Learning the basics of classical dance. Choreography: Classical dance Choreographic machine. Exercises

PLAN - DESIGN

3rd grade 1 year of study

Theme:

Teacher:Somova Natalia Petrovna

Students age -8-9 years old

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

Lesson Objectives:

Educational- master the basics of classical dance;

developing:

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

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

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

The development of eversion of the legs in exercises at the bar and in the middle of the hall;

Develop flexibility, step, jump;

To educate the initial movements of coordination at the bar 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-preserving:

Removing muscle clamps,

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

Cultivate strength, endurance, strengthen the nervous system;

Methods and techniques:

Observation,

- demonstration (showing movements).

Verbal explanation.

Practical,

Visual.

Implemented pedagogical technologies:

Developmental training,

Artistic,

Information and computer.

Lesson type:
standard

Developing

Equipment used :

Musical instrument: piano.

Music material.

Machine tools.

Mirrors

Musical material:

Classical music of Russian and foreign composers with a square structure 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 the given age category in terms of tempo, rhythmic pattern, dynamic coloring.

Content of the steps of the lesson:

Bow

Organizing time

Exercise at the machine

Exercise 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 contains examples of exercises at the bench 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 devoted precisely to exercises at the barn and in the middle of the hall.

During the classes:

Bow.

Organizing time.

Exercise at the machine. Face the machine.

Work on the quality of movements, plasticity.

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

Step off the toe time signature 2/4.

Demi Plié. time signature 3/4.

3 demi plieonIpositions, battement tenduonIIposition
3 demi plieonIIpositions, battement tenduvVposition

3 demi plieonVpositions, battement tenduvIposition

Grand Plié. time signature 3/4.

3 grand plieonIpositions, battement tenduonIIposition3 grand plie in II position, battement tendu in V position

3 grand plie in V position, battement tendu in I position

Step off the toe time signature 2/4.

Battements tendus. time signature 2/4.

On the right foot, with a cross.
4 battement tendu forward in 1st position
4 battement tendu to the side in position I
4 battement tendu backward I position
4 battement tendu to the side in position I

Step your knees up time signature 2/4.

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

From the left leg.
4 times rond en`dehors
4 times rond en`dedans

Step your knees up time signature 2/4.

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

3 times releve in I position, battement tendu in II position.
3 times releve in II position, battement tendu in V position.

3 times releve in V position, battement tendu in I position.

Releve lent. Musical size 2/4.

On the right foot, with a cross.

4 times releve lent forward on position I

4 times releve lent back on position I

4 times releve lent to the side in I position

Step on p / p time signature 2/4.

Grand battements jetes. time signature 2/4.

From the left leg, with a cross.

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

4 times grand battement jete to the side in position I

4 times grand battement jete forward in position I

Kinks of the body. time signature 4/4.

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

4 times backward bend

Exercise in the middle of the hall.

Plié.

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

2 demi plie for I position, 1 releve for p / n for I position, transition to II position.

2 demi plie for II position, 1 releve for p / n for II position, transition to V position.

2 demi plie for V position, 1 releve for p / n for V 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 feet in I position.

4 battement tendu backwards, alternately with the right and left feet in I position.

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

Allegro (Jumping).

Saute.

4 times in I, II, V positions.

Pas echappe.

4 times from II to V position, and vice versa.

Changement de pieds.

8 times in V position.

6 . Tours

Tours chaines.

Preparation - 2 measures (due to the measure), time signature 2/4,

the conclusion of the movement - 2 bars.

Bow.

Literature.

Classical dance. A sample program for children's choreographic schools and choreographic departments of children's art schools. M., 2006.

Musical repertoire from personal work experience.

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

Introspection lesson

open lesson on the subject "Classical dance"

3rd grade 1 year of study

Theme:"Exercise of classical dance"

Teacher: Somova Natalia Petrovna

Students age -8-9 years old

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

Date: _______

Organizational part (organizing attention, determining the topic of the lesson, preparing the breathing corpus): the lesson begins with a traditional bow. Grade 3 FGT program "Choreographic creativity", 1 year of training in classical dance.

