Fundamentals of studying classical dance in choreography classes. Learning the basics of classical dance

Classical dance has recently become popular all over the world due to its versatility. Choreography classes are useful for professionals, beginners and dancers of any direction, from folk dance to breakdance. Training helps to lose weight and correct posture, give good health and longevity.

Basics of classical dance

The first lesson in classical choreography is unthinkable without learning the positions of the arms and legs, as well as dance terminology. Each movement has a traditional common name on French. The online lesson demonstrates the features of ballet technique, the specifics of each step, and introduces the basic terms and positions. Particularly pleasing is the presence of titles that allow you to accurately learn French names that are difficult to perceive by ear.

Choreographic machine. Exercises

Classical choreographic classes are usually held at a special ballet barre to classical music or piano sounds. Should start with simple option exercises shown in the video tutorial. At home, the machine can be easily replaced with any support of a comfortable height: a chair, a window sill, a chest of drawers.

classical ballet

Marina Burlyai, a classical dance teacher, is the author of a series of ballet lessons. We recommend watching Lesson 1 on the basics of ballet technique. How to achieve perfect posture? How to turn your head correctly? What are the most common mistakes for beginners? How to hold brushes in ballet? All the main rules of classical choreography are in one ten-minute video.

Basics of classical choreography

The most necessary thing in classical dance is to strengthen the core and develop balance. Before moving on to the classic exercises at the barre (exercise), beginners are advised to do special gymnastics while sitting on the floor. At first glance, the exercises seem simple and useless, although in fact gymnastics educates the body and develops the strength of the back, arms and legs. In addition to ground gymnastics, the video shows exercises for the development of feet and the ability to stand on half-toes.

Plie at the machine. exercise

On online dance schools you can find a lot of useful materials for teaching classical choreography. Video lessons of decent quality will help you understand the details of dance and learn with a professional approach. An online demonstration of a fragment of the lesson contains the classic demi-grand plie combination at the barre with an explanation.

classical dance

Twenty-minute training in classical choreography is complicated by the lack of a barre (all movements are performed in the middle of the hall). The instructor shows exercises for warming up the half-fingers, developing the correct posture, and developing balance. Beginners will be able to practice their sense of rhythm and learn how to smoothly change positions of arms and legs. In the process of training, beginner dancers will stretch for the whole body and learn the basic ballet exercises: tandu, plie, batmans.

Warm up for ballet class

Do you want to train with the first soloist of the Mariinsky Theater Maria Khoreva? We offer an online warm-up with a ballerina. Warming up is necessary before each session for more effective training and safe movements. Maria shows a complex for developing flexibility, eversion, opening the pelvis and preventing problems with the musculoskeletal system. Exercise is suitable as a daily warm-up to keep fit.

How to raise and hold your leg high

The video lesson reveals the professional features of the Bolshoi ballerinas. Classes with Marfa Fedorova will teach you how to properly train the strength and endurance of the muscular corset. The video shows exercises for the press, lifting the legs forward, to the side and back. In combination with intensive stretching, the exercises give the desired result - the ability to raise the leg high with a long delay.

Parterre exercise

Parterre in dance means movement on the floor. In contact with the floor, warm-ups and stretches, dance fragments and classical exercise can be performed. Choreographer Tatyana Kruk demonstrates the performance of plie, passe, batmans, relevé and circles in the supine and stomach positions. Parterre exercise is useful for beginners who have difficulty maintaining balance while standing at the barre.

Classical dance is the basis of choreography. Classics allows you to learn all the subtleties of ballet art, to feel the harmony of movements and music. Many will think why do the “old” when there are many new modern trends. But you need to understand that everything new originates from the dances of past centuries. So the classics absorbed all the most elegant movements from folk and everyday dances of several centuries, gradually improving the positions of the arms and legs, the position of the head and body. All dance moves in classical dance are named in French, so the dancers different countries they can understand each other without any problems Classical dance classes allow you to develop flexibility, coordination of movements, strengthen the musculoskeletal system, contribute to the development of endurance, physical and intellectual development, and also teach you how to control your body. Various combinations allow you to dance beautifully and elegantly, even if it is simple movements of the hand, foot or head.

In children involved in the classics, the correct posture is corrected and laid, some cases of spinal curvature are corrected. Often even experienced dancers of various dance styles continue to practice the classics, because its foundations are universal. In classical dance classes, they teach the basic positions of the arms and legs, the correct positioning of the body, introduce professional terminology and the history of the development of ballet, educate musicality, develop stability and coordination, and also prepare small classical productions in the form of etudes, adagios or various variations. All movements in classical dance are based on eversion - one of the essential qualities in the classics, which is simply necessary for any stage dance. Turnout and step development are necessary regardless of the height to which the leg is raised, turnout seems to hold the leg, leads it to the desired position, contributing to the purity of plastic movements and smoothing the angles formed by the heels when lifting the legs. Insufficiently flexible knee, ankle and instep hamper the free movements of the legs, making them constrained and inexpressive. Based on turnout, there are five foot positions in classical dance. Moreover, in all these positions, not only the feet are twisted, but the legs completely, starting from the hip joint. Regular long-term flexibility and endurance training allows you to take the necessary positions without much effort.

When starting to practice, you need to remember about the stance, because nothing will work if you do not stretch the body vertically, avoiding a bent or arched spine, and do not distribute the weight between the legs. It takes a lot of patience and time to develop correct posture. You should never forget about your posture - neither during classical lessons, nor during independent training, nor on any other day. Classical dance, like many others, is not only a set of movements, it needs to be revived, emotions and feelings must be put into it. And as soon as strong feelings are revealed in the dance, the impression of it changes to a large extent, it fascinates with its plastic expressiveness, leaving complete aesthetic pleasure.
In the 17th century (1701), the Frenchman Raul Feyet created a system for recording the elements of classical dance. These terms are recognized by experts in the field of world choreography at the present time. Knowledge of technical terms speeds up the learning process. This is the international language of dance, the ability to communicate with choreographers, understanding of special literature, the ability to briefly record training combinations, lessons, sketches, floor exercises, compositions.

Choreographic terminology is a system of special names designed to denote exercises or concepts that are difficult to briefly explain or describe.
Exercise at the support or in the middle - This is a set of training exercises in ballet that contribute to the development of muscles, ligaments, and the development of coordination of movements in the dancer. Exercises are performed at the “machine” (attached to the wall with brackets) and in the middle of the training hall, daily Exercises consist of the same elements.

1. demi plie - (demi plie) - incomplete "squat".
2. grand plie - (grand plie) - deep, big "squat".
3. relevé - (relevé) - “lifting”, raising to a toe rack with lowering to the IP in any position of the legs.
4. battement tendu - (batman tandyu) - "stretched" sliding movement of the foot to the position of the foot on the toe forward, to the side, back with a sliding movement returning to the IP.
5. battement tendu jeté - (batman tandyu jeté) "throw", swing to the downward position (25 °, 45 °) with a cross.
6. demi rond - (demi rond) - incomplete circle, semicircle (toe on the floor, 45ana 90 ° and above).
7. rond dejamb parterre - (rond de jamb par ter) - a circle with a toe on the floor a circular movement of the toe on the floor.
8. rond de jamb en l'air - (rond de jamb en leer) - circle with the foot in the air, stand on the left right to the side, circular movement of the lower leg outward or inward.
9. en dehors - (andeor) - a circular movement away from oneself, a circular movement outward in the hip or knee joint, as well as turns.
10. sur le cou de pied - (sur le cou de pied pie) - the position of the leg on the ankle (at the narrowest point of the leg), the position of the bent leg on the ankle joint in front or behind.
11. battement fondu - (batman fondue) - “soft”, “melting”, simultaneous flexion and extension of the legs in the hip and knee joints.
12. battement frappe - (batman frappe) - “hit” - a short kick with the foot on the ankle joint of the supporting leg, and quick extension at the knee joint (25 °, 45 °) to the toe or downward position.
13. petit battement - (petit batman) - “little blow” - alternately small, short foot strikes in the cou-de position drink in front and behind the supporting leg.
14. battu - (botyu) - "beat" continuously, small, short blows to the ankle joint just in front or behind the supporting leg.
15. double - (double) - "double", . battement tendu - double heel pressure. battement fondu - double half squat. battement frapper - double strike.
16. passe - (passe) - “to pass”, “to pass”, the position of the bent leg, the toe at the knee: in front, to the side, behind.
17. relevelent - (relevant) - “raise” slowly, smoothly slowly at the expense of 1-4 1-8 raising the legs forward, sideways or back and higher.
18. battement soutenu - (hundred batman) - “fused” - from a stoic on toes with a semi-squat on the left, right sliding forward to the toe (back or to the side) and sliding back to the IP.
19. développe - (develope) - “opening”, “deployed”, from the stoic to the left, right with a sliding movement to a bent position (toe at the knee) and extending it in any direction (forward, side, back) or higher.
20. adajio - (adagio) - slowly, smoothly includes grand plie, develope, revelant, all types of balances, pirouettes, turns. A fused bundle for 32, 64 accounts.
21. attitude - (attetyud) - posture with the position of the bent leg behind, stand on the left, right to the side - back, lower leg to the left.
22. terboushon - (terbushon) - a pose with the position of the bent leg in front (attetyud in front) stoic on the left, right forward, lower leg down to the left.
23. degaje - (degaje) - “transition” from the stance to the left right forward to the toe, step forward through the semi-squat in IV position, straightening up, stance to the right, left back, to the toe. From the stand on the left, right to the side on the toe, step to the side through the semi-squat in II position, stand on the right, left to the side on the toe.
24. grand battement - (grand batman) - "big throw, swing" 90 ° and above through the position of the foot on the toe.
25. tombée - (tonbe) - “fall” from a toe stand in the fifth position lunge forward (to the side, back) with a return to the IP in a sliding motion.
26. picce - (pikke) - “stabbing”, stand on the left right forward to the bottom, quick multiple touches of the floor with the toe.
27. pounte - (pointe) - “on the toe”, “touching the toe” from the stoic on the left, right forward, to the side or back on the toe, swing in any direction with a return to the IP.
28. balance - (balance) - “wiggle”, the pendulum movement of the legs forward up - back down, forward - back, forward - back up.
29. allongée - (allange) - "stretching", the final movement of the arm, leg, torso.
30. pordebras - (port de bra) - “kinks of the body”, tilt forward, backward, to the side. The same goes for stretching.
31. temps lie - (tan lie) - small adagio, 1-half squat on the left, 2 - right forward on the toe, 3 - shift the center of gravity to the right, left back to the toe, 4-IP 5. the same to the side and back.
32. failli-(fai) - “flying”, IP - 5th position right in front. Push 2 jump up, lowering into a cross lunge left to the side, left hand up, right back - with a push of the left and a wave of the right back down, jump up 2 hands down.
33. allegro- (allegro) - “cheerful”, “joyful”, part of the lesson, consisting of jumps, performed at a fast pace.

Back forward

Attention! The slide preview is for informational purposes only and may not represent the full extent of the presentation. If you are interested this work please download the full version.

To speak and write correctly, you need to know the rules of the language. The same is true in ballet. Only there instead of words - movements, and instead of spelling and syntax - the rules of classical dance. This name appeared in Russia at the end of the 19th century. Prior to this, ballet dance was called "serious", "noble", "academic".
The system of classical dance was formed over several centuries, the most expressive were taken from the many movements of folk dances and everyday dances. Gradually developed the positions of the legs and arms, the position of the body and head, and all dance movements received names.
It should be said that the ballet language is universal: a dancer from Germany will understand his colleague from Brazil, and a Japanese ballerina will understand an American one. Just as Italian terminology is used in music, and Latin in medicine, so in ballet all terms are French.
Classical dance is the basis of choreography. Classics allows you to learn all the subtleties of ballet art, to feel the harmony of movements and music.
All movements in classical dance are based on eversion - one of the most important qualities in the classics, which is simply necessary for any stage dance.
Choreographic terminology is a system of special names designed to denote exercises or concepts that are difficult to briefly explain or describe. Exercise at the support or in the middle: is a set of training exercises in ballet that contribute to the development of muscles, ligaments, and the development of coordination of movements in the dancer. The exercise is performed at the “machine” (attached to the wall with brackets) and in the middle of the training hall and consists of the same elements.
Terminology is divided into groups:

1. Exercise at the barre and in the middle of the hall.
2. Positions, directions, postures, additional movements.
3. Jumping.
4. Rotations.

Exercise at the barre and in the middle of the hall.

PREPARATION [preparation] - a preparatory movement performed before the start of the exercise.
DEMI PLIE [demi plie] - incomplete, small "squat", half squat, in which the heels do not come off the floor.
GRAND PLIE [grand plie] - deep, full "squat".
BATTEMENT TENDU [batman tandu] - abduction and adduction of the outstretched leg in the right direction, without lifting the toe off the floor.
BATTEMENT TENDU JETÉ [batman tandu jet] - “throw”, swing of the outstretched leg to the position of 25 °, 45 ° in the desired direction.
ROND DE JAMB PAR TERRE [rond de jamb par ter] - toe circle on the floor circular movement of the toe on the floor.
BATTEMENT SOUTENU [batman hundred] - withstand, support; movement with pulling up the legs in the fifth position, continuous, continuous movement.
BATTEMENT FONDU [batman fondue] - “soft”, “melting”, smooth movement, consisting of simultaneous bending of the knees, at the end of which the “working” leg comes to the position sur le cou-de-pied in front or behind the supporting leg, and then follows simultaneously stretching the knees and the "working" leg opens forward, sideways or backwards.
BATTEMENT FRAPPE [batman frappe] - “hit”, a movement consisting of a quick, energetic flexion and extension of the leg, the foot is brought to the sur le cou-de-pied position at the moment of flexion and opens with the toe to the floor or to a height of 45 ° at the moment of extension forward, sideways or backward.
BATTEMENT DOUBLE FRAPPE [batman double frappe] - a movement with a double blow.
PETIT BATTEMENT [petit batman] - “little blow” - alternately small, short foot strikes in the cou de pied position in front and behind the supporting leg.
BATTERIE [batri] - drum beat; the foot in the sur le cou-de-pied position makes a series of small shock movements.
BATTU [botyu] - “beat” continuously, small, short blows to the ankle joint just in front or behind the supporting leg.
ROVD DE JAMBE EN L "AIR [ron de jamb anler] - a circular movement of the lower leg (ankle) with a fixed hip laid aside to a height of 45 ° or 90 °.
ADAJIO [adagio] - slowly, smoothly includes grand plie, devlope, relay lan, all types of balances, pirouettes, turns. A fused bundle for 32, 64 accounts.
BATTEMENT RELEVE LENT [releve lan] - “raise” slowly, smoothly slowly at the expense of 1-4 1-8 raising the outstretched leg forward, sideways or backward by 90 ° and above.
BATTEMENT DEVELOPPE [batman devloppe] - taking out, opening the legs forward, backward or to the side by sliding the "working" leg along the supporting leg in the desired direction.
GRAND BATTEMENT [grand batman] - “big throw, swing” 90 ° and above the outstretched leg in the right direction.
BALANCOIRE [balancer] - "swing", used in grand battement jete.

Positions, directions, postures, additional movements.

A LA SECONDE [a la sgon] - a position in which the performer is located en face, and the "working" leg is open to the side by 90 °.
ALLONGEE [alonge] - from Ch. lengthen, prolong, extend; movement from adagio, meaning the extended position of the leg and the hidden hand, the final movement of the arm, leg, torso, the position of the elongated arm.
APLOMB [aplomb] - sustainability.
ARABESQUE [arabesque] - a classical dance pose in which the extended leg is retracted back 45 °, 60 ° or 90 °, the position of the torso, arms and head depends on the shape of the arabesque.
ATTITUDE [attitude] - posture, body position; raised leg half-bent.
BALANCE [balance] - "swing, sway"; swaying movement. It is performed with the advancement from side to side, less often - back and forth.
BATTEMENT [batman] - scope, beat.
BATTEMENT AVELOPPE [batman avloppe] - the opposite battement developpe movement, the "working" leg from the open position through the passe is lowered to a given position.
BATTEMENT RETIRE [batman retire] - transfer through the sliding of the "working" leg, through the passe from the V position in front to the V position behind.
COUPE [coupe] - knocking; a jerky movement, a short push, a quick substitution of one leg for another, serving as an impetus for a jump or other movement.
CROISEE [croise] - a pose in which the legs are crossed, one leg covers the other.
DEGAJE [degaje] - release, take the “transition” from the rack to the left right forward to the toe, step forward through the semi-squat in IV position, straightening up, rack to the right, left back, to the toe. From the stand on the left, right to the side on the toe, step to the side through the semi-squat in II position, stand on the right, left to the side on the toe.
DEMI [demi] - medium, small.
DEMI ROND [demi rond] - incomplete circle, semicircle (toe on the floor, 45ana 90 ° and above).
DESSUS-DESSOUS [desu-desu] - upper-lower part, above-under, view of ras de bourree.
DÉVELOPPE [develope] - “opening”, “deployed”, from the stoic to the left, right with a sliding movement to a bent position (toe at the knee) and its extension in any direction (forward, side, back) or higher.
DOUBLE [double] - “double”, battement tendu - double heel pressure battement fondu - double squat battement frapper - double blow.
ECARTE [ekarte] - a pose of classical dance (a la seconde), in which the entire figure is turned diagonally forward or backward.
EFFACE [efase] - deployed position of the body and legs.
EN DEDANS [an dedan] - the direction of movement or turning towards oneself, inward, in a circle.
EN DEHORS [an deor] - a circular movement away from oneself, a circular movement outward in the hip or knee joint, as well as turns
EN FACE [en face] - straight; straight position of the body, head and legs.
EN TOURNANT [an turnan] - from Ch. "rotate"; rotation of the body during movement.
EPAULMENT [epolman] - the position of the dancer, turned in 3/4 in p. 8 or p. 2; differs epaulement croise (closed) and epaulement efface (erased, open).
GRAND [grand] - big.
JETE [jete] - throwing a leg in place or in a jump.
PAS COURU [pa smoke] - a run through the sixth position.
PAS D`ACTIONS [pas de action] is an effective dance.
PAS DE BASCUE [pas de basque] - Basque step; this movement is characterized by an account of 3/4 or 6/8 (triple size), performed forward and backward.
PAS DE BOURREE [pas de bure] - a chased dance step, stepping over with a little advancement.
PAS DE DEUX [pas de deux] - a dance of two performers, usually a dancer and a dancer.
PAS DE QUATRE [pas de cartes] - dance of four performers.
PAS DE TROIS [pas de trois] is a dance of three performers, usually two dancers and one dancer.
PASSE [passe] - “to pass”, “to pass”, the position of the bent leg, the toe at the knee: in front, to the side, behind.
PETIT [pet] - small.
PIQUE [peak] - a light prick with the fingertips of the "working" leg on the floor and lifting the leg to a given height.
PLIE [plie] - squat.
PLIE RELEVE [plie releve] - the position of the legs on half-toes with bent knees.
POINT [point] - the extended position of the foot.
PORDEBRAS [por de bra] - "bends of the body", tilt forward, backward, to the side, the same in stretching. Exercise for hands, body, head; inclinations of the body, head.
POUNTE [pointe] - “on the toe”, “touching the toe” from the stoic on the left, right forward, to the side or back on the toe swing in any direction with a return to the IP.
RELEVÉ [relevé] - “raise, elevate”, lifting on fingers or half fingers
RENVERSE [ranverse] - from Ch. "overturn, overturn"; sharp bending, overturning of the body mainly from the atitude croise position, accompanied by pas de bouree en tournant.
Rond [rond] - "circle, round"
SOUTENU [hundred] - from Ch. "endure, support, draw in."
SOUTENU EN TQURNANT [sutenu an turnan] - turn on two legs, starting with retracting the "working" leg into the fifth position.
SUR LE COU DE PIED [sur le cou de pied] - the position of the leg on the ankle (at the narrowest point of the leg), the position of the bent leg on the ankle joint.
TEMPS LIE [tan lie] - small adagio, 1 - semi-squat on the left, 2 - right forward on the toe, 3 - shift the center of gravity to the right, left back to the toe, 4-IP, 5. the same to the side and back.
TOMBÉE [tonbe] - - fall, transfer of the weight of the body to the open leg forward, to the side or back to the demi-plie.

jumping.

ALLEGRO [allegro] - quickly; "cheerful", "joyful"; part of the lesson, consisting of jumps, performed at a fast pace.
ASSEMBLE [assembly] - from Ch. connect, collect; a jump from one foot to two is performed with the legs moving in a given direction and collecting the legs while jumping together in the air.
BRISE [breeze] - to break, crush; movement from the section of jumps with skids.
CABRIOLE [cabriole] - jump on the spot with one leg knocked out by the other.
CHANGEMENT DE PIEDS [shazhman de pied] - a jump with a change of legs in the air (in the V position).
ECHAPPE [eshappe] - a jump with opening the legs to the second position and collecting from the second to the fifth.
EMBOITE [ambuate] - successive transitions from foot to foot on half-toes, fingers and with a jump. Emboite jumps - alternately throwing the legs bent at the knees forward or 45 °, while the half-bent legs change in the air.
ENTRECHAT [entrechat] - jump with a skid.
GLISSADE [glissade] - parterre sliding jump without leaving the floor moving right-left or forward-backward.
GRAND JETE [grand jet] - jump from one foot to the other moving forward, backward or sideways. The legs open up to the maximum and take the “split” position in the air.
JETE FERME [jete farm] - closed jump
JETE PASSÉ [jete passe] - a passing jump.
PAS BALLONNE [pa balone] - inflate, inflate; advancement at the time of the jump in various directions and poses, as well as legs strongly extended in the air until the moment of landing and bending one leg on sur le cou-de-pied.
PAS BALLOTTE [pa balotte] - fluctuate; a movement in which the legs at the time of the jump are extended forward and backward, passing through the central point; the body leans back and forth, as if hesitating.
PAS CHASSE [pa chasse] - ground jump, during which one leg knocks out the other. with advancement in all directions, during the execution of which one leg "catches up" with the other at the highest point of the jump.
PAS CISEAUX [pa Siso] - scissors; jump with throwing forward in turn legs extended in the air.
PAS DE CHAT [pa de sha] - cat's step; a sliding jump from foot to foot, when in the air one foot passes by the other.
PAS FAILLI [pa failli] - a connecting step, consisting of passing the free leg through the passing demi plie in I position forward or backward, then the weight of the body is transferred to the leg with some deviation from the vertical axis.
SAUTE [saute] - classical dance jump from two legs to two legs in I, II, IV and V positions.
SISSONNE [sison] - a type of jump, varied in form and often used.
SISSON OUVERTE [sisson overt] - a jump with flying forward, backward or to the side, upon landing one leg remains open in the air at a given height or in a given position.
SISSONNE FERMEE [sison farm] - closed jump.
SISSONNE SIMPLE [sison simple] - a simple jump from two legs to one.
SISSONNE TOMBEE [sison tombe] - a jump with a fall.
SOUBRESAUT [subreso] - a large jump with a delay in the air.

Rotations.

FOUETTE [fuete] - from ch "quilt, flog"; kind of dance turn, fast, sharp; the open leg bends towards the supporting leg during the turn and opens again with a sharp movement.
PIROUTTE [pirouette] - "yule, turntable"; rotation of the performer on one leg en dehors or en dedans, the second leg in the position sur le cou-de-pied.
TOUR [tour] - turn.
TOUR CHAINES [tour chain] - “linked, connected”; fast turns, following one after another, performed on two legs diagonally or in a circle on high half-toes.
TOUR EN L`AIR [tour an ler] - a tour in the air.

PLAN - CONSPECT

Grade 3 1 year of study

Subject:

Teacher:Somova Natalia Petrovna

Age of students -8-9 years

The purpose of the lesson:
Formation of classical dance skills among students of the first year of study under the pre-professional program "Choreographic Creativity"

Lesson objectives:

Educational- learn the basics of classical dance;

developing:

Organize and focus the attention of students and direct all efforts to physical activity;

Prepare the motor apparatus of students: muscles, ligaments and joints for classical exercise;

To form a ballet posture (setting the body, legs, arms, head);

Development of the eversion of the legs in exercises at the barre and in the middle of the hall;

Develop flexibility, step, jump;

To bring up the initial movements of coordination at the barre and in the middle of the hall;

Develop the skills of correctness and clarity of execution;

Development of aplomb (stability);

educational:

Reveal the individuality of students.

health-saving:

Removal of muscle clamps,

Develop plasticity, coordination, choreographic memory, attention, form technical performance skills;

Build strength, endurance, strengthen nervous system;

Methods and techniques:

observation,

- demonstration (showing movements).

verbal explanation.

Practical,

Visual.

Implemented pedagogical technologies:

developmental learning,

Artistic,

Information and computer.

Lesson type:
standard

Developing

Used equipment :

Musical instrument: piano.

Note material.

Machine tools.

Mirrors

Music material:

Classical music of Russian and foreign composers of square construction with a clear rhythmic pattern and pronounced phrasing. The rhythmic basis of the training combinations basically coincides with the rhythmic pattern of the musical accompaniment. The musical accompaniment is matched to this age category in terms of tempo, rhythmic pattern, and dynamic coloring.

The content of the stages of the lesson:

Bow

Organizing time

Exercise at the machine

Exercising in the middle of the hall

Allegro

Tours

Bow

The presented lesson is compiled in accordance with the curriculum for the discipline "Classical dance", for studentspre-professional program "Choreographic creativity" 8 (9) years of study. The lesson plan provides examples of exercises at the barre and in the middle of the hall, the first year of study.

practice.

In the traditional methodology of teaching classical dance, most of the time of the lesson, the first year of study, is given precisely to exercises at the barre and in the middle of the hall.

During the classes:

Bow.

Organizing time.

Exercise at the machine. facing the machine.

Work on the quality of movements, plasticity.

Overcoming technical difficulties using special techniques, development of performance techniques.

Toe step musical time signature 2/4.

Demi Plie. musical time 3/4.

3 demi-pliesonIpositions, battement tenduon theIIposition
3 demi-pliesonIIpositions, battement tenduinVposition

3 demi-pliesonVpositions, battement tenduinIposition

Grand Plie. musical time 3/4.

3 grand pliesonIpositions, battement tenduon theIIposition3 grand plie in II position, battement tendu in V position

3 grand plie in 5th position, battement tendu in 1st position

Toe step musical time signature 2/4.

Battements tendus. musical time signature 2/4.

With right leg, cross.
4 battement tendu forward in 1st position
4 battement tendu to the side in I position
4 battement tendu back in 1st position
4 battement tendu to the side in I position

Step knees up musical time signature 2/4.

Rond de jambe par terre. musical time 3/4.

From the left foot.
4 times rond en'dehors
4 times rond en'dedans

Step knees up musical time signature 2/4.

Releve on p / p. musical time signature 2/4.

3 times releve in 1st position, battement tendu in 2nd position.
3 times releve in II position, battement tendu in V position.

3 times releve in the 5th position, battement tendu in the 1st position.

Relevant tape. Musical size 2/4.

From the right foot, cross.

4 times releve lent forward in I position

4 times releve lent back in position I

4 times releve lent to the side in I position

Step on p / p musical time signature 2/4.

Grand battements jets. musical time signature 2/4.

From the left leg, cross.

4 times grand battement jete to the side in I position
4 times grand battement jete back in position I

4 times grand battement jete to the side in I position

4 times grand battement jete forward in 1st position

Hull bends. musical time signature 4/4.

Alternately, 2 times bend to the right, 2 times bend to the left

4 times bend back

Exercise in the middle of the hall.

Plie.

Preparation - 2 measures (because of the measure), time signature 3/4.

2 demi plie in the 1st position, 1 releve in the p/p in the 1st position, transition to the 2nd position.

2 demi plie in 2nd position, 1 releve in p/n in 2nd position, transition to 5th position.

2 demi plie in the 5th position, 1 releve in the 5th position.

I port de bras

Battements tendus.

Preparation - 2 measures (because of the measure), time signature 2/4.

4 battement tendu forward alternately with the right and left foot in the 1st position.

4 battement tendu back alternately with the right and left legs in I position.

4 battement tendu to the side alternately with the right and left legs in I position.

Allegro (Jumping).

Saute.

4 times in I, II, V positions.

Pas echappe.

4 times from II to V position, and back.

Changement de pieds.

8 times in V position.

6 . Tours (Rotations).

Tour chains.

Preparation - 2 measures (because of the measure), time signature 2/4,

the conclusion of the movement - 2 measures.

Bow.

Literature.

Classic dance. Exemplary program for children's choreographic schools and choreographic departments of children's art schools. M., 2006.

Musical repertoire from personal experience work.

Podlasy I.P. Pedagogy. M., 2001.

Introspection of the lesson

open lesson on the subject "Classical dance"

Grade 3 1 year of study

Subject:"Exercise of classical dance"

Teacher: Somova Natalia Petrovna

Age of students -8-9 years

The lesson is built on the main stages: organizational, main, generalizing part of the lesson. Each part has its own points of work.

The date: _______

Organizational part (organization of attention, definition of the topic of the lesson, preparation of the body of breathing): the lesson begins with a traditional bow. Grade 3 FGT program "Choreographic creativity", 1 year of training in classical dance.

Main tasktraining is the setting of the legs, body, arms, head in the process of mastering the basic movements at the barre and in the middle, the development of elementary skills in coordinating movements.

Lesson objectives:

Educational

Educational- develop dance expressiveness, coordination of movements, orientation in space.

Educational - - develop dance-rhythmic coordination of movements and expressiveness;

To form a common culture, artistic and aesthetic taste;

Activate interest in classical dance;

To teach the skills of musical and plastic intonation;

Develop aesthetic taste

Build team communication skills;

Reveal student personality.

Expected results:

Be able to work with musical material;
- learn the basics of classical dance.

The presented lesson is compiled in accordance with the curriculum for the discipline "Classical dance", for students of the pre-professional program "Choreographic creativity" 8 (9) years of study. The lesson plan provides examples of exercises at the barre and in the middle of the hall, the first year of study.

In the description of the training and dance combinations of exercises at the barre and in the middle of the hall, ballet terminology is used, as well as terms that are common to use in general choreographicpractice.A standard classical dance lesson consists of an exercise at the barre, an exercise in the middle of the hall, a jump part (Allegro), a dance part (Adagio). The time range of each component part of the lesson depends directly on the first year of study, the level of mastering the choreographic material, and the target orientation of the lesson.

In the traditional methodology of teaching classical dance, most of the time of the lesson, the first year of study, is devoted to exercises at the barre and in the middle of the hall, to learn the relationship between music and movement, to be able to correct inaccuracies in performance.

In the main part, the tasks set at the lesson were solved: fixing the exercise at the barre, working in the middle, learning new movements and combinations, as well as rotations and jumps.

In the third final part, the lesson ended with a general construction and a brief summing up. It should be noted that the students quite actively participated in the discussions, found their shortcomings, talked about how it should be. During the discussion, the students themselves unanimouslynoted several people who distinguished themselves in the performance of exercises.

The bow was performed precisely as a good conclusion to everything that was happening, and as a reflection of the emotional mood of the students.

The teaching methods used in the lesson were:: group and individual.When performing combinations, the cohesion of the team was visible. The whole lesson was built according to the principle from simple to complex, taking into account the age and physical characteristics of the child's body of this age. That is why, all the intended goals and objectives of this lesson were fully implemented.

Classical dance is taught according to the principle from simple to complex and is based on a systematic approach.
STAGES OF TRAINING:
YEAR 1 Tasks of the 1st year of study: setting the body, legs, arms, head, poses of classical dance, half-turns technique, turns on two legs, preparation for pirouettes at the barre and in the middle of the hall, learning to jump and finger technique.
1. The study of the simplest elements of classical dance. Setting the body, legs, arms, head.
Setting the body, legs, arms, head is of great importance in the formation of performance technique.
Learning the positions of the legs facing the machine, sideways and in the middle of the hall. Uniform distribution of the center of gravity of the body on both legs and the transition to one leg.
Exercise exercises after mastering the positions of the legs. Prevention of blockage of the foot on the thumb. The position of the supporting foot is of great importance in the formation of stability. Development of the correct setting of the body: a strong, straight back, an open and lowered chest. Relieve tension in the shoulders and neck, develop back flexibility. Study of hand positions and hand functions. Techniques of allongee and arrondie, as well as techniques of "pickup" and "swing", as the constituent elements of port de bras in the directions en dehors en dedans. Features of working on hands: development of their plasticity and naturalness. Prevention of mannerisms. The study of the functions of the head in the technique and plasticity of dance. Coordination of head, hand and body movements. Development of expressiveness of the gaze when tilting and turning the head along the spatial points of the hall: along the horizon line, at an angle below the horizon line and above the horizon line. Development of the natural plasticity of the body.
2. The study of exercise at the machine.
There are two types of exercises: at the barre and in the middle of the hall. They have a different place and significance in the educational process.
The task of the exercise is to develop the correct setting of the body, stability, eversion, strength and elasticity of the articular-ligamentous apparatus.
Methodology for studying exercises: Face and side to the machine, then in the middle of the hall. It is necessary to observe the correct position of the hands, elbows, the distance between the machine and the body. The introduction of preparation for the exercise (preparation), which contributes to the concentration of attention before the start of the exercise.

The sequence of studying exercise movements at the barre and in the middle of the hall:
grand plie
Different types of battement tendu and battement tendu jete
Rond de jambe par terre, en dehors en dedans
Battement fondu battement soutenu aside, forward, backward.
Battemant frappe to the side, forward, back.
Batteman developpe
a. Forward, side, back
b. Passe from all directions
Batteman releve tape
Rond de jambe en l "air, en dehors en dedans
grand battement jet
Petit battement sur le cou-de-pied

Complication of the exercise: the introduction of various poses, dance steps, turns.
Even distribution of muscle load in all exercises. Rational use composed exercises to achieve the goal. Half fingers in exercise at the machine.
Studying the technique of half-turns, turns.
Lesson tasks are distributed over time in accordance with the required pace of its implementation as a whole.
3. Studying the positions and poses of classical dance in the middle of the hall.
Familiarization with the provisions of anfas, epaulement, efface and croise. Determination of the positions and postures of classical dance. Determining the categories of poses - small, medium and large. Determination of classical dance poses by groups - "A" and "B". Definition of the concepts of canonical and non-canonical poses of classical dance. Compilation of the simplest adagio followed by a complicated combination of movements in coordination with various forms of port de bras. Temps lie - how small form adagio in the directions en dehors en dedans with the action of the hands, with the turns and tilts of the head and the accompanying gaze. Practicing techniques for performing movements.

Adagio as the whole complex of exercises at the barre moved to the middle of the hall.
Adagio as a comprehensive mastery6 of classical dance poses, preparations and performance of an extended dance phrase.
Definition of posture categories:
- Postures in which both feet are on the floor.
- Postures in which one foot is on the floor.
Definition of three subgroups, each of these groups according to the directions of the legs: forward, sideways and back. Learning the poses of the first group.
I) Postures in which both feet are on the floor. The poses are effacee and croisee, forward and backward. Position a la seconde and posture ecartee.
II) Postures in which one foot is on the floor
1) Effacee and croisee postures in which the leg is raised 90 ° forward:
a) extended
b) bent
2) Positions and postures in which the leg is raised 90° to the side:
a) a la seconde
b) ecartee
3) Postures in which the leg is raised 90 ° back:
a) Stretched - arabesques 1,2,3,4
b) Bent - attitudes, effacee and croisee
4) Temp lie as a position that combines the poses of classical dance: in the category of small, medium and large poses with various forms of port de bras.
III) The specifics of working on poses. Development of expressiveness in postures.
1) Port de bras: in the direction of en dehors and en dedans, direct and reverse forms. Definition of the concepts of "leading" and "slave" hands.
a) The first form of port de bras
b) The second form of port de bras
c) The third form of port de bras
d) The fourth form of port de bras
e) Fifth form port de bras f) Sixth form port de bras

6. Learning jumps (allegro).
Allegro is a section on mastering classical dance jumps. Jumping from two feet to two, from two to one, from one to the other, from one foot to two and on one foot. Practicing a deep demi-plie, push, soft and steady landing, while maintaining the vertical axis (aplomb).
Temps Saute. Mastering the energetic push. Maintaining a straight back and extended legs in the air. Soft landing.
Mastering petit and grand changement de pied en fase. The difference is in the change of legs for small and large jumps.
Learning pas echappe and grande pas echappe in various positions, ending in sur le cou-de-pied.
Types of sissone:
a. sissone simple,
b. sissone tombee,
in. sissone fermee,
Mr. Sissone ouverte with the reception of jet and developpe
e. Sissone fondu - as one of the varieties of sissone fermee with a soft bringing of the open leg into position.
Sissone ouverte at 45° en face, in poses and in different directions.
Pas failli
Pas assemble and its varieties
a. Double pas assemble
Pas glissade in all directions and poses
Pas jete:
- Execution of the movement from the epaulement position
- Varieties of this movement (small, large, in turn)
Pas chasse:
- Study of a given movement
- Its value as a binder
Pas de chat
- The meaning of pas de chat as an independent movement in dance
- Varieties of this movement
Pas de basque:
- Methodical layout of the study of this movement
- Varieties of use
- Coordination of the body, arms and head during the execution of the movement
Pas ballote par terre and at 45°:
- Methodical layout of the movement
- Varieties of movement: small, large
- Use of various techniques of movement execution
- The meaning of the hands and head in the performance of varieties
pas coupe
Group of allegro movements on one leg.
Temp level:
- Varieties of this movement in combination with small jumps
- Learning temp leve on the spot and with promotion
Pas ballone at 45°
Rond de jambe en l "air saute

7. Studying the technique of half-turns, turns on two legs and preparation for pirouettes.
Half turns and turns are the expressive means of classical dance. They are often used as connecting elements of movement. Preparation and pirouettes sur le cou-de-pied are studied at the barre and in the middle of the room.
The sequence of studying this section:
Half-turns and turns in 5 positions to the tank and from the barre with a change of legs, on half-toes (starting with outstretched legs and from demi-plie).
Soutenu en tournant en dehors and en dedans for 1/2 turn and full turn.
Features preparation and pirouettes from different perspectives.

8. Mastering the exercise on the fingers.
The introduction of finger movements should be consistent. Great importance at the same time, it has eversion of the legs and a uniform distribution of gravity on the fingers.
Performing simple exercises on two legs with gradual complication. Determination of the function of the supporting leg and the working leg. Setting the body on two legs and transferring the center of gravity from one leg to the other. Of great importance is the eversion of the supporting leg and the in-depth demi-plie. Role Definition hip joint. Coordination of legs, arms, body and head when performing an exercise on the fingers.
Exercise on the fingers:
Releve on 1, 2 and 5 positions
Pas echappe from 1st and 5th positions to 2nd and 4th positions
Pas assemble sauté en fase with leg opening to the side and forward
Pas de bourree with and without change of legs
Pas de bourree suivi in ​​place, advancing to the side, en tournant and in poses.
Pas couru front and back, en fase and epaulement
Pas glissade with progress to the side, forward, backward and in poses
Pas de bourree ballotte on croise and efface toe to the floor and at 45°
Temp lie par terre front and back
Sissonne simple en face and in poses
Pas jete in all directions
Pas coupe ballonne
Preparation pirouette en dehors and en dedans

9. Musical accompaniment of lessons
Development of rhythmic and emotionally effective connections between music and dance. Ensuring the consistency of music with a specific task, taking into account age characteristics.
1st grade Vaganova ballet class
ilyaballet

1st grade Vaganova ballet class ARB-2

1 grade Vaganova ballet class ARB-3

1 grade Vaganova ballet class ARB-4

1 grade Vaganova ballet class ARB-5

1st grade Vaganova ballet class ARB-6

1 grade Vaganova ballet class ARB-7

1 grade Vaganova ballet class ARB-8

1 grade Vaganova ballet class ARB-9

home » Accessories » Fundamentals of studying classical dance in choreography classes. Learning the basics of classical dance