, the body in the jump should go vertically up.
Throughout the educational process, children work on strengthening the musculoskeletal system of the body, on the development of physical data, on the development of plasticity and expressiveness of movements. Accuracy and technical performance, freedom, coordination and expressiveness of movement - the achievement of these qualities is the main goal of teaching classical dance. They determine the level of professional skills of students.
Teaching children classical dance is a dynamic process. At each of its stages, the main goal should be identified, which determines the integrity and effectiveness of teaching. At the initial stage of training (junior grades - 1-3), such a goal is: setting the body, legs, arms, head in exercise at stick No. in the middle of the hall, initial mastering of jumps, setting feet on, fingers, developing elementary skills for coordinating movements, that is. formation of initial professional skills of future artists. ballet.
Mastering movements in the course of a classical dance lesson is the main indicator of a student's professional readiness to participate in the ballet theater repertoire. Jumping movements are the final part of the classical dance lesson. The level of performance by a student of the section of jumping movements is also an indicator of his professional skills and readiness for further dance practice at all stages of classical dance training.
Thus, jumping movements are one of the main components of the professional skills of the future ballet dancer as the most important part of the classical dance lesson.
Readiness to perform jumps in the lower grades is determined by the presence of physical data and psychological characteristics of the student. In addition, the technique of performing jumps in classical dance has its own performing techniques. Elevation and balloon, the initial skills of which are laid in the lower grades, are the most difficult techniques to achieve. jump execution. At the same time, the presence of an elevation and a balloon in the performer characterizes the level of the artist's skill in performing jumps. It is with their help that the “image of flight” is achieved.
As noted at the beginning of the chapter, to develop criteria for assessing the level of professional skill of students in performing jumping movements in classical dance lessons, the method of expert assessments was chosen. Based on the results of the work of the expert group, three groups of criteria were established: methodological, performance and emotional-psychological.
Methodological criteria for evaluating the performance of jumping movements provide for the compliance of the completed jump with the requirements; developed by teachers of the Russian ballet school and saved and approved by V this moment methodological office of the ARB. The methodological criteria for assessing the performance of a jump include:
The methodical accuracy (correctness) of performing a jump in accordance with the modern requirements of classical dance implies the observance and fulfillment of the basic rules of each specific jump - the musical layout, the preservation of eversion in all phases of the jump, the observance of the positions of the legs and arms, a stable landing after the jump, the reach of the legs in the air, preservation of the nature of each jump (air, parterre, on the spot, with a span, with the arrival on one or two legs, on one leg, etc.).
Whole-body coordination during the execution of the jump (coordinated movements of the legs, arms, body and head during the execution of the jump) implies precise footwork, smooth movement - hands and at the same time their help (hands) in performing jumps, precise head turns, correct work corps. The student's coordination is determined by natural data, and it can also develop in the process of learning classical dance.
Designing a model of a methodological system for professional training of future ballet dancers to perform jumping movements
Upon admission, the student had favorable physical data for learning. Grade 3+. During the first four months of study at the ARB, Artem V. quite freely mastered the basics of classical dance. At the same time, psychological difficulties were revealed. According to the type of temperament, student Artem V. is a pronounced phlegmatic person, therefore his psychological mood was extremely low. In the first months of study, he had no motivation, so the expressiveness of his performance remained at an extremely low level.
The educational type of the route for the student was chosen No. 3 (emotional-psychological). When working in the classroom, special attention was paid to increasing psychological motivation.
Methodological instructions were perceived by Artem V. attentively, but extremely unemotional, even infantile. By the end of the 1st year of study, the student's progress mark was Artem V.'s good physical data attracted attention. We note in particular that
psychological criteria (motivation, expressiveness), the student received an unsatisfactory grade (2).
Over the next two years of study (2nd, 3rd grades), a clear increase in all professional criteria is visible. In the process of study, the successful mastery of program movements significantly influenced the emergence of a positive psychological attitude and expressiveness of performance.
In this case, there is a direct correlation between the successful mastering of the program and the emergence of psychological motivation. As a result, the educational route No. 3 chosen for the student was correct. Table 2.3.6. The results of the jumps performed by Roman B. +).
During the first four months of study at the ARB, Roman B. successfully mastered program movements. At the same time, the student showed a high level of perception of methodological requirements, good coordination and natural elevation (rare at the initial stage of training).