The main tasktraining is the setting of the legs, body, arms, head in the process of mastering the basic movements at the machine and in the middle, the development of elementary skills of coordination of movements.

Lesson Objectives:

Educational

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

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

To form a common culture, artistic and aesthetic taste;

Increase interest in classical dance;

To teach the skills of musical and plastic intonation;

Develop aesthetic taste,

Build team communication skills;

Reveal the personality of students.

Expected results:

Be able to work with musical material;
- master 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 contains examples of exercises at the bench and in the middle of the hall, the first year of study.

In the description of educational and dance combinations of exercises at the barn and in the middle of the hall, ballet terminology is used, as well as terms typical of use in general choreographicpractice.A standard classical dance lesson consists of an exercise at the barn, an exercise in the middle of the hall, a jumping part (Allegro), and a dance part (Adagio). The time range of each component of the lesson depends directly on the first year of study, the level of mastering the choreographic material, 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 specifically to exercises at the barre and in the middle of the hall, to teach the relationship between music and movement, to be able to correct inaccuracies in performance.

In the main part, the tasks set in the lesson were solved: strengthening the exercise at the machine, working in the middle, learning new movements and combinations, as well as rotating and jumping.

In the third final part, the lesson ended with a general construction and a short summary. It is worth noting that the students took an active part in the discussions, found their shortcomings, talked about how it should be. During the discussion, the students themselves unanimouslynoted several people who excelled in the exercise.

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.

In the lesson, such methodological techniques were used as: group and individual.During the execution of the combinations, the cohesion of the team was visible. The whole lesson was structured 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 completed.

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To speak and write competently, you need to know the rules of the language. It's the same with 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. Before that, ballet dance was called "serious", "noble", "academic".
The system of classical dance was formed over several centuries, the most expressive ones were taken from the multitude of movements of folk dances and everyday dances. Gradually, the positions of the legs and arms, the position of the body and head were developed, and all the dance movements were named.
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. As in music, Italian terminology is used, and in medicine, Latin, so in ballet all terms are French.
Classical dance is the basis of choreography. Classics allow 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 inversion - 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 refer to exercises or concepts that are difficult to explain or describe briefly. 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 foster coordination of movements in a dancer. Exercise is performed at the "bench" (attached with brackets to the wall) and in the middle of the training room and consists of the same elements.
Terminology is divided into groups:

1. Exercise at the bar and in the middle of the room.
2. Positions, directions, postures, additional movements.
3. Jumping.
4. Rotation.

Exercise at the bar and in the middle of the room.

PREPARATION - A preparatory movement performed before starting the exercise.
DEMI PLIE [demi plie] - incomplete, small "squat", half-squat, in which the heels do not come off the floor.
GRAND PLIE - deep, full squat.
BATTEMENT TENDU [batman tandyu] - abduction and adduction of the outstretched leg in the right direction, without lifting the toe off the floor.
BATTEMENT TENDU JETÉ [batman tandu jete] - "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] - a circle with a toe on the floor, a circular motion with a toe on the floor.
BATTEMENT SOUTENU [hundred batman] - to withstand, to support; movement with pulling up the legs in the fifth position, continuous, continuous movement.
BATTEMENT FONDU - "soft", "melting", smooth movement, consisting of simultaneous bending of the knees, at the end of which the "working" leg comes to the sur le cou-de-pied position in front or behind the supporting leg, and then follows simultaneous extension of the knees and the "working" leg opens forward, to the side or back.
BATTEMENT FRAPPE [batman frappe] - "blow", a movement consisting of rapid, 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 - movement with a double punch.
PETIT BATTEMENT [petit batman] - "small blow" - alternately small, short blows with the foot in the position of cu de pie in front and behind the supporting leg.
BATTERIE [batri] - drum beat; the leg in the sur le cou-de-pied position makes a series of small percussive movements.
BATTU [botyu] - "beat" continuously, small, short blows to the ankle joint only in front or behind the supporting leg.
ROVD DE JAMBE EN L "AIR [ron de jamb unler] - a circular movement of the lower leg (ankle) with a fixed hip bent to the side at a height of 45 ° or 90 °.
ADAJIO [adagio] - slowly, smoothly includes grand plie, devlope, releve lians, all types of balances, pirouettes, turns. Fusion bundle for 32, 64 accounts.
BATTEMENT RELEVE LENT [relevé lian] - "lift" slowly, smoothly slowly on the count of 1-4 1-8 raising the extended leg forward, to the side or back 90 ° and higher.
BATTEMENT DEVELOPPE [batman devloppe] - taking out, opening the leg forward, backward or to the side by sliding the "working" leg along the supporting leg in the desired direction.
GRAND BATTEMENT - "big throw, swing" 90 ° and above the outstretched leg in the desired direction.
BALANCOIRE [balance] - "swing", used in the grand battement jete.

