Municipal budgetary educational institution

additional education for children

Center for extracurricular activities "Golden Key"

Methodological development

"Learning the Basics of Classical Dance"

additional education teacher

Nizhny Novgorod

year 2012

Explanatory note

1.Relevance

In aesthetic and physical education younger generation important role devoted to the art of dance, in particular choreography. The art of dance in our country is becoming increasingly popular every year, becoming one of the most effective factors in the formation of a harmoniously developed, spiritually rich personality.

Dance art – mass art, it is available to everyone. Tens of thousands of children take part in choreographic clubs and ballet studios.

Dance is a set of expressive and organized movements, subordinated to a general rhythm, embodied in a completed artistic form.

A teacher-choreographer must teach his students the basics of dance art, give them the necessary knowledge, skills, dance technique, pay attention to age characteristics students; he must constantly remember that the fulfillment of the tasks assigned to the choreography directly depends on the content and methodology educational process.

The methodological development has been compiled to help the leaders of children's dance creative associations.

This methodological development is relevant. It is organized in the formmusical and rhythmic training for children. In the process, students develop attention, will, memory, mobility and flexibility of the body. Methodological development is aimed at developing musicality, memory and physical improvement of the body. Classes in children's circle contribute social activity child, where he gets acquainted with the basics of the art of dance.

This work takes into account the development of the educational process and is open to improvement.

2.Goal and objectives

Target This technique is to study with students the basic concepts of classical dance.

Tasks:

Educational:

• Teach children the basics of choreography, learn the basic concepts of dance.
• Formation of figure, posture.

Educational:

• To develop artistic taste and interest in dance.

Educational:

• Development of ingenuity and ingenuity.
• Develop endurance and coordination of movements.
• Development of the child's physical characteristics.

3. Organization of classes

Classes should be conducted taking into account the characteristics of children and their age category. For children of primary school age (7 years old), dance should be associated with words, movement, pantomime and gestures.

Classes should be conducted with musical accompaniment and special attention should be paid to this.

Participants are 7 years old.

Learning the basic concepts of classical dance

Choreography classes are impossible without studying the basics of classical dance. The term “classical dance” is used throughout ballet world, denoting a certain type of choreographic plasticity. Classical dance is widely recognized as one of the main expressive means of modern ballet. It represents a clearly developed system of movements in which there is nothing random, nothing superfluous. This system of movements, designed to make the body disciplined, mobile and beautiful, turns it into a sensitive instrument, obedient to the will of the choreographer and the performer himself. It has been developed since ballet became an equal genre of musical theater, that is, since the 17th century. Indispensable conditions for dancing are the eversion of the legs (meaning the upper eversion - groin and eversion of the feet), a large dance step (how high a child can raise his leg forward, backward, to the side), body flexibility, stability, rotation, light and high jump , free and flexible use of hands, clear coordination of movements and, finally, endurance and strength.

This is acquired through daily training, carefully following the established rules, and constant stage practice.

The structure of the lesson is the same for both the first and subsequent grades, with the only difference being that in the first grade the movements are performed individually and in simple combinations. The exception is the very beginning of study, when the elements of movements are studied. Every year these movements become more complicated, which depends on many factors.

The lesson consists of exercises at the barre and exercises in the middle of the hall; the latter are divided into exercise, adagio (a combination of poses and positions of classical dance) and allegro (jumps and finger exercises).

When starting to demonstrate the exercise, it is necessary to understand the concepts of supporting and working legs. The supporting leg supports the body in motion, taking on its weight. The working leg is freed from the weight of the body, it performs the movement. The functions of the working leg are much more diverse than the functions of the supporting leg, however, the concepts of “supporting” and “working” are to a certain extent arbitrary, since the tension of the supporting leg in the exercise is the key to stability in dance.

All exercises are performed alternately with the right and left legs. To properly master the eversion of the legs, a number of exercises are first studied to the side, and later - forward and backward.

Exercises begin to be studied standing facing the stick, holding it with both hands. Then they gradually move on to the same exercises, standing sideways to the stick and holding it with one hand, V while the other hand is open to the second position.

The exercises are performed with the toe on the floor and in the air at an angle of about 25°, 45°, 90°. The angle is formed by the supporting leg and the working leg open to the air.

Some movements of classical exercise require special preparatory provisions - preparation.

Exercises are preceded by movement preparations.

Dance is organically connected with music. Without music, classical exercises are unthinkable. Tempo and rhythmic pattern musical accompaniment, different. While the movement goes through the stages of preparatory exercises, the rhythmic pattern is simple; subsequently it becomes more varied and complex.

Already in the first lessons you should take care of the development musical ear students. Students first become familiar with 2/4, 3/4, and 4/4 time signatures by simply listening to the music, then by marching to the music, with their steps matching the rhythm of the music. When students have mastered a simple march in 2/4, they should be accustomed to various musical sizes, diversifying the musical accompaniment, speeding up and slowing down the tempo, changing the musical size, but strictly maintaining integrity musical phrase.

The march in class has a dance flavor. The gait is light, from the toe to the entire foot, the toes are slightly opened outward. The body is taut, the shoulders are open and lowered. Girls hold their dresses with their fingers, maintaining a rounded shape of their hands, boys keep their hands on their waists.

At the same time, in the middle of the hall, the study of hand positions begins with mandatory musical accompaniment. In parallel with this, the position of the body is developed at the stick.

Body staging

In the first year of training, the main task is the correct positioning of the body: the feet are together, the leg muscles are pulled up, the knees are pulled back, the pelvis and gluteal muscles are pulled forward, the entire spine is pulled up, the stomach is pulled in, the shoulders go down and back, the neck is stretched up.

Learning basic foot positions(see below):

Learning basic hand positions(see below):

Choreography – an important means of aesthetic education, as well as the development of creative abilities.

A system of exercises and methods of influence aimed at nurturing the motor culture of children and expanding the arsenal of their expressive means. Choreography classes help solve a number of general educational problems. Thus, the use of the basics of folk, historical and everyday dances introduces people to the heritage of culture various peoples. Using music in class introduces the basics musical literacy, works by various composers, fosters musicality, and ultimately develops intellectual abilities. It is in the process of practicing choreography that children come into closest contact with art. In addition, when practicing choreography, flexibility and coordination of movements develop, the musculoskeletal system is strengthened, the density of classes increases (due to the possibility of conducting classes simultaneously with the whole group), which has a positive effect on the cardiovascular and respiratory systems of the body.

Choreographic preparationis provided by a system of exercises and methods of influence aimed at nurturing the motor culture of children and expanding the arsenal of expressive means.

In choreographic preparation the following are decided: tasks:

• Aesthetic objectives:

Development of musical taste and horizons;

Involvement in joint movement with a teacher.

• Physical tasks:

Development of coordination, flexibility, plasticity, expressiveness, accuracy of movements;

Teach children to feel the character of musical accompaniment in their body.

• Educational tasks:

Psychological liberation of the child;

Developing children’s ability to experience, think, remember and evaluate the culture of their movements;

In the choreographic training of children, several most characteristic stages can be distinguished:

• The preparatory stage is for mastering the elements of the choreographic “school”;
• Profiling stage – to master the varieties of “profile” elements;
• Rhythmmotor stage;

Preparatory choreographic trainingBasically, it should be used at the initial stage of the educational process, without stopping, however, in the future. It must solve the following tasks:

• Improve motor control;
• Ensure mastery of the necessary poses;
• Prepare the musculoskeletal system.

For this, multi-joint movements of one link, 2-3 links at the same time, are used, with an emphasis on muscle tension and relaxation.

Profiling choreographic trainingcarried out at all stages of the educational process. Her tasks:

• Increasing special physical fitness;
• Improving technical readiness: mastering various turns, jumps, poses, lunges, etc. – specific elements of floor exercises;
• Formation of skills to move expressively.

In major traininggenerally accepted means of choreography are used: dance movements, free plastic movements, movements of facial expressions and gestures (pantomime). But when working with children, you should not limit yourself to just these exercises, considering exercises at the machine to be preparatory when teaching children turns, balance, jumps, i.e. profiling exercises. When conducting a dance school, developmental exercises should be given, which are used for warming up and are recommended for strengthening the ankle joint and foot when teaching children to jump, balance, turn, and also as a prevention of flat feet and scoliosis.

You can offer several options for such exercises:

I.p. - s food, feet towards you (Fig. a, b).

1. Flexion and extension of fingers. 2. Flexion and extension of the foot (keep your toes in the “toward” position). 3. Sequentially: flexion of the fingers - flexion of the foot - extension of the fingers - extension of the foot (wave-like). 4. Sequentially: flexion of the foot - flexion of the fingers - extension of the foot - extension of the fingers. 5. Abduction and adduction of the foot (toes “towards yourself”). 6. Sequentially: foot abduction - foot flexion - toe flexion - toe extension - foot extension - foot adduction. Perform abruptly with a short fixation after each of the listed movements. 7. Perform the previous movement together. 8. Circular movements of the feet outward (inward) with simultaneous flexion and extension of the feet and toes.

I.p. – we sit with our legs bent, our feet on our toes.

1.Lowering the heels until they touch the floor and raising them into an i.p.

2. Raising the heels while lowering them – i.p.

Movements are performed with maximum amplitude, first at a slow, then at a fast musical tempo.

I.p. - sit on the left thigh with support on your hands, bend the right one to the side with support from your foot(the foot is turned out and is located in line with the toe of the other leg. ( Fig.c).

1. Raising the right heel to the position “on the toe” - i.p.

2. Sharp lifting of the heel - plantar flexion of the foot and toes, lifting the foot off the floor - i.p., the feet roll (first the tips of the toes touch the floor, then their extension follows).

First at a slow pace with maximum amplitude, then at fast pace. Emphasis on heel work. It is advisable to change the rhythm.

3. Next exercise for back flexibility"The cat is crawling under the fence" ( Fig.d ). The head starts, then the neck and then the back...

Then proceed to exercises 1 and 2, but the foot is not turned out.

Any exercise has a certain rhythmic pattern with accentuated moments. They are associated with flexion and extension in the hip joints, jerking movements of the body, interceptions with the hands, etc. The rhythm of the movement system is, as it were, its pattern. In this regard, the formation of a sense of rhythm in improving movements in children is considered as an opportunity to solve problems more fully and rationally when teaching gymnastic exercises.

The ability to coordinate your actions with the musical rhythm determines musicality. This skill comes in the process of mastering choreographic exercises, however, in order to more successfully, consciously master musical rhythms, special exercises and musical games are used in choreography classes.

Each musical composition has its own rhythm, the means of measuring and creating which are musical size and tempo. Tempo – degree of speed of execution.

Intermediate positions of arms, legs and movements with them.

Positions of arms and legs

It is very important for children to master the so-called “school”, the culture of movements. Significant role Choreography exercises, which include elements of classical dance (exercise), play a role in solving this problem. These exercises help develop plasticity of movements and a sense of rhythm, form correct posture and cultivate a taste for beautiful movements. At the first stage of training, exercises are performed in lighter conditions, standing facing the support, holding the support with your hands. Gradually, as you master it, they move from exercises facing the support to exercises sideways to it. When the child acquires the skill of stability and masters the exercises at the support well enough, he moves to the middle of the room. Here the exercises are performed facing the main direction, half-turn and sideways. Each exercise at the support and in the middle must be performed in a certain sequence, in one direction or the other, from the right and left legs. At the beginning of training, movements are performed to the side, then forward and only then back. Exercises at the support are performed on the entire foot, then, as they are mastered, on the half toes. In classical dance, we can roughly distinguish two groups of movements: preparatory (simple) and basic (complex). The first group includes the entire system of preparatory exercises: legs pointed to the side, forward, back on the toes (battements tendus), half-squats (demi-plies), squats (grands plies) and their varieties. It is these exercises that are the main ones for developing a school of movements.

Execution technique and teaching methodology. Intermediate hand positions

In intermediate positions, the arms are located at an angle of 45 degrees to the main positions. Hand positions infacial planecan be as follows (Figure 15): a) hands down; b) arms to the sides - to the bottom; c) arms to the sides; d) arms up outward; e) hands up. In addition to these, there may be positions: arms forward and inward at an angle of 45 degrees; hands up - inward (hands raised up, fingers touching).

Lateral(Fig. 16): a) hands down; b) arms forward - downwards; c) hands forward; d) arms forward - up; e) hands up; e) hands back.

Hand movements can be one-sided, those. performed in one direction (Fig. 17): a) arms to the left - downwards; b) hands to the left; c) hands to the left - up.

Terms used to denote circular movements of the hands: Circle - circular movement of arms, legs, torso. Performed from i.p. 360 degrees around the circle again to i.p. In this case, it is enough to say “circle” and indicate its direction. For example, a circle with arms downwards (upwards) from i.p. hands to the side; Arc - a movement performed less than 360 degrees in a circle. To denote such movements, the word “arc” is used, the direction of movement and the final position are indicated. For example, with your arms arched outward and upward.

Hand positions

1. hand position - rounded arms, slightly bent at the elbows, raised forward to the level of the diaphragm. Rounded hands with palms facing the body. The distance between the hands and fingertips is 10-15 cm (a).
2. hand position - rounded arms raised to the sides, slightly below shoulder level, elbows bent. The hands are rounded, palms facing inward (b).
3. hand position - rounded arms raised up above the head, elbows slightly bent, hands slightly rounded, palms facing down. The shoulders are lowered and the eyes should see the hands without raising the head. Distance between fingertips 10-15 cm(V).
4. Preparatory position- slightly bent arms down, elbows to the sides, hands rounded, palms facing up. Distance between fingertips 10-15 cm (g)

Leg position and movement

When determining leg movements in the main and intermediate planes, the name of the leg and the direction of the movement being performed are indicated. Leg movements infacial plane(Fig. 20): a) right to the side on the toe; b) right to the side - downwards; c) right to the side; d) right to the side - up.

Movements in the lateral plane(Fig. 21): a) left on the toe; b) left forward - downwards; c) left forward; d) left forward - upward; e) left back on the toe; e) left back - downwards; g) left back.

Opposite movementsare designated as follows (Fig. 22):

a) right to left;

b) right to left - downwards;

When placing your foot on your toe in one direction or another, indicate the foot with which you are doing

movement, direction of movement and the phrase “on the toe”.

For example, right toe to the side. The words “leg” and “expose” are omitted here. In some cases, if it is not entirely clear how the movement is performed (by hand or foot), this should be said.

To indicate bending of the legs at the knee joint

the term "bend" and the leg is indicated.

For example, bend the right one, the foot is at the shin of the supporting leg. If the movement is performed with abduction of the leg, then after the word “bend” the direction of movement of the leg is indicated. In this case, the leg is bent to right angle or slightly higher, but the shin should be parallel to the supporting leg.

Lateral(Fig. 23):

a) bend the right one;

b) bend the right one forward;

c) bend the right one back.

In the front plane (Fig. 24):

a) bend the right one to the side;

b) bend your right back, knee to the side.

Leg positions:

1. foot position - heels together, toes turned to the sides (a);
2. foot position - legs apart at a distance of a foot from one another, toes turned to the sides (b);
3. foot position - the heel of one foot is pressed to the middle of the other, the toes are turned to the sides (c);
4. foot position - one leg in front of the other at a foot distance, the heel of one leg is opposite the toe of the other (d);
5. foot position - feet are tightly closed with toes to the sides, the heel of one foot is pressed to the toe of the other (e).

When performing positions, you must strive for maximum eversion of the legs, the knees must be extended, the gluteal muscles tense, the weight of the body is evenly distributed on both feet, the torso is raised, with correct posture.

Half squat. I.p. - left side to the support, half bent left hand raised to the side, palm on the rail, right hand in a preparatory position. Legs in first position. Zatak (two opening chords that evoke a feeling of anticipation): 1 - slightly tilting your head to the left, raise your right hand to 1 position; 2 - turning your head to the right, move your right hand to the 2nd position;

First measure: 1-2 - half squat; 3-4 - stand up.Second - fourthmeasures - the same as the first.

Methodical instructions.Bend and straighten your legs evenly, observing the rules of eversion. In a half squat, your heels should be close to the floor without resting on the floor. thumb. First, learn in each position separately and perform 4 times. Squats in 4th position, study last; in the future, apply them depending on the readiness of the children. When learning, perform half squats facing the support, holding the support (machine) with your hands, in the 1st, 2nd, 4th, or 5th position. After this, do the same, standing sideways to the support, holding the support with one hand. Raise the other hand to the 2nd position. When children have mastered half-squats in each position, they should be performed one or two times in each leg position.

Squat – (Demi – plies). I.p. - left side to the support, half-bent left arm raised to the side, palm lowered onto the rail, right arm in a preparatory position. Leg in 1st position.

Downbeat: 1- slightly tilting your head to the left, raise your right hand to the 1st position; 2 - turning your head to the right, move your right hand to the 2nd position; “And” - slightly lower your right elbow, lift and turn your hand with your palm down.

First beat. 1-2 - lowering the right hand to the side - downwards and tilting the head to the left, half-squat; 3 - “I”; 4- lowering the right hand into the preparatory position and tilting the head to the left - downwards, squat. After mastering the squat from the 1st position, perform two half-squats and one squat in combination in all positions of the legs. In the 2nd position, squats are performed on the entire foot.

Exposed legs (battements tendus).This is one of the main movements of classical dance. By the ability to correctly perform these exercises one can judge the presence of a culture of movement and school.

Approximate sets of exercises for classical exercise

1 complex (from 7 years old, see Fig. 16,17)

I. I.p. - stand facing the machine, hands on the top bar, legs in 1st position. 1-2 - Demi - plies - “half squat”., 3-4 - i.p.

II. I.p. - sitting upright. 1-2 - pull back the mortars, 3-4 - hold, 5-6 - pull your feet towards you, 7-8 hold.

III. I.p. - standing at the support, 1st position. 1-2 - slide your left foot forward onto your toes, turn your heel forward; 3-4 - return to the standing position;

5-8 - the same with the right foot.

I. I.p. sitting emphasis

1-2 - bend your legs and turn them outward, at the hip joints until the outer side of the foot touches the floor;

3-4 - hold;

5-6 - stretch your legs, keeping your feet turned;

7 – hold;

8 -i.p.

II. I.p. - standing at the support, IV position.

1-2 - slide the left leg to the side, the heel is turned forward;

3-4 - return to IP;

5-8 - the same with the right foot.

I. I.p. – standing at the machine, legs in 1st position, arms in the preparatory position. 1-2 - raise your hands to 1st position, 3-4 - move your hands to 2nd position, 5-6 - hold, 7-8 - return to IP.

II. I.p. - standing at the support, 1st position. 1-2 - slide your left leg to the side and transfer the weight of the body to both legs, 2nd position, 3-4 - hold, 5-6 - return to 1st position, 7-8 - rise to half-toes.

III. I.p. - standing sideways to the support, free hand on the belt, 1st position. 1-2 - rise on your toes, 3-4 - return to standing position.

2 complex (from 7 years)

I. I.p. - standing at the support, 1st position.

1 -2 –demi - plies, 3-4 - return to IP, 5-6 - rise on toes, 7-8 - return to IP.

II. I.p. - sitting emphasis.

1-2 - raise your left leg straight;

3-4 - bend the leg, 5-6 - extend the leg, turning it outward, 7-8 - return s.p. Same with the right foot.

III. I.p. - standing at the support, 1st position. Battements tendus to the side for 2 beats, 2nd position, demi - plies for 2 beats, return to 1st position; in both directions (Fig. 18).

Light jogging with relaxation exercises (30-40 sec).

I. I.p. - standing at the support. Battements tendus - double from 1 position.

1-2 - left leg to the side on the toes (Battements tendus);

3-4 - lower onto the heel, the weight of the body remains on the right leg;

5-6 - Battements tendus (vigorously raise the heel without lifting your fingertips from the floor);

7-8 - return to 1 position. Repeat on the other leg.

II. I.p. - standing at the support, 1st position. 1 - Battements tendus with the left leg to the side;

2 - Battements jetes (energetic swing up to an angle of 30°);

3 - touch the floor with your fingers extended;

4 - i.p. Same with the right foot.

III. I.p. - standing at the support, 1st position. 1-2 - Battements tendus with the right foot back (Fig. 19);

3-4 - i.p. Same with the left foot.

Walk with a soft step, changing hand positions for 2 beats.

3 complex (from 7 years)

I. I.p. - standing sideways at a support.

A) 1-4- Demi - plies in I, II, and III positions twice;

b) on the 4th count of the 2nd measure, change position.

II. I.p. - Same. Demi - plies in 4/4 time. 4 Battements tendus forward, to the side, back, to the side in 2 beats. Same with the other leg.

Legs in 1 position, change hand positions for 3 counts. For 2 measures, perform the preparatory, I, II, III positions.

I. I.p. - standing sideways to the support.

Passe par terre from 1 position to 4 counts:

1 - Battements tendus forward;

2 - Battements tendus back through 1 position; on the 8th count, turn 180°. Same with the other leg.

II. I.p. - Same. Rond de jambe par terre in 4/4 time:

a) from 1st position, sliding, move the extended right (outer) leg forward, to the side, return to 1st position and hold for 1 beat, repeat 4 times;

b) from 1st position, sliding, move the extended outer leg to the side, back, return to 1st position and hold for 1 beat, repeat 4 times, turn 180° on the last beat. Do the same with the other leg (Fig. 20).

I. I.p. - sitting emphasis.

1 -2 - pull your toes towards you, deep bend forward;

3-4 - straighten up, pull your toes.

II. I.p. - standing sideways to the support. Releves from 1st position in 4/4 time. 2 beats - releves, hold 2 beats and perform a deep bend back, releves, return to 1 position. III. I.p. - Same. Battements tendus jetes 30 degrees from the floor from 3rd position on 4/4 beats.

4 times forward, to the side, back, to the side, waltz step with changing the position of the hands (2 measures each).

Conventional translation of French terms

Attitude - a classical dance pose in which one leg is raised 90 degrees or higher, back or forward in a bent position.

Battements tendus (batman tandu) - extension of the leg.

Battement tendus jetes (Batman tandu jetes) - throw the leg 30 degrees from the floor.

Battements frappes (batman frappe) - shock movement.

Battements fondus (batman fondue) – smooth, “melting” movement.

Battements soutenus (batman hundred) - movement with pulling up the legs.

Croisee (krause) - a pose in which the legs are crossed.

Demi-plies (demi-plie) - half squat.

Developpes (devlope) - deployment.

Eсartee (ekartee) is a pose in which the entire figure is turned diagonally.

Echappe (eshappe) - a jump with the legs opening to the 2nd position.

Effacee - a pose in which the legs and the entire figure are open.

En dedans (an dedan) - inside, in a circle.

En dehors (an deor) - out, from the circle.

En facee (en face) - straight.

En tournants (en tournan) - with a turn.

Glissade - sliding movement - sliding jump.

Grand battement jetes - a large throwing movement 90 degrees from the floor and above.

Pas de bourre (pas de bourre) - stepping with a slight advance to the right, then to the left on the half-toes and on the fingers.

Petit battements (pet batman) - a small battement on the ankle of the supporting leg.

Port de bras (port de bras) is an exercise consisting of simultaneous movements of the arms, body and head.

Releves lents (releve lan) - slowly raising the leg.

Rond de jambe par terre (ron de jambe par terre) - rotational movement of the leg on the floor, circle with the toe on the floor.

Sissonne fermee (sisonne fermee) - a jump from two legs to one while simultaneously closing the legs.

Sissonne ouverte (sison oververt) - a jump from two legs to one with the opening of the leg.

Sur le cou-de-pied (sur le cou-de-pied) - on the ankle of the supporting leg.

Temps lie (there) – connecting, smooth, united movement.

Tombee (tombe) - “fall” on a demi plies coupe on the working leg, the other leg rises.

Sur le cou-de-pied, followed by a sharp short rise on half toes, at the same time the other leg opens to the side 45 degrees from the floor. Tombee and coupe can be performed in various poses.

Bibliography:

1. A.G. Boguslavskaya, S.N. Golovkina and others. “Where dance is born”, M. - “Moscow Worker”, 1977.
2. L. Bondarenko. "Methodology choreographic work at school and out-of-school institutions”, Kyiv – “Musical Ukraine”, 11985.
3. I.I. Bachrakh. Physical development of schoolchildren. Smolensk, 1991
4. L.A. Baykova, D.K. Grebenkina. "Pedagogical skills and educational technologies" - M. - Pedagogical Society, 2001.
5. T. Baryshnikova. "The ABCs of Choreography". S - Pet. - Art, 1999
6. N.P. Bazarova. "Fundamentals of classical dance." Tutorial for choreographic schools and universities. – M: Enlightenment, 1978.
7. S.N. Golovkina, E.N. Zhemchuzhina, N.V. Zolotova, P.A. Pestov, B.G. Rakhmanin, O.A. Ilyina, etc. “Classical dance” - program for choreographic schools No. 2108 majoring in “Ballet dancer” (8 years of study), M. - 1987
8. O.G. Zaitseva. "Little artists, dancers, vocalists." Yaroslavl "Academy of Development", 2005.

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slide 1, slide 2

A correctly placed body is the key to stability (aplomb).

Correct positioning of the body provides not only stability, it facilitates the development of eversion of the legs, flexibility and expressiveness of the body, necessary in classical dance.

It is the teacher-choreographer, working with groups of beginners, who will have this responsible and painstaking work of staging the body, arms and legs of the future dancer. From the competent, correct approach of the teacher primary classes depends further fate young dancers.

Let's consider the main stages of work and methodological requirements on positioning the body, arms and legs in choreography classes with children.

slide 3CASE POSITION

The positioning of the body begins first in the first half-turned position of the legs. To do this, turning to face the machine, first place the left leg in the semi-reversible 1st position, then place the hands on the machine. Putting your hands on the machine, at the same time place your right leg in the first half-reversal position. The hands lie on the surface of the stick, without grasping it, but only holding it.

The body is in an upright position, the spine is elongated, the waist is elongated. The shoulders and chest are open, the shoulder blades are slightly pulled down towards the lower back. You should keep your head straight.

The hips are pulled up, the kneecaps are pulled up accordingly, the gluteal muscles are collected. The soles of the feet are freely placed on the floor, touching it at three points: the little toe, the heel and the big toe.

After securing the position of the body in the first half-turning position, the legs move to the first half-turning position. To do this, you need to move the left foot to the everted position, then turn the right leg into the everted position so that both feet form a straight line.

slide 4. To correctly position the body in inverted positions of the legs in exercise, you should turn as much of the hips and shins as possible with the inside outward, while the turn should be uniform and carried out with equal force for both legs, and then the foot will easily take the inverted position, while vertical axis, drawn through the common center of gravity, should not go beyond the line of the boundaries of the support area.

When placing the body in a position with the legs turned 180 degrees, it is necessary to move the body slightly forward, giving it a “steep” position and stability.

Support leg- this is the leg that bears the weight of the body at the moment the movement is performed.

Working leg- a leg that is in motion.

Toe (toe) stretching – This is the work of the entire foot, when with the toes extended, the muscles of the arch of the foot are contracted and the ankle is tense.

In classical exercise, when stretching the foot, it is unacceptable to bevel the foot, “curl” it, all fingers must be grouped, all its muscles are directed towards the middle (third) toe, the arch of the foot is extended, and the ankle is tense.

slide 5 LEGS POSITIONS

The positions of the legs are nothing more than an exact proportion that determines the location of the everted legs, their distance or approach when the body is at rest or in motion. In all cases, balance must be maintained (Fig. 1).

Initially, the construction of positions is studied in the middle of the hall, without observing the turnout. The eversion of the legs is introduced along with the positioning of the body.

Study order: first (I), second (II), third (III), fifth (V) and fourth (IV). Position IV, as the most difficult, is passed last.

I – first	II – second	III – third
(Fig. 2)	(Fig. 3)	(Fig. 4)
The feet, touching the heels, are turned with the toes outward, forming a straight line on the floor with an even distribution of the center of gravity throughout the foot (Fig. 2)	The straight line of the first position is maintained, but the heels of the inverted legs are spaced from one another by approximately one foot length with an even distribution of the center of gravity between the feet (Fig. 3)	In the same inverted position of the legs, the feet, tightly fitting, cover each other halfway (Fig. 4)
IV – fourth	V – fifth	VI – sixth
(Fig. 5)	(Fig. 6)	(Fig. 7)
The turnout of the fifth position is maintained, but the legs do not touch: one is parallel to the other at the distance of the foot (Fig. 5)	The feet, tightly fitting, completely cover each other: the heel of one foot touches the toe of the other (Fig. 6)	The feet stand parallel to each other (heels and toes are closed) (Fig. 7)

The third, fourth and fifth positions are studied alternately from the right and left legs. The third position, being easier, serves as preparation for the fifth position. Once the fifth position is mastered, the need for a third position in classical dance lessons disappears. The fourth position requires special position hands and head. At first the fourth position is studied en face, later in epaulement, it is formed from the fifth position.

Note. When studying leg positions, the following are required: a toned body, freely open and lowered shoulders, extreme tension in the legs, even position of the foot on the floor; emphasis on the thumb is unacceptable. When studying the second and fourth positions, it is important to distribute the center of gravity of the body evenly on both legs and monitor the evenness of the shoulders and hips. Proper construction of the position is the key to turning out. At first, positions are built randomly. Later, when the battements tendu have been mastered in all directions, the transition from one position to another is accomplished through the battement tendu. Performing one or another position throughout an entire musical phrase is gradually consolidated as a skill and disciplines students.

slide 6 HAND POSITIONS

Hand placement is the manner of holding them in a certain shape, at a certain height in positions and other positions.

The placement of the hands begins with a preparatory position, since from the preparatory position the hands begin to move into positions and other positions. It is necessary for children to understand that the position of the hands is inseparable from the position of the body, back and head.

Straightened shoulder blades are of great importance for the correct positioning of the hands. It is necessary to achieve a back with straightened shoulder blades as soon as possible, at the beginning of training. This back, with the right feel, gives greater freedom to the arms in different positions and positions.

Hand positions are learned in the middle of the room from the very first lessons. First you should learn the position of the hand: the tip of the 1st finger touches the 2nd phalanx of the 3rd finger, the rest are freely grouped. It is necessary to ensure that the thumb is in contact with the middle finger, otherwise during difficult movements it moves away greatly and the hand looks sloppy. This is required only during the initial setting, while the student’s movements are not yet subordinated to his will and the fingers are tense. Subsequently, the hand receives a little freedom: the roundness of the fingers is maintained, but the 1st finger does not come into contact with the 3rd, but only moves towards it.

slide 7. In the classical dance of the Leningrad school, three hand positions are accepted. They are studied in the natural position of the legs: the heels are placed together, the toes are slightly apart. The body is pulled up, the shoulders are lowered and open. Head position enface (en face). Musical time signature 4/4, 3/4.

IN preparatory position the arms are lowered down, should not touch the body, the elbows are directed to the side, bent, forming an oval, the hands are rounded, the palms are directed upward. It is necessary to ensure that students do not break the line of their hands at the wrist and elbow, there should be no angles, there should be a smooth line of both hands. Students should feel their hands, the top of the arms should not touch the body, there should be air under the arms, shoulders should be lowered (Fig. 8)	(Fig. 8)
Then they study I position . From the preparatory position, the arms, maintaining their shape, rise up to the level of the diaphragm. Feel the top of your arms (it is holding), your elbows should be at the same level as your hand; make sure the brush is supported. The arms are not clasped at the elbows. Form an oval. In this case, the shoulder blades are straightened, the shoulders are lowered and must be straightened. There can be no movement of the arms and shoulders (Fig. 9)	(Fig. 9)
Presentation, slide 8. After studying the first position, you should study III position . From position I, the arms, maintaining their shape, rise up above the head. The hands, as in the preparatory position and in the first position, are brought together, the distance between the hands is approximately two fingers. Elbows should look to the sides, palms facing down and even slightly turned towards you. It is necessary to ensure that the arm line does not break. It is very important for the third position that the hands do not go back behind the head - they should be in front of the head. The correctness of the position is easy to check. To do this, without raising your head, you need to look up. If the brushes are visible, then the position is correct. The arms, as in the first position, are supported from the shoulder to the elbow by the tension of the muscles of the upper part (Fig. 10)	(Fig. 10)
After position III has been studied, you can begin to study II positions . The arms are raised from the preparatory position to the 1st position; from the 1st position only the lower part of the arms from the elbow begins to move, the upper part of the arms remains motionless. The lower part of the arms opens towards the sides until the arms can be smooth line. Then the whole hand opens. You need to make sure that when opening, your elbows are facing back. It is very important that your hands do not go back and are slightly in front of your shoulders. It is imperative to keep your elbows, they should not be pinched, the upper part of the arm should be strong. Palms facing the viewer. Shoulders slumped. If your arms are raised to shoulder level, it will remain correct position. Hands lowered below shoulder level seem passive, without the necessary sensation (Fig. 11)	(Fig. 11)

slide 9 Transfers of hands from position to position

Exercise 1.

The hands rise from the preparatory position to the 1st position, from here, continuing the movement, they rise to the 3rd position, from the 3rd position they return to the 1st position and from the 1st position they fall to the preparatory position.

When transferring from the preparatory position to the first position, the hands, while maintaining roundness, rise to a height just below the diaphragm. During movement, they should be supported at two support points - elbows and fingers - at the same level. Further, maintaining roundness, they rise upward to position III, as if enclosing the head in an oval frame. The tendency of students to raise their shoulders and pull their arms back should be prevented.

The exercise is also performed with one hand, which moves exactly against the middle of the body, while the other hand maintains the preparatory position. The movement of the hands here and in subsequent exercises should be smooth. The arms retain their original roundness and move independently, regardless of the body. The music style is very smooth, in 4/4 and 3/4 time signatures. The exercise is performed evenly over four beats. Only after positions I and III have been mastered can you begin to study position II.

Exercise 2.

The arms are raised from the initial preparatory position to the first position. While maintaining their roundness, they gradually open to the sides, starting movement from the fingers themselves. At the same time, they are supported at two support points - at the elbows and at the same level. At the end of the movement, the arms are slightly in front of the body, continuing in a line of open and lowered shoulders. The tendency of students to pull their arms back should be prevented. The hands, opened to position II, are joined again in position I and lowered to the original preparatory position. The exercise is performed smoothly, without accents. Musical time signature is 4|4 and 3|4. The first beat - the arms are raised to the first position. The second measure - opens to 2nd position. Third measure - return to 1st position. Fourth beat - lower to the initial preparatory position.

When position II is mastered, the hands are lowered directly to the preparatory position. The arms, open in position II, are turned with the palms down and, slightly softening at the elbows, lowered to the initial preparatory position, restraining the movement in the fingers. Musical time signature in exercise 4|4 and 3|4. The first beat - the arms are raised to the first position. The second measure - opens to 2nd position. Third beat - maintain the accepted position of the 2nd position. Fourth beat - lower to the initial preparatory position.

Exercise 3.

The hands rise from the preparatory position to the 1st position, then continuing the movement, they rise to the 3rd position. The hands, raised to the third position, while maintaining roundness, open to the second position, starting their movement from the fingers themselves, after which they are lowered directly into the preparatory position.

Note.

When performing these exercises, your hands should be free during movement, not at all tense at the elbows. The shoulders are not involved in the movement; they are kept open. Having mastered the third position of the hands, they study what the position of the hands should be during exercise at the machine, and holding onto it with only one hand.

It is necessary to stand at the machine at a distance with your arm bent at the elbow, placing your hand on the machine, but in no case clasping it, slightly in front of your body. The hand free from the machine takes the initial preparatory position, your legs rise to the required position, and your head turns away from the machine itself. In this way, all previous exercises are performed at the machine, and now they also include head movements.

When the right hand rises to the first position, the head tilts slightly towards the left shoulder, the gaze is directed to the hand. When the hand opens to position II, the head, rising, turns to the right, the gaze is directed behind the hand. As soon as the hand lowers to the initial preparatory position, the head remains in a right-hand turn. If, through position I, the hand is raised to position III, the head, turning to the right, is slightly raised, and the gaze follows the hand. If the hand opens to the 2nd position, the head turns to the right. Head movements are very free, the neck is not tense at all. You must carefully monitor the evenness of your open and lowered shoulders. The hand that performs the exercise moves exactly against the middle of the dancer's body; the hand that lies on the machine does not change its original accepted position. The musical time signature is the same as in the previous exercises.

In the future, the same exercises are given an artistic twist. The hands begin to move behind the beat from the fingers themselves, slightly unbending at the elbow, opening slightly from the initial preparatory position to the sides. At the moment of turning, the head bends slightly, the gaze follows the dancer’s hand. Closing again into the initial preparatory position, the dancer’s hands proceed to perform the given exercise. Movement by beat is first included in the stick exercise, and once mastered, it is performed in the middle of the class.

slide 10 Other hand position options

slide 11 PORT DE BRAS (PORT DE BRAS)

(exercise for arms, body, head, body tilts, head)

A group of exercises that develop body flexibility, smoothness and softness of the hands and coordination of movements.

Here are several options for port de bras. The exercise is performed at the barre with one hand and in the middle of the hall with both from the V position in the en face position (en face) or in a half turn croisee (croisee), effacee (eface).

• Before starting I port de bras, hands are in a preparatory position (Fig. 17-21).

• before the start of II port de bras, the hands are raised to I and the right hand to III, the left hand to II positions (Fig. 22-26).

slide 12

• Before the start of the III port de bras, the hands are transferred from the preparatory position through the first to the second (Fig. 27-30).

Perform the exercises smoothly, observing the exact positions of your hands, accompanying their movements with your gaze and turning your head. The musical size is 3/4, 4/4, the tempo is slow.

Temps lie (tan lie).

This is generally accepted with junior classes a combination of movements with gradually increasing difficulties. The simplest temps lie is completed as follows.

Become in a V croisee position, with your right foot in front. Make a demi-plie, the right leg slides with the toe forward on the floor in croise, the left remains on the plie, both hands are in the first position, look at the hands, with the head turned in the same direction, transfer the body to the right leg, having previously done passing demi-plie, extend the toes of the left foot from behind, raising the left hand up and the right hand to the side. The head is turned to the right. Pull the left leg from behind into the V position face on demi-plie, moving the left hand to the I position, and leave the right hand in the II position, head face; slide the toe of your right foot towards the 2nd position (opening your left hand to the 2nd position and accompanying it with your gaze), leaving the left hand on the plie; transfer the body to the right leg, having previously made a passing demi-plie on it, and, stretching out the fingers, pull the left leg forward into the V position. Lower your arms to the preparatory position. Repeat everything on the left leg. The same movements are made backwards. It is recommended for beginners to study temps lie in 4/4, arranging the movement in two measures: on the first quarter, make a demi-plie in V position, on the second, extend your fingers forward in croise, the passing plie occurs between the second and third quarters, on the third - pose croisee back, on the fourth - stand in the V position. Then the next beat: for the first quarter - demi-plie in V position, for the second - the leg is brought out with outstretched toes towards the II position, for the third - the toes of the left foot are extended with the body moving to the right leg, for the fourth - stand in V position ( Fig. 31).

In high school, you can do temps lie, raising your leg 90° while moving forward, backward and to the second position. From V position demi-plie on the left leg, making the right battement developpe forward on the croise; move to the right leg in an attitude croisee back, fall on the left leg in a demi-plie, bringing it to the right leg, which bends to the knee 90°; make a battement developpe with your right foot to the 2nd position and switch to the right foot, raising the left one to the 2nd position by 90°; demi-plie on the right leg, bending the left at the knee, bringing it forward, continue the movement with the other leg (Fig. 32)

In middle and high school, you can study temps lie en tournant: first do tour en dehors sur le cou-de-pied from V position, then do temps lie forward. Once again the same tour and temps lie towards the 2nd position.

Then, to perform temps lie en tournant at 90°, after the tour is done, the leg is at the knee in front. The hands are the same as when moving on the floor (Fig. 31). When performing temps lie back, tour is done en dedans. Temps lie saute consists of successive small sissonnes tombees, but it belongs to allegro.

slide 13

Musical accompaniment

• ROND DE JAMBE
• WITH 1/4 AND 1/2 CIRCLE ABDUCTION
• DEMI ROND
• PASSE
• GRAND RONDDE DE JAMBE JETTE
• AN LER
• PAR TER

“The Rondo of Venice” is played throughout the entire presentation.

Classical choreography is the basis on which all dance art rests. Having learned all its intricacies, you will be able to master any genre that you like.

How did classical choreography appear?

Dance is one of the most ancient arts. Since time immemorial, through body movements, people have expressed their emotions, experiences and even communicated with higher powers. Needless to say, each of the numerous nationalities inhabiting the planet has its own specific dances, the features of which are related to cultural, social and everyday traditions. Classical choreography has incorporated the most beautiful, graceful and harmonious movements that existed in the dance cultures of different nations.

Despite all of the above, this art is young. Age classical choreography(in its current form) no more than 400 years. Humanity owes its appearance to the Italian nobility. During the Renaissance in the northern regions of the country, not a single reception was complete without dancing. The predecessors of modern choreographers were dance masters who served in the royal court. It was they who developed those uniform standards (a kind of “dance etiquette”) that we still follow today.

How did the terminology of classical dance come about?

TO XVI century classical choreography became widespread throughout Europe. But the epicenter of development of this art became France. Since the founding of the Royal Dance Academy in Paris, choreography has become not just court entertainment, but an independent art direction. Another 100 years later, Raoul Feye created a system of elements of classical dance. He gave each of them French name. Now all dancers in the world use them in their professional vocabulary.

Basic Concepts

Classic choreography for adults and children consists of the same elements, but the complexity and technique of execution will differ significantly. However, the basic concepts and requirements remain the same.

The first and most important condition is good turnout. This is the ability to externally rotate the hip joint, which allows the leg and foot, in particular, to assume basic positions. Even if this property is not given to a person from birth, it is quite possible to develop it through regular and diligent practice.

A pose is a static figure, which is determined by the position of the dancer's body, limbs and head. Depending on the position relative to the audience, poses can be open or closed. The main ones include croisee, effacee, ecartee and

Positions are the basic positions of the limbs. If we are talking about feet, then they must certainly be on the floor. It is the positions that determine the correct position of the body, give it grace, and the dance - expressiveness.

Leg positions

The school of classical choreography often begins with the development of turnout, which allows the legs to take the main positions. There are six of them:

• first position - the feet touch the heels and turn outward, forming a straight line on the floor (or an angle of 180 degrees);
• the second position is a derivative of the first (the legs form the same straight line, but between them there is a distance equal to the size of one foot);
• third position - the heel of one foot is pressed to the middle of the other (at the same time, the legs still form an angle of 180 degrees);
• fourth position - turnout legs are located parallel to each other at a distance equal to the length of one foot;
• fifth position - the feet are pressed tightly against each other, with the toes and heels covering each other;
• sixth position - the feet are located parallel to each other and perpendicular to the position of the body.

Hand positions

Smooth hand movements give the dance beauty, tenderness and expressiveness. However, in order to achieve results, it is important to know their main positions, namely:

• preparatory position - arms down, elbows and hands rounded;
• first position - from the preparatory position you should raise your arms, fixing them in front of you at the level of the diaphragm;
• second position - from the first position, arms should be spread to the sides (at the same time, the elbow and hands should not sag, but should remain slightly rounded);
• third position - raised above the head from the first hand.

Basic groups of movements

Choreography is a rather complex science. Classical dance requires not only physical skills, but also theoretical knowledge. Thus, the following main groups of movements are distinguished;

• plie (plier) - bending the legs at the knees;
• etandre (etendre) - stretching of the body and limbs;
• releve (relever) - lifting onto half toes;
• glisser - smooth sliding of the foot along the floor;
• saute (sauter) - jumping;
• elance (elancer) - leg throw;
• tour (tourner) - turning around oneself.

This is the basis of choreography, but it is far from a complete list of its positions. The dance is a smooth alternating change of positions using the indicated basic movements.

Exercise at the machine

The theater of classical choreography begins with a special exercise. This is a set of exercises aimed at developing the musculoskeletal system. It is with exercise that any dancer begins his training. The complex includes the following basic exercises:

• - smooth squatting in all known leg positions (can be half and deep), aimed at warming up the muscles and ligaments.
• Battement tendu (batman tandu) - sliding the toe along the floor with tension of the entire leg and stretching the instep (develops the Achilles and promotes overall muscle development).
• Battement jete (batman jete) - a low toe throw, accompanied by a sharp break in the legs and tension in the groin area (development of the hip joint and ankle).
• Rond de jambe par terre (Ron de jambe par terre) - the working leg describes a circle on the floor (this exercise helps develop eversion and also warms up the hip joint).
• en dehors - movements are directed forward in relation to the supporting leg;
• en dedans - the toe “draws” a circle in the opposite direction;
• Battement fondu (batman fondue) - the supporting leg is smoothly and plastically lowered into the “demi plié” position, and at this time the working leg bends at the knee, touching the toe to the ankle (on the rise, the knee of the supporting leg is extended, and the working leg is straightened at an angle of 45 degrees).
• Battement frappe (batman froppe) is a sharp, energetic movement during which the working leg “hugs” the supporting ankle with its foot.
• Battement pique - represents a sharp and low lift of the leg from the floor (as if the dancer is touching a hot surface or a prickly needle).
• Battement releve lent is a slow lifting of the leg to a height of at least 90 degrees (the position should be fixed for a few seconds, and then returned to the starting position).
• Grand battement jete (grand battement jete) - this exercise can be considered a complicated version of the battement jete, during which there is a sharp large gap between the legs (in this case, the working one must rise at least 90 degrees).

It is worth noting that the exercises are done with the so-called cross, during which the leg alternately moves forward, sideways and backward. At the same time, at the very beginning of training, the exercises are performed in an elementary basic nature. Later, more complex combinations can be learned, aimed at developing plasticity and grace.

Classical choreography for children

Perhaps more often than in any other sections, parents send their children to dance clubs. And even if in the future the child does not become a famous ballet dancer, these classes will not be in vain for him. The benefits for children from choreography are as follows:

• development of correct posture, as well as its correction;
• formation of a muscle corset, which is designed to protect the spine from curvature;
• development of flexibility and physical endurance;
• prevention of musculoskeletal diseases;
• weight loss and maintaining optimal weight;
• normalization of the vestibular apparatus.

Among other things, regular choreography classes help develop natural grace and, of course, a harmonious figure (which is important for both girls and boys). However, if you have problems with the cardiovascular system, you should approach training with caution. In some cases they may be contraindicated.

Where does dance training begin?

Oddly enough, classical choreography classes begin with a dance step. It is he who is the basis of any composition. The step should be clear, inverted and flexible. During training, insufficient development of the Achilles, knee or hip joint may be identified, which is corrected through regular training.

One more important point is the stand. The spine should be stretched strictly vertically, the buttocks and stomach should be pulled up, the shoulder blades should be pulled back, and the shoulders should be lowered down. If the body is in a relaxed position, stability will be lost, as well as balance, and therefore no movements will be possible. Of course, at first it is quite difficult to monitor your posture, but after a few months of regular exercise this body position becomes natural.

Conclusion

Modern classical choreography is the result of centuries of work by practitioners and theorists who created unique system movements and positions, as well as a dance language that is understood throughout the world. In a relatively short time (on a historical scale, 400 years is not so much), dance has transformed from a primitive expression of emotions and an element of mystical rituals into a real art that humanity never tires of admiring.

Unfortunately, many still consider choreography a frivolous activity. However, this is a whole science. And even if dance does not become your profession or passion of your whole life, the classes will not pass without a trace. Regular training will help you form a beautiful figure and posture, develop a smooth gait, and give grace to your movements. In addition, you will be insured against many diseases of the musculoskeletal system.

Choreographic terminology is a system of special names designed to designate exercises or concepts that are difficult to briefly explain or describe.

In the 17th century (1701), the Frenchman Raoul Feuillet created a system for recording elements of classical dance. These terms are recognized by experts in the field of world choreography even today.

Turning to specialized literature, students experienced difficulties when faced with unfamiliar terms, such as: “Eversion of the legs,” and this is a necessary and obligatory condition for the technique of performing elements of classical dance; “Body” is an unacceptable term in gymnastics; it is replaced by “Posture” , "Balloon" - the ability to fix a pose in a jump, "Force" - the necessary preparatory movement of the arms to perform pirouettes, "Aplomb" - a stable position of the student, "Elevation" - the ability of an athlete to show the maximum phase of flight in a jump, "Priporasion" - preparatory exercises hand or foot before starting to perform an element, “Cross” - performing elements in the following directions: forward, sideways, backwards, to the side or in the opposite direction.

Knowledge special terms speeds up the learning process. Choreographic terminology characterizes movement in more detail than gymnastics. This is the international language of dance, the opportunity to communicate with choreographers, understanding of specialized literature, the ability to briefly record training combinations, lessons, etudes, floor exercises, compositions.

Terminology is always constructed in accordance with the rules of word formation. The main advantage of the term is its brevity. This makes it possible to reduce the time for explaining tasks and maintain the density of the lesson.

But students are not always able to remember choreographic terminology, so the idea arose of writing choreographic elements using gymnastic terminology, for a more accessible perception by students of the material being studied.

Experience shows that it is precisely students who do not have choreographic training who have difficulty remembering the names of movements. As a rule, these are trampolineists and jumpers on the acrobatic track. But athletes who have fulfilled the standards of CCM and MS do not always have knowledge of the terms and correct technique performing even the simplest elements. The creation of this kind of table and a large number of illustrations for the elements make it possible to organize students’ knowledge in the field of choreographic training, to be fluent in choreographic terms and, if necessary, to use special literature on choreography.

POSITIONS OF HANDS AND LEGS IN CLASSICAL DANCE POSITIONS OF HANDS

preparatory

Hands down, rounded at the elbow and wrist joints with the palm up. Thumb inside the palm

I – first

Arms forward, rounded at the elbow and wrist joints

II – second

Arms forward to the sides, rounded at the elbow and wrist joints with palms facing inward

III – third

Hands forward upward, rounded at the elbow and wrist joints, palms inward

HAND POSITION OPTIONS

Right hand in third position, left hand in second position

Right hand forward, palm down, left hand back, palm down

Right hand in second position, left hand in preparatory position

Right hand in first position, left hand in preparatory position

Right hand in third, left hand in preparatory position

LEGS POSITIONS

I – first

Closed toe post outward. Heels closed, toes out. The legs are located on the same line with an even distribution of the center of gravity throughout the foot

II – second

Wide stance with your feet apart and your toes out. The legs are located from each other on the same line at a distance of one foot with an even distribution of the center of gravity between the feet

III – third

The right one is placed in the middle of the left foot (toes out)

IV – fourth

Stand with your feet apart, right in front of the left (at a distance of one foot), toes outward (performed on both feet)

V – fifth

Closed stance right in front of the left, toes out (the right heel is closed with the toe of the left, performed on both legs)

VI – sixth

Closed stance (heels and toes closed)

LIST OF EXERCISE ELEMENTS

Exercise – choreographic exercises in a set sequence at the support or in the middle.

ROTATIONS 90°, 180°, 360°, 540°, 720°, 1080°.

METHOD OF TRAINING THE BASIC ELEMENTS OF EXERCISE

DEMI PLIE, GRANA PLIE (HALF SQUIET, SQUT)

The purpose of the exercise is to develop the elasticity of the articular-ligamentous apparatus and “eversion” in the hip, knee and ankle joints. This exercise helps develop jumping ability by stretching the Achilles tendon.

Half squat(demi plie)

The half squat is performed in all positions. In this exercise, the heels do not come off the floor, the weight of the body is distributed evenly on both legs. Bending and extension of the legs is performed smoothly, without stopping, “inverted”, the knees are directed to the sides, along the line of the shoulders. Posture is straight.

Squat(grand plie)

The squat is performed in all positions. First, a half-squat is performed smoothly, then the heels are gradually raised, and the knees are bent as much as possible. When extending, the heels are first lowered to the floor, then the knees are straightened. When raising your heels, do not rise high on your toes. The exception is the grand plié in the second position, where the heels do not come off the floor due to the wide position of the legs.

Flexion and extension should be performed smoothly, at the same pace. The pace is average. Before starting the exercise, the hand (if the movement is performed at the machine) or both hands (if the movement is performed in the middle) are transferred from the preparatory position through the first position to the second. Then, with the beginning of leg bending, the arm (or both arms) is lowered from the second position to the preparatory position, and with the beginning of leg extension, the arm is again transferred through the first position to the second.

BANTMAN TANDYU (STRETCHED)

(position of the foot on the toe forward, to the side, back)

Flexion and extension of the foot by sliding along the floor until the foot is on the toe. Performed from the first or fifth position in three directions: forward, sideways, backward.

The purpose of the exercise is to teach how to correctly stretch the leg in the right direction, to develop strength and elasticity of the instep (ankle joint) and beautiful line legs

Batman tandu(right to the side on the toe)

Batman tandy forward(right forward on toe)

Banman tandyu back(right back to toe)

Batman tandu forward and backward is performed along a line strictly perpendicular to the body, and to the side - exactly along the line of the shoulder. When performing batman tandu, first the entire foot slides along the floor, then the toes and instep are gradually extended. The center of gravity of the body is on the supporting leg, the toe does not come off the floor.

Make sure that your knees remain as extended as possible and that both legs remain turned out. When stretching your leg, there should be no emphasis on the toe. As the leg returns to its original position, the foot gradually lowers to the floor. The heel is lowered to the floor only in the starting position.

When performing forward, sliding begins with the heel, and back the foot returns with the toe to the IP. When performing backwards, the toe begins to slide, and the foot returns back with the heel to the IP.

4/4 , the pace is slow. Later, the movement is performed from the beat. Musical time signature -2/4, the pace is average.

BATMAN TANDUE JETE (WASH)

Develops muscle strength, beauty of the leg line and clarity of execution.

Small clear swings of the leg to the downward position and return to the starting position through the batman tandu.

Performed in the first or fifth position in three directions: forward - downwards, to the side - downwards, back - downwards.

Batman tandu jete to the side

(swipe the right one to the side - downwards)

Batman tandu jet forward

(swipe right forward downwards)

Batman tandu jete back

(swipe right back down)

Batman tandu jete is performed in the same way as batman tandu, but when reaching the position on the toes, the leg does not linger, but continues to move with a swing, where it is fixed at the height of the middle shin of the supporting leg (45°). Both legs should be “turned out”, the leg muscles should be tightened, and during the swing the instep and toes of the working leg should be extremely stretched.

Returns to IP with a sliding movement through the position on the toe.

Musical size at the beginning of learning - 4/4 or 2/4, the pace is slow. As you master the exercise, the leg swing is performed from a beat, the tempo is average.

GRAND BATMAN (RIGHT SWING FORWARD, SIDEWAY, BACKWARD)

The leg is in this position both when performing large batman jetés (swings), fixed at 90°, and when slowly raising the leg - relevé lan.

Foot forward position

Leg position to the side

Leg position back

Large swings into the air and return to the starting position are performed in the first or fifth positions in three directions: forward, sideways, backward. From the starting position, the leg rises into the air with a swing, passing along the floor with a sliding movement, as in the batman tandu jet, with the leg fixed at 90° (hereinafter higher), and returns by sliding through the batman tandu jet to the IP. Make sure to maintain the “turnout” and tension of the knees, instep and toes of the working leg. Transfer the center of gravity of the body to the supporting leg. When performing a large swing forward and to the side, the torso should remain strictly vertical. When swinging backwards, a slight forward tilt of the torso is allowed.

Musical size – 4/4. At the beginning of learning the pace is slow. As the leg swing is mastered, it is performed out of beat, the tempo is average, and the height of the swing increases in three directions: up and then up.

When performing a relevé, the leg slowly rises forward, to the side or back and just as slowly lowers to the starting position (through the batman tandu). As it is mastered, the height also increases, as in Grand Batman up and up.

RONDDE DE JAMBE PARTERRE (CIRCULATORY MOVEMENT OF THE TOE ON THE FLOOR)

The main objective of the exercise is to develop and strengthen the hip joint and the necessary “turnout” of the legs.

The movement is performed forward – an deor and backward – an de dan.

An deor(outside)

From the first position, a sliding movement forward onto the toe (batman tandu), maintaining maximum “turnout” and tension of the legs, is transferred by sliding to the second position to the right position to the side on the toe, then, maintaining “turnout” and tension, it is carried back to the toe (batman tandu) and returns by sliding to the starting position

An dedan(inside)

When performing the exercise backwards (an dedan), the leg from the first position is sliding back onto the toe, then sliding to the side onto the toe (to the second position), from the second position sliding to the right position forward on the toe (batman tandyu) and sliding back to the starting position. position

The center of gravity of the body is maintained on the supporting leg. The working leg should move “inverted” through all the main positions of the legs on the toes at the same pace. Through the first position, the leg is carried out in a sliding motion with the obligatory lowering of the entire foot to the floor.

Musical size 3/4, 4/4, medium tempo.

PORT DE BRAS (EXERCISES FOR THE TORSO AND ARMS)

A group of exercises that develop body flexibility, smoothness and softness of the hands and coordination of movements.

Here is one of the forms of por de bras, which consists of bending the torso forward and straightening it, tilting the torso back and returning to its original position.

The exercise is performed at the support and in the middle of the hall from the fifth position in a facing position (en face) or in a half turn (croise, hilt). Before starting the exercise, the hands are transferred from the preparatory position through the first to the second.

Fifth position of legs, second position of arms

Closed stance, right in front of the left, toes out, right heel closed with the toe of the left. Arms to the sides, rounded at the elbow and wrist joints, palm forward, thumb inward.

Fifth position of legs, third position of arms

Port de bras forward, arms in third position (torso tilted forward, arms up, rounded at the elbow and wrist joints).

Fifth position of legs, first position of arms

Closed stance, right in front of the left, toes out, right heel closed with the toe of the left. Hands forward, rounded at the elbow and metacarpal joints with palms facing inward.

Port de bras back, third hand position

Tilt the torso back, arms up, rounded at the elbow and wrist joints, turn the head to the right (tilt the torso back only with your shoulders back, without relaxing the muscles of the lumbar region).

Perform the exercise smoothly, observing the exact positions of your hands, accompanying their movement with your gaze and turning your head. The musical size is 3/4, 4/4, the tempo is slow.

SUR LE COU AE PIE (FIXED POSITIONS OF THE BENT LEG ON THE ANKLE)

Position the foot on the ankle (sur le cou de pied) to perform batman frappe, batman fondue, petit batman, botu. The right one, bent with a slightly straightened foot, is located above the ankle of the other leg, touching it with the outer part of the foot. Fingers are pulled back.

The position sur le cou de pie is performed in front and behind. In both cases, the knee of the bent leg should be “turned out” and directed exactly to the side along the line of the shoulder.

Sur le cou de pied

(basic position of the foot is on the ankle in front)

Sur le cou de pied

(basic position of the foot is on the back of the ankle)

Batman frappe consists of bending the working leg into the position sur le cou de pied and extending it onto the toe at the initial stage of training, and as it is mastered, in a downward position in groups UTG-2,3, and in groups UTG-4, SS, VSM - on half toes with lowering in various poses in a toe or down position.

First, the exercise is learned by extending the leg to the side, then forward and later back, facing the support at a slow pace. It is necessary to monitor the maximum “eversion” of the leg in the hip, knee and ankle joints.

When flexion and extension of the leg in all three directions is mastered, the leg flexion will be performed from the beat with an emphasis on leg extension.

Musical size – 2/4, the pace is average.

First, only the position sur le cou de pied in front and behind is learned. The leg from fifth position is fixed above the ankle of the other leg and lowered again to fifth position. It is recommended to practice this exercise facing the support. It is necessary to monitor the maximum “turnout” of the leg in the hip, knee and ankle joints, maintaining correct posture and the center of gravity of the body on the supporting leg.

As you master the position of the foot on the ankle in front and behind, you learn to change the position in front and behind at a slow pace, and as you master it, at a fast pace. To learn double frappe in groups UTG-3, UTG-4 on half-toes and in combination with demi-plie poses.

The position of the foot on the ankle (sur le cou de pied) to perform batman fondue. This exercise consists of bending the leg into a sur le cou de pied position with an extended “lift”, a simultaneous half-squat on the supporting leg and extension of the working leg to the toe or downwards in one of three directions.

Sur le cou de pied

in front (conditional position of the foot on the ankle in front)

Sur le cou de pied

from behind (conditional position of the foot on the ankle behind)

First, only the position sur le cou de pied is learned in front, then behind. After this, a half-squat on the supporting leg and extension of the working leg, first to the side, then forward and backward, facing the support, are learned.

Musical size – 2/4, the pace is slow. The movement is very smooth.

It is necessary to monitor the “turnout” of the legs and the distribution of the center of gravity of the body on the supporting leg. Once the movement is well understood, various hand positions can be introduced, especially when performing exercises in the middle of the gym. In the UTG-3 group, the batman fondue double is learned, and in the UTG-4, SS, VSM groups, the exercise is performed on half fingers.

PASSE (TRANSLATIONS – “EVERYTHING” POSITION OF THE BENT LEG IN FRONT, TO THE SIDE AND BACK, TOE AT THE KNEE).

DEVELOPMENT (FLEXION AND EXTENSION OF THE LEG 90° AND HIGHER)

The exercise develops “turnout” in the hip, knee and ankle joints and is a lead-in exercise for performing development.

Passe to perform development forward

Stand on the left, the right is bent at the knee with the toe in front.

Passe to perform development back

Stand on the left, the right is bent to the side, the toe is at the back of the knee.

Passe to perform development aside

Stand on the left, the right is bent to the side, the toe at the knee to the side.

If the leg extends forward, then from the starting position it is transferred from the position sur le cou de pied in front. If the leg is extended back, from the position sur le cou de pied from behind.

Then the working leg slides upward along the supporting leg (but without touching it) and opens in the required direction. If the leg is extended to the side, then, without bringing the toe slightly to the knee of the supporting leg, it must be moved to the inside of the supporting leg and then straightened.

When performing, it is necessary to monitor the “turnout” of the hip, the tension of the instep and fingers.

When the passé is well mastered, the second part of the movement is introduced - extension of the leg in one of three directions forward, sideways, backward. First, the developer learns to the side, then forward and later back. Sideways and backward leg extension is learned facing the machine. The movement is performed smoothly. It is necessary to monitor the “turnout” of the leg during its extension and return to its original position. The musical size is 3/4, 4/4, the tempo is slow. When performed in the middle, various rotations of the torso and positions of the arms can be given. The passé position can also be used when moving the leg from one pose to another.

Development is performed from the fifth position in groups UTG-3, UTG-4, SS, VSM in the upward position, and as mastered, upward in three directions and on the half-toes, into poses in combination with elements of the chosen sport.

Studying under the program “Classical and Modern choreography"You will definitely attend theoretical classes. They take the form of small seminars and give students the necessary theoretical knowledge of the Fundamentals of classical choreography. Each student is given a note, which contains information on the topic of the seminar in a concise form.

For example, the topic “Basic Concepts of Classical Dance” involves studying the positions of the legs and arms in classical dance. The following issues are discussed at the seminar.

Five reversible leg positions:

Item name	Position Description	General remarks
	The first is that the feet are turned with their toes to the sides in one straight line, turned out, the heels are connected.	The feet in the position should not rest on the big toe or little finger
	Second - the feet are turned with their toes to the sides along one straight line, turned out, the heels are spaced one from the other at a distance of the length of the foot.	In the second position, the center of gravity is distributed evenly on both legs.
	Third - the feet are turned outwards, one in front of the other, the heel of one foot is tightly adjacent to the middle of the foot of the other.	The reverse third position is studied only in the first year of training. It is no longer used in classical dance.
fourth	Fourth - the feet are turned out, one in front of the other at a distance of the length of the foot. The toe of one foot is opposite the heel of the other.	The fourth position, as the most difficult, is the last to be introduced to.
	Fifth - the feet are turned outwards, one in front of the other, the feet are pressed tightly together. The toe of one foot is at the heel of the other.	When moving from position to position, the toe of the working leg does not leave the floor, the position of the body will be maintained. The transition is carried out with one movement of the working leg, without trampling on the supporting leg.

The study of leg positions begins facing the machine. It is very important to immediately position the body correctly: the spine is vertical to the very top of the head, the stomach is tucked, the gluteal muscles are tucked and tense, the shoulders are lowered, the chest is open, the shoulder blades are not compressed at the back. The hands are on the surface of the machine stick opposite the shoulders, they do not clasp the stick, but lie freely on it. The thumb is on the barre stick, the wrist is down, the elbows are down, the armpits are not pinched. Head straight.

Three basic hand positions. Hand placement is the manner of holding them in a certain shape, at a certain height, in positions and other positions adopted in classical dance.
The first position directs the arms forward, the second - to the side, the third - upward. Other hand positions are combinations of the three basic positions.

Item name	Position Description
Preparatory position	Preparatory position. The arms are lowered down, not in contact with the body. The elbows are directed to the sides, bent, forming an oval. The hands are rounded, not touching, pointing upward. The fingers are grouped, the thumb is directed towards the middle finger, without touching.
First position	First position. The arms are raised in front of the body at the level of the diaphragm, slightly bent at the elbows and wrists, forming an oval, palms facing you. In the first position, the arms support the body well during rotation, correctly guiding the dancer’s body for a big jump. The accepted height of the arms makes it possible not to cover the chest area, which is important from an aesthetic point of view.
Second position	Second position. The arms are open to the sides at shoulder height. The shoulders, elbows and hands are almost at the same level, forming a single line of the arm. Elbows facing back, palms facing the viewer. It is necessary to ensure that the hands do not go back, but are slightly in front of the shoulders. The second position helps maintain stability when performing exercises in the middle.
Third position	Third position. The arms are raised up and form an oval above the head. The hands should be slightly in front of the head, which is mandatory. You can check yourself: without raising your head, look up; if only your little fingers are visible, then the position is set correctly.

General remarks:
The shoulders are lowered down in all positions; it is undesirable to push them forward, lift them up, or pull them back.
When lowering and raising your arms, when moving from position to position, the movement of the arm begins from the hand.
In arabesque poses, both arms are extended freely, without tension.
When moving one hand, you need to make sure that it does not go beyond the line of the center of the figure.
When you move your hand, your gaze always follows the hand. Head position and facial expression in dance great importance. The expressiveness of the face and eyes inspires the poses. Students often strain their necks, bite their lips, and tighten their facial muscles during exercises and physical activity. These shortcomings should be addressed so that they do not become a habit.

You've probably already noticed that information on the basics of classical choreography at the seminar is worked out in quite some detail. with a focus on specific issues,having an applied nature. Teachers, choreographers, and modern dance dancers can easily use all the information received during the lesson in their work. Information is presented in a condensed form, which saves time on training. Recording tables and terms on electronic media facilitates the subsequent storage of the information received. Our teachers guarantee that in our notes and seminars you will not encounter “information garbage”, those. general knowledge-intensive phrases that have no particular value in the work.