The psychological mood of the student was very high. At the end of the 1st year, Roman B. showed good results in all jump performance criteria. At the same time, against the background of success, the student began to show psychological qualities that interfere with the learning process: self-confidence, disrespectful attitude towards comrades, etc. The student felt his superiority in physical data and did not always behave correctly in the classroom.
The educational type of the route for the student was adopted No. 3 (emotional-psychological). Much attention was paid to the correction of personal qualities of Roman B. Revealing the individuality of the student, the teacher led. work on the next; development, such important natural data as artistry and expressiveness.
Educational route No. 3 was chosen correctly; Proof! This is the "growth of all indicators in. performance! jumps.. The student's behavior in the classroom has become more even?
F the end of the 2nd year of study; the student's grade was 4- (the highest-highest-in the class). Roman B; stood out not only due to excellent physical data, but also artistic abilities. All jump combinations were performed by the student not formally, but at: a high emotional level.
In the 3rd grade, work continued on the further development of the student's abilities. There was an obvious increase in all the main indicators: the power of the push, soft landing and elevation. According to the result of the 3rd grade exam, Roman B. received a mark of 4 (the highest among third grade students).
In this case, there is a direct relationship between psychological correction and an increase in the level of jump performance.
As a result, the educational route No. 3 chosen for the student was correct.
Comparison of the results of the experimental data of Artem: V: and Roman B. shows that the choice of an emotional and psychological educational route is effective for students with a low level of motivation; to learning (Artem V.), as well as with high self-esteem (Roman B.). With such an almost polar emotional and psychological attitude, both students successfully completed their education in the primary grades, because. a necessary factor in the effectiveness of this educational route was the good physical data of the students, corresponding to the performing and methodological criteria.
The combined type of an individual route in various combinations was proposed by Ilya V. (No. 2, 3), Stanislav G. (No. 1, 3), Vikenty Ya. (No. 1.3), Yuri B. (No. 1.3).
A combined educational route is a combination of no more than two educational directions for students with specific problems of a physiological (lack of coordination, high (low) growth, fullness) and psychological (self-doubt, anxiety, distracted attention, laziness) nature.
As practice has shown, there are more students studying on a combined educational route than those who are studying on any one fixed educational route.
For all students who studied on the combined educational route, the emotional-psychological (No. 3) route was applied, and simultaneously with this direction, three students went through the physical (No. 1) learning route and one student coordinated and methodological educational route.
Studying the effectiveness of the methodological system of professional training of future ballet dancers to perform jumping movements
Grand changemant de pieds en toumant no 1/4 turn is learned in the second grade after grand changemant de pieds is taught. This jump prepares students to perform jumps en tournant (boys to perform tours en Gaig). First, each jump must be learned for 1 beat 4/4. Starting position V position en face.
When performing this jump, you should strongly push off and jump with a straight body straight up. In the jump, you need to turn around and change legs in the same way as when performing petit changement de pied. You do not need to turn right away: jumping to point 1 and in the air, the shoulders help to complete 1/4 of the turn. The next jump is from point 3 to point 5, then from point 5 to point 7, and the last jump is from point 7 to point 1.
At the end of the year, you can do several grand changemant de pieds en toumant in a row. Each jump is performed at 1/4. Hands are in a preparatory position. Grand changemant de pieds en toumant no 1/2 turn is studied in the third grade. First, each jump must be learned for 1 measure 4/4, then for 1/4. Changemant de pieds with advancement to the side, forward and backward
The jump is learned in the third grade after having learned the temps saute with advancement and the grand changemant de pieds. Changemant de pieds with advancement develops leg strength and strong propulsion. This jump is performed according to the rules of changemant de pieds en face - tight legs in V position must be shown in the air and changed upon landing.
First changemant de pieds with advancement should be learned in 4/4 with a stop after each jump, then this jump is performed in succession in 1/4. Forward and backward, this jump must be performed en face and eppaulemant croise. Hands in preparatory position or in III position.
Changemant de pieds with advancing to the side is usually performed in the en face position. Hands can be in III position or one hand in I position, the other hand in III position. Petit changemant de pied Petit changemant de pied is taught in third grade. Petit changemant de pied is a ground jump, that is, without taking your fingers off the floor. At the same time, in the jump, the fingers must be stretched out. During the jump, the legs, as in the usual changemant de pied, change. At the initial study of the hand in the preparatory position, the head is straight. First, you need to perform two, three jumps, then increase the number of jumps i to seven, eight. The push doesn't have to be strong. You have to jump so high; so that the fingers are extended in the air, but at the same time remain on the floor.
Petit changemant de pied is the jump in which the landing must; be restrained, due to the strength of the feet. Therefore petit changemant de pied strengthens the feet. First, each jump must be performed at -1/4, later at 1/8.
Care must be taken to keep the pHo very soft and restrained, the knees to open with each demi-plie. The hips should rise in a jump - without a sharp push, as if squeezing on your feet.
In the future, petit changemant de pied en tournant is studied. Seven, eight jumps should be performed in a row at a faster pace. Each jump is performed on "1/8. The body before the movement leans down and forward. The head and gaze “remain” in the mirror, then the first head “returns” - back. During the movement, the body gradually rises, the shoulders should be very open. Hands, on the instructions of the teacher, can smoothly rise to the LI position and descend through the II position to the preparatory position.
Pas echappe is learned in the first year of study, first facing the stick. We begin to study this jump when the students have not yet made two jumps in a row, so for the purity of execution pas echappe can be divided into two. halves: first half - jump from the 5th position to the 2nd position, after which the knees are extended; and the second half - a jump from the II position to the V position. Pas echappe is learned in 2 bars 4/4. First measure: On the count of "one" - demi-plie in the V position.
With the same score, the movement is studied in the middle of the hall. Hands at the initial study are in a preparatory position. In the jump, the arms retain the correct shape and do not “twitch”. Head position en face.
Pas echappe - a small jump, but during the initial study, it is not necessary to deliberately lower the height of the jump. In the air, it is necessary to show extended legs in the V position. From the II position, the legs are extended and collected in the V position. Hold - legs in the P position is not necessary. It is necessary to monitor the accuracy of positions in the air and during landing. The loin on the plie must be tucked up before and after the jump. After each jump, you need to extend the plie.
Simultaneously with the jump in the V position, the hands rise to the I position, then, simultaneously with the opening of the legs to the II position, the hands open to the II position (girls have a low II position), while the head turns towards the leg that stood in front in the V position, and leans a little; brush look.
Simultaneously with the jump of CO II positions, the hands turn, open, and simultaneously with the arrival in the V position, the hands fall into the preparatory position. The head changes on landing, turning towards the leg that comes forward in the 5th position.
First, for accuracy of execution, pas echappe in IV position can be taught en face, then this jump is performed epaulemant croise. In the jump, the arms rise to the 1st position and, on landing, open to the position of a small croise position; during the second jump from the IV position to the V position, the hands lengthen, turn and lower into the preparatory position. This jump can also be performed by epaulement efface. At the beginning of the study, before the jump, you can stand up epaulement efface, and later, pas echappe on efface must be performed from the position of epaulement croise. In this case, one must keep the heels firmly on the floor before jumping and perform the jump up and with a slight turn of the epaulement efface. Hands through the I position open - into a small - pose efface. When performing pas echappe for IV in a row, the head should go down and down (look at the hand) and slightly turn away, simultaneously with lowering the arms to the preparatory position
- Burns, Robert - short biography
- The concept of common vocabulary and vocabulary of limited use
- Nancy Drew: The Captive Curse Walkthrough Nancy Drew Curse of Blackmoore Manor Walkthrough
- Deadpool - Troubleshooting
- Won't start How to Survive?
- What to do if bioshock infinite won't start
- Walkthrough Nancy Drew: Alibi in Ashes
- Spec Ops: The Line - game review, review Spec ops the line crashes on missions
- Room escape level 1 walkthrough
- Processing tomatoes with boric acid How much will 2 grams of boric acid
- Cucumber Grass (Borago)
- Bioinsecticide Lepidocid: purpose, properties and application procedure Lepidocide waiting period
- How to change the language to Russian in steam
- Dendrobium noble: room care
- Morphology of plants general concepts - document
- Planting, propagation and care of bamboo at home, photo Growing bamboo from seeds
- How to strengthen the cellular signal for the Internet in the country
- Sanskrit reveals the forgotten meaning of Russian words (2 photos)
- The oldest language Sanskrit programming language of the future Dead language Sanskrit
- Who has dominion over all the earth?