Positions, directions, postures, additional movements.

A LA SECONDE [a la squeeze] - the position in which the performer is located en face, and the "working" leg is open to the side at 90 °.
ALLONGEE [alonge] - from Ch. lengthen, lengthen, stretch; movement from adagio, meaning an extended position of the leg and a hidden hand, completing the movement with an arm, leg, body, the position of an elongated arm.
APLOMB [aplomb] - stability.
ARABESQUE [arabesque] is a classical dance pose in which the extended leg is pulled 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; the leg raised up is bent.
BALANCE [balance] - "swing, swing"; swaying motion. It is performed with movement from side to side, less often - back and forth.
BATTEMENT [batman] - swing, beat.
BATTEMENT AVELOPPE [batman avloppa] - the opposite battement developpe movement, the "working" leg from the open position through passe falls into a given position.
BATTEMENT RETIRE [batman retire] - transfer through the sliding of the "working" leg, through passe from V position in front to V position behind.
COUPE [coupe] - knocking out; abrupt movement, short push, quick replacement of one leg with 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 [degazhe] - release, take the "transition" from the stand to the left right forward to the toe, step forward through the half-squat in the IV position, straightening, stand on the right, left back, to the toe. From the rack to the left, right to the side to the toe, step to the side through the half-squat in the II position, the rack to the right, left to the side to the toe.
DEMI [demi] - medium, small.
DEMI ROND [demirond] - an incomplete circle, a semicircle (toes on the floor, 45 ° to 90 ° and higher).
DESSUS-DESSOUS [desu-desu] - upper-lower part, above-below, kind of pas de bourree.
DÉVELOPPE [development] - “opening”, “deployed”, from a stoic to the left, right with a sliding movement to a bent position (toe at the knee) and extending it in any direction (forward, sideways, backward) or higher.
DOUBLE - "double", battement tendu - double heel push battement fondu - double half-squat battement frapper - double hit.
ECARTE [ekarte] - a pose of classical dance (a la seconde), in which the whole 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 [an fas] - straight; straight position of the body, head and legs.
EN TOURNANT [en turnan] - from ch. "rotate"; turning the body while driving.
EPAULMENT [epolman] - the position of the dancer, turned in 3/4 in bar 8 or bar 2; distinguishes between epaulement croise (closed) and epaulement efface (erased, open).
GRAND [grand] - big.
JETE [zhete] - throw of a leg on the spot or in a jump.
PAS COURU [I smoke] - jogging in the sixth position.
PAS D`ACTIONS [pas de action] - effective dance.
PAS DE BASCUE [pas de basque] - Basque step; this movement is characterized by a score of 3/4 or 6/8 (three-beat), performed forward and backward.
PAS DE BOURREE [pas de buret] - chased dance step, stepping over with a little advance.
PAS DE DEUX [pas de de] is a dance of two performers, usually a dancer and a dancer.
PAS DE QUATRE [pas de carte] is a dance of four performers.
PAS DE TROIS [pas de trois] is a dance of three performers, more often two dancers and one dancer.
PASSE [pass] - "pass", "pass", the position of the bent leg, the toe at the knee: in front, to the side, behind.
PETIT [petit] - small.
PIQUE [pique] - a light prick with the tips of the fingers of the "working" leg on the floor and raising the leg to a predetermined height.
PLIE [plie] - squat.
PLIE RELEVE [plie releve] - position of the legs on the half-toes with bent knees.
POINT - the extended position of the foot.
PORDEBRAS [pore de bra] - "bends of the body", tilt forward, backward, to the side, the same in stretching. Exercise for hands, body, head; tilts of the body, head.
POUNTE [pointe] - "toe", "toe touch" from the stoic on the left, right forward, to the side or back to the toe swing in any direction with a return to the IP.
RELEVÉ [relevé] - "to raise, raise", 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 a pas de bouree en tournant.
Rond [rond] - "circle, round"
SOUTENU [a hundred] - from Ch. "Withstand, support, draw in."
SOUTENU EN TQURNANT [sutenu an turnan] - turn on two legs, starting with the retraction of the "working" leg into the fifth position.
SUR LE COU DE PIED [sur le cu de pie] - the position of the leg on the ankle (in the narrowest part of the leg), the position of the bent leg on the ankle joint.
TEMPS LIE [tan lie] - small adagio, 1 - half-squat on the left, 2 - right forward to toe, 3 - shift the center of gravity to the right, left back to toe, 4-PI, 5. the same to the side and back.
TOMBÉE [tombe] - - falling, transferring the weight of the body to the open leg forward, to the side or back on the demi-plie.

Jumping.

ALLEGRO [allegro] - fast; "Cheerful", "joyful"; the fast-paced jumping part of the lesson.
ASSEMBLE [assembly] - from ch. connect, collect; a jump from one leg to two is performed with the leg abducted 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 leaps.
CABRIOLE [cabriole] - a jump on the spot with a kick in one leg with the other.
CHANGEMENT DE PIEDS [shazhman de pie] - a jump with a change of legs in the air (in V position).
ECHAPPE [eshappé] - a jump with legs open to the second position and collecting from the second to the fifth.
EMBOITE [ambuate] - successive transitions from foot to foot on half-toes, toes and with a jump. Emboite jumps - alternate throwing of legs bent at the knees forward or 45 °, while there is a change of bent legs in the air.
ENTRECHAT [antrasha] - a carry-over jump.
GLISSADE [glide path] - a parterre gliding jump without taking off from the floor with movement to the right-left or forward-backward.
GRAND JETE - a jump from one leg to the other, moving forward, backward or to the side. Legs open as much as possible and take a split position in the air.
JETE FERME [zhete ferme] - closed jump
JETE PASSÉ - a passing jump.
PAS BALLONNE [pa balone] - inflate, swell; advancement at the moment of a jump in various directions and poses, as well as legs strongly extended in the air until the moment of landing and bending of one leg on sur le cou-de-pied.
PAS BALLOTTE [pa balotte] - to hesitate; 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 oscillating.
PAS CHASSE [pa chasse] - ground jump, during which one foot knocks the other. with advancement in all directions, during the execution of which one leg "catches up" the other at the highest point of the jump.
PAS CISEAUX [pasiso] - scissors; jump with throwing forward in turn legs, extended in the air.
PAS DE CHAT [pas de sha] - cat step; a sliding jump from foot to foot, when in the air one leg passes the other.
PAS FAILLI [pa fayi] - a connecting step, consisting of drawing the free leg through the passing demi plie in the 1st position forward or backward, then the weight of the body is transferred to the leg with some deviation from the vertical axis.
SAUTE [sote] - classical dance jump from two legs to two legs in I, II, IV and V positions.
SISSONNE [sison] - a type of jump, varied in shape and often used.
SISSON OUVERTE [sisson overt] - a jump with a flight 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] - jump with a fall.
SOUBRESAUT [subreso] - a large jump with a delay in the air.

Rotation.

FOUETTE [fuete] - from the ch. "Lash, whip"; 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] - "whirligig, spinner"; rotation of the performer on one leg en dehors or en dedans, the other leg in the sur le cou-de-pied position.
TOUR [round] - turn.
TOUR CHAINES [tour chaine] - "linked, bound"; quick turns, following one after the other, performed on two legs diagonally or in a circle on high half-toes.
TOUR EN L`AIR [tour unler] - a tour in the air.

Municipal budgetary educational institution

additional education for children

Center for extracurricular activities "Golden Key"

Methodical development

"Learning the basics of classical dance"

additional education teacher

Nizhny Novgorod

year 2012

Explanatory note

1.relevance

In the aesthetic and physical education of the younger generation, an important role is given to the art of dancing, in particular, the art of choreography. Dance art in our country is gaining more and more popularity every year, becoming one of the most effective factors in the formation of a harmoniously developed, spiritually rich personality.

Dance art is a mass art, it is available to everyone. Tens of thousands of children take part in the work of choreographic circles and ballet studios.

Dance is a set of expressive and organized movements, subordinate to a general rhythm, embodied in a complete art form.

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

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

This methodological development is relevant. It is organized in the formmusic and rhythmic training for children. In the process, in which pupils develop attention, will, memory, mobility and flexibility of the body. Methodical development is aimed at the development of musicality, memory and for the physical improvement of the body. Classes in the children's circle contribute to the child's social activity, 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.Purpose and objectives

Target of this technique - to study with the pupils the basic concepts of classical dance.

Tasks:

Educational:

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

Educational:

• To cultivate an artistic taste and interest in dance.

Developing:

• Development of ingenuity and ingenuity.
• Develop endurance and coordination of movements.
• The development of the physical data of the child.

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, plasticity, pantomime and gestures.

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

The age of the participants is 7 years.

Learning the basic concepts of classical dance

Choreography classes are impossible without learning the basics of classical dance. The term "classical dance" is used by the entire ballet world, denoting a certain type of choreographic plastics. Classical dance is universally recognized as one of the main expressive means of modern ballet. It is a clearly developed system of movements, in which there is nothing accidental, 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 the time when ballet became an equal genre of musical theater, that is, since the 17th century. Indispensable conditions for dancing are leg eversion (meaning the upper eversion - groin and feet eversion), a large dance step (how high the child can raise his leg forward, backward, sideways), body flexibility, stability, rotation, light and high jump , free and flexible control of the hands, precise coordination of movements and, finally, endurance and strength.

This is acquired by daily training, with careful implementation of 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 that in the first grade the movements are performed separately and in the simplest 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 bench and exercises in the middle of the room; the latter are divided into exercise, adagio (combination of poses and positions of classical dance) and allegro (jumping and exercises on the fingers).

Getting started showing the exercise, you need to understand the concepts of supporting and working legs. The supporting leg supports the body in movement, 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, nevertheless, the concepts of "supporting" and "working" are to a certain extent arbitrary, since the tension of the supporting leg in exercise is the key to stability in the dance.

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

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

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

Some movements of the classical exercise require special preparatory positions - preparation.

Exercise is preceded by motion preparations.

Dance is organically linked to music. Exercises of classical exercise are unthinkable without music. The tempo and rhythmic pattern of the musical accompaniment are different. While the movement goes through the stages of preparatory exercises, the rhythmic pattern is simple, later it becomes more varied and complex.

Already in the first lessons, you should take care of the development of students' musical ear. Students are first introduced to the time signatures 2/4, 3/4 and 4/4 by simply listening to the music, then by marching to the music, the steps must match the rhythm of the music. When students have mastered a simple 2/4 march, they need to be taught to different time signatures, diversifying the musical accompaniment, speeding up and slowing down the tempo, changing the time signature, but strictly observing the integrity of the musical phrase.

The march in the class has a dance coloring. The gait is light, from the toe to the entire foot, the toes are slightly open outward. The body is tucked up, the shoulders are open and lowered. Girls keep their fingers on the dress, keeping the rounded shape of their hands, boys keep their hands at the waist.

Simultaneously, in the middle of the hall, the study of hand positions begins with the obligatory musical accompaniment. In parallel with this, the position of the body is developed at the stick.

Setting up the body

In the first year of study, the main task is to correctly position 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 are lowered and back, the neck is pulled up.

Learning basic leg positions(see below):

Learning basic hand positions(see below):

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

The system of exercises and methods of influence aimed at fostering the motor culture of children, expanding the arsenal of their expressive means. Choreography helps to solve a number of general educational problems. So, the use of the basics of folk, historical and everyday dances adds to the cultural heritage of various peoples. The use of music in the classroom introduces the basics of musical literacy, the works of 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, coordination of movements develops, 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 trainingis provided by a system of exercises and methods of influence aimed at fostering the motor culture of children, at expanding the arsenal of expressive means.

In choreographic training, the following are solved tasks:

• Aesthetic tasks:

Development of musical taste and outlook;

Introduction to the joint movement with the teacher.

• Physical tasks:

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

Teach children to feel the character of the music in their bodies.

• Educational tasks:

Psychological liberation of the child;

Raising the ability of children to experience, think, remember and evaluate the culture of their movements;

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

• Preparatory stage - on mastering the elements of the choreographic "school";
• The profiling stage is to master the varieties of "profiling" elements;
• Rhythmomotor stage;

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

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

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

Profiling choreographic trainingis carried 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 exercise;
• Formation of skills to move expressively.

In profiling trainingthe generally accepted means of choreography are used: dance movements, movements of free plastic, movements of facial expressions and gesture (pantomime). But in working with children, one should not be limited only to these exercises, considering exercises at the machine as preparatory for teaching children to turn, balance, jump, i.e. profiling exercises. While conducting a dance school, one should give developmental exercises that are used for warm-up and are recommended to strengthen the ankle joint and foot when teaching children to jump, balance, turns, as well as to prevent flat feet and scoliosis.

You can offer several options for such exercises:

I.p. - with units, feet on oneself (Figure a, b).

1. Flexion and extension of the fingers. 2. Flexion and extension of the foot (keep the toes in the "towards yourself" 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 themselves"). 6. Sequentially: abduction of the foot - flexion of the foot - flexion of the fingers - extension of the fingers - extension of the foot - adduction of the foot. Perform abruptly with short fixation after each of the above movements. 7. Perform the previous movement in one piece. 8. Circular movements of the feet outward (inward) with simultaneous flexion and extension of the feet and fingers.

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

1. Lowering the heels to touch the floor and raising them in the ip.

2. Breeding the heels with their simultaneous lowering - I.p.

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

I. p. - we sit on the left hip with support on the hands, bend the right one to the side with the support of the foot(the foot is twisted and in line with the toe of the other leg. ( Figure c).

1. Raising the right heel to the "on toe" position - ip.

2. A sharp rise in the heel - plantar flexion of the foot and toes, lifting the foot from 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 a fast pace. Emphasis on heel work. It is desirable 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 accented moments. They are associated with flexion and extension in the hip joints, with jerking movements of the trunk, with interceptions with hands, etc. The rhythm of the system of movements is, as it were, its regularity. In this regard, the formation of a sense of rhythm in the improvement of movements in children is considered as an opportunity to more fully, more rationally solve problems 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, with the aim of more successful, conscious mastering of musical rhythms in choreography classes, special exercises and musical games are used.

Each piece of music has its own rhythm, the means of measurement and creation of which are time signature and tempo. Tempo - the degree of speed of execution.

Intermediate positions of arms, legs and their movements.

Positions of arms, legs

It is very important for children to master the so-called "school", the culture of movements. Choreography exercises, which include elements of classical dance (exercise), play an essential role in solving this problem. These exercises help develop flexibility of movements and a sense of rhythm, form correct posture and develop a taste for beautiful movements. At the first stage of training, exercises are performed in lightweight conditions, standing facing the support, holding the support with your hands. Gradually, as they master, from exercises facing the support, they move on 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 hall. Here the exercises are performed facing the main direction, half-turned and sideways. Each exercise at the support and in the middle must be performed in a specific sequence, in one direction and the other, with the right and left legs. At the beginning of the training, movements are performed to the side, then forward and only then backward. Exercises at the support are performed on the entire foot, then, as they are mastered, on the half-toes. In classical dance, two groups of movements can be conditionally distinguished: preparatory (simple) and basic (complex). The first group includes the entire system of preparatory exercises: legs extended to the side, forward, backward to toe (battements tendus), half-squat (demi-plies), squat (grands plies) and their varieties. It is these exercises that are basic for the education of the school of movements.

Execution technique and teaching method. Intermediate hand positions

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

In the lateral plane(fig. 16): a) hands down; b) hands forward - downward; c) hands forward; d) arms forward - up; e) hands up; f) hands back.

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

To refer to circular movements with hands, the terms are used: Circle - circular movement of arms, legs, body. Performed from I. p. 360 degrees around the circumference again to I.p. In this case, it is enough to say "circle" and indicate its direction. For example, a circle with hands down (up) from I. p. hands to the side; An arc is a movement performed less than 360 degrees in a circle. To designate such movements, the word "arc" is used, the direction of movement and the end position are indicated. For example, arcs outward, arms up.

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 of the fingertips is 10-15 cm (a).
2. hand position - Rounded arms raised to the sides, slightly below shoulder level, bent at the elbows. The hands are rounded, palms are turned inward (b).
3. hand position - Rounded arms raised above the head, slightly bent at the elbows, slightly rounded hands, palms facing downward. 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 performed are indicated. Leg movements inface plane(fig. 20): a) right side to toe; b) right to the side - downward; c) right to the side; d) right to the side - up.

Lateral movement(fig. 21): a) left toe; b) left forward - downward; c) left forward; d) left forward - upward; e) left back to the toe; f) left back - downward; g) left back.

Opposite movementsare designated as follows (Fig. 22):

a) right to left;

b) right to left - downward;

When putting the foot on the toe in one direction or another, the leg is indicated, which is done

movement, direction of movement and the phrase "toe".

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

To indicate flexion of the legs at the knee joint, it is used

the term "bend" and the leg is indicated.

For example, bend the right, the foot is at the lower leg 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 a right angle or slightly higher, but the lower leg should be parallel to the supporting leg.

In the lateral plane(fig. 23):

a) bend the right one;

b) bend the right one forward;

c) bend the right back.

In the front plane (Fig. 24):

a) bend the right to the side;

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

Leg positions:

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

When performing positions, it is necessary to strive for the maximum eversion of the legs, the knees should be extended, the gluteal muscles are tense, the weight of the body is evenly distributed on both feet, the body is raised, with correct posture.

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

First clock: 1-2 - half squat; 3-4 - get up.Second - fourthbars are the same as the first.

Methodical instructions.Bend and unbend your legs evenly, observing the rules of eversion. In the semi-squat, the heels should be flat on the floor without resting on the big toe. First, practice in each position separately and perform 4 times. Squats in 4th position, study last; further use them depending on the preparedness of the children. Semi-squats when learning to perform facing the support, holding hands on the support (machine), in the 1st, 2nd, 4th, or 5th position. After that, do the same, standing sideways to the support, holding on to the support with one hand. Raise the other hand to the 2nd position. When the children have mastered the half-squats in each position, they should be performed one, two times in each leg position.

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

Zatakt: 1- slightly tilting your head to the left, raise your right hand to the 1st position; 2 - turning your head to the right, take your right hand to the 2nd position; "And" - slightly lower the right elbow, raise and turn the hand with the palm down.

First measure. 1-2 - lowering the right hand to the side - downwards and tilting the head to the left, half-squatting; 3 - "And"; 4- lowering the right hand to the preparatory position and tilting the head to the left - downwards, squat. After mastering the squat from the 1st position, perform in combination two half-squats and one squat alternately 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 basic movements of classical dance. By the ability to correctly perform these exercises, one can judge the presence of a culture of movement, 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 upper bar, legs in 1 position. 1-2 - Demi - plies - "half squat"., 3-4 - I. p.

II. I. p. - gray in emphasis. 1-2 - pull back the mortar, 3-4 - hold, 5-6 - pull the feet towards you, 7-8 hold.

III. I. p. - standing at the support, I position. 1-2 - slide the left leg forward onto the toe, turn the heel forward; 3-4 - return to the IP;

5-8 - the same with the right foot.

I. I. p. sitting emphasis.

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

3-4 - hold;

5-6 - stretch your legs, keeping the feet turning;

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 1 position, hands in a preparatory position. 1-2 - raise your hands to 1 position, 3-4 - move your hands to the II position, 5-6 - hold, 7-8 - return to SP.

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

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

2 complex (from 7 years old)

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

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

II. I. p. - sitting emphasis.

1-2 - raise a straight left leg;

3-4 - bend the leg, 5-6 - stretch the leg, turning it outward, 7-8 - return s i.p. The same with the right foot.

III. I. p. - standing at the support, 1 position. Battements tendus to the side for 2 bars, II position, demi - plies for 2 bars, return to 1 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 on the heel, the weight of the body remains on the right leg;

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

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

II. I. p. - standing at the support, 1 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 outstretched fingers;

4 - I. p. The same with the right foot.

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

3-4 - I. p. The same with the left foot.

Walking with a soft step, changing the position of the hands for 2 bars.

3 complex (from 7 years old)

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

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

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

II. I. p. - too. Demi - plies for 4/4 measures. 4 Battements tendus forward, sideways, backward, sideways in 2 bars. The same with the other leg.

Feet in 1 position, change hand positions in 3 counts. For 2 bars, perform 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 °. The same with the other leg.

II. I. p. - too. Rond de jambe par terre on 4/4 bars:

a) from 1 position, sliding, bring the pulled out right (outer) leg forward, to the side, return to 1 position and hold 1 beat, repeat 4 times;

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

I. I. p. - sitting emphasis.

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

3-4 - straighten up, pull back the socks.

II. I. p. - standing sideways to the support. Releves from 1 position by 4/4 measures. 2 bars - releves, hold 2 bars and perform a deep bend back, releves, return to 1 position. III. I. p. - too. Battements tendus jetes 30 degrees off the floor from 3 positions for 4/4 beats.

4 times forward, to the side, back, to the side, waltz step with a change in the position of the hands (2 bars each).

Conditional translation of French terms

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

Battements tendus (tandyu batman) - leg extension.

Battement tendus jetes (Batman tandyu jetes) - throw a leg 30 degrees off the floor.

Battements frappes (batman frappes) - shock movement.

Battements fondus - smooth, “fading” movement.

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

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

Demi-plies - half squat.

Developpes (devlope) - deployment.

Ecartee (ekarte) - a pose in which the whole figure is turned diagonally.

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

Effacee (efase) - a pose in which the legs and the whole figure are open.

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

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

En facee (an facee) - straight.

En tournants (en tournant) - with a twist.

Glissade (glide path) - sliding movement - sliding jump.

Grand battement jetes - Large throwing movement 90 degrees off the floor and above.

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

Petit battements (petit batman) - small batman on the ankle of the supporting leg.

Port de bras (por de bra) - an exercise that consists of the simultaneous movements of the arms, body and head.

Releves lents - slow raising of the leg.

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

Sissonne fermee (sison farm) - a jump from two legs to one with the simultaneous closing of the legs.

Sissonne ouverte (sison overt) - 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 is a lie) - connecting, smooth, continuous movement.

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

Sur le cou-de-pied, followed by a sharp short standing on her toes, while the other leg opens to the side 45 degrees from the floor. Tombee and coupe can be performed in various positions.

Bibliography:

1. A.G. Boguslavskaya, SN Golovkina and others. "Where dance is born", M. - "Moscow worker", 1977.
2. L. Bondarenko. "Methodology of choreographic work in school and out-of-school institutions", Kiev - "Musical Ukraine", 11985.
3. I.I. Bahrakh. Physical development of schoolchildren. Smolensk, 1991
4. L.A. Baikova, D.K. Grebenkