Научная статья на тему 'CLASSICAL DANCE AS THE BASIS OF ALL CHOREOGRAPHY'

CLASSICAL DANCE AS THE BASIS OF ALL CHOREOGRAPHY Текст научной статьи по специальности «Искусствоведение»

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Журнал
Oriental Art and Culture
Область наук
Ключевые слова
classical dance / arm and leg positions / posture / upright posture / tension / posture capture / hearing music / rhythm

Аннотация научной статьи по искусствоведению, автор научной работы — Radion Rashitovich Isyanov

Teaching classical dance in a children's choreographic team in conditions of additional education leads to a full-fledged aesthetic improvement of the student's abilities, to the development of his creative abilities, as well as to the formation of a harmonious physical development of aesthetic impressions, i.e. gives an opportunity for life self-determination and creative self-realization of the individual.

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Текст научной работы на тему «CLASSICAL DANCE AS THE BASIS OF ALL CHOREOGRAPHY»

CLASSICAL DANCE AS THE BASIS OF ALL CHOREOGRAPHY

Radion Rashitovich Isyanov Uzbekistan State Academy of Choreography

Abstract: Teaching classical dance in a children's choreographic team in conditions of additional education leads to a full-fledged aesthetic improvement of the student's abilities, to the development of his creative abilities, as well as to the formation of a harmonious physical development of aesthetic impressions, i.e. gives an opportunity for life self-determination and creative self-realization of the individual.

Keywords: classical dance, arm and leg positions, posture, upright posture, tension, posture capture, hearing music, rhythm.

The term "classical dance" is used by the entire ballet world, denoting a certain type of choreographic plasticity. It is a well-developed system of movements, in which there is nothing accidental, nothing superfluous. No genre of choreography is unthinkable without learning the basics of classical dance.

The indispensable conditions of classical dance are eversion of the legs, a large dance step, flexibility, stability, rotation, light, high jump, free and plastic use of the hands, precise coordination of movements, as well as endurance and strength.

This is acquired by systematic training, with careful implementation of the established rules. The construction of the lesson is the same for both the first and subsequent years of study, with the only difference that in the first year the movements are performed separately and in the simplest combinations. The lesson consists of exercises at the stick and exercises in the middle of the hall.

The sequence of exercises at the stick: plie, battements tendus, battements tendus jetes, rond de jamb par terre, battements fondus, soutenus, battements frappes, battements double frappes, rond de jamb en l*air, petits battements, developpes, grand battements jete. Exercises in the middle of the hall are performed in the same sequence as the stick. Then adajio and allegro and finger exercises are introduced into the exercises in the middle. The lesson begins with a dance march. The march brings the body into working condition, adjusts breathing and blood circulation.

The main task of the first year of training is to set the body, legs, arms and head on the simplest exercises of classical coaching, the development of elementary movement coordination skills. First, it is necessary to understand the concepts of a supporting and working leg. All exercises are performed alternately with the right and left legs. The exercises begin to be studied standing facing the stick, holding on to it with both hands. The stick develops a statement of the body. Exercises begin to be performed with a toe to the floor and into the air at an angle of 25 *, 45 *, 90 *. Dance

is organically connected with music. Classical exercises are also unthinkable without music. The tempo and rhythmic pattern of musical accompaniment at the beginning and at the end of the first year of study are different. From the first lessons, it is necessary to introduce students to the musical sizes 2/4, %, 4/4.

A properly placed body is the key to stability, facilitates the development of eversion of the legs, flexibility and expressiveness of the body, determines the freedom of the hip joint. The positions of the legs are initially studied in the middle of the hall, without observing the maximum inversion. There are five foot positions in classical dance. From the very first lessons, hand positions are studied in the middle of the hall.

Having mastered three hand positions, they study the hand positions during the exercise at the stick, holding the stick with one hand, while carefully monitoring the evenness of the opened and lowered shoulders. Exercises in the middle of the hall begin with the first lesson, studying the positions and exercises of the arms and legs. As the students gain stability in the stick exercises, these exercises are transferred in the same sequence to the middle of the hall.

In the middle of the hall , there is a need to master the concept of epaulement. There are two kinds of epaulement in classical dance: croise and effase. The artistic coloring of the epaulement depends on the tightened body, the opened and lowered shoulders, the active turning of the head in profile. Then the exercises in epaulement begin to be studied at the stick. Jumping is the most difficult section of the classical dance lesson. In the first year of training, jumps are studied after the strength has already been developed, Elasticity and eversion of the legs in demi plie, as well as the body is correctly placed. Exercises on the fingers should begin from the first year of study, but not before students learn the correct positioning of the body, legs, arms and head, tightness, eversion of the legs, and most importantly - they will acquire the lift and strength of the foot.

The main objectives of the second year of study are: the development of foot strength by exercises on the toes and toes, the development of stability, the development of leg strength by increasing the number of movements completed, the development of technique by performing exercises at a faster pace. The stick exercises in the second year of study are repeated and the exercises of the first year of study are developed. I will achieve stability on the whole foot, individual movements are transferred to half-fingers, half-turns and whole turns are introduced both at the stick and in the middle. Gradually they move on to the study of small poses, concluding exercises in the exercise at the stick and in the middle of the hall. In the second year of study, large classical dance poses with a 90* leg lift are studied, as well as various port de bras, pas de bourrée with and without changing legs in all directions.

Jumping exercises in the second year of training improve the height of the jump and train the muscles on small jumps. Along with the exercises according to the

program, some stage varieties of movements are also studied in the second year of study: stage preparation, sissonne in 1arabesque, pas de chat, etc., developing dance and stage culture. In the second year of training, finger exercises are transferred to a greater extent to the middle of the hall.

Classical dance or ballet is the foundation of all stage types of dance, it is the alphabet, the study of which is a prerequisite for reading any dance style or direction. Classical dance is the basis of choreography, the great harmony of combining movements with classical music. Practice shows that adults, thanks to a meaningful approach to the proposed material, make amazing progress in a fairly short time. The classical dance training program develops endurance, plasticity, grace, expressiveness, musicality and, of course, refined taste.

Classical classes are very useful for children, because correct posture, musicality and plasticity, coordination are developing, various cases of spinal curvature are gradually corrected. Classical dance for beginners is, first of all, the development of a preparation - a preparatory exercise when the legs and arms are brought into the desired position. The classical dance training system has developed clear complex movements that resemble a certain dance structure: bending and squatting, stretching, sliding, jumping, throws and turns. And invariably, for many centuries, each exercise is pronounced exclusively in French. Therefore, thanks to learning classical dance in Tequila Dance, you will be able to understand dancers from different countries.

The basics of classical dance are so universal that even experienced dancers of other directions do not stop practicing classics. And if your schedule cannot be adjusted to the schedule of classes, we are ready to offer you individual classes! Call us and we will find a convenient time and hall for you. You will get an indescribable aesthetic pleasure from coming into contact with this amazing art form. Classical music and classical dance classes will make your inner world richer and more refined.

As for the form of clothing for classical dance classes, first of all it should be comfortable and not restrict movement. We don't have any strict rules. It is better if the clothes are tight - so it is easier for the teacher to notice and correct mistakes. So, leggings or tights and a swimsuit are preferable to loose sweatpants.

Ballet shoes. Soft ballet shoes (ballet flats), unlike czechs, have a split leather sole (there are ballet flats in which a working elastic band is inserted between the split sole), thanks to this, the sole of the shoe fits perfectly to the dancer's foot even with the most intense foot work. It is more convenient to work in ballet flats, the foot bends better in them. Therefore, it is better to stop the choice on ballet flats Several times a year, our students perform staged performances at various venues in the city as part of the studio's reporting concerts or competitions.

Classical dance lessons at Tequila dance will allow you to plunge into the world of high art at any age. But in order for the performance of exercises to become a real

work of art, it is necessary to put sincere emotions into it, to feel the harmony of the body and music, in other words, to enliven, fascinate the viewer with plasticity and expressiveness, to give him true aesthetic pleasure.

References

1. Базарова М. Классический танец. Методика обучения. Л.: Искусство, 1984

2. Н. Базарова. Азбука классического танца. Учебно-мет. пособие. Л.: Искусство, 1983

3. В. Костровицкая, А. Писарев. Школа клас. танца. Л.: Искусство, 1976

4. А. Ваганова. Основы клас. танца. Учебное пособие. Л.: Искусство, 1975

5. А. Мессерер. Уроки клас. танца. М.: Искусство, 1978

6. Л. Ярмолович. Принципы музыкального оформления урока класс, танца. Л.: Искусство, 1976

7. Хрестоматия для уроков клас. танца. М.: музыка, 1997 3 8 Хрестоматия музыкального репертуара по ритмике. М.: Музыка, 198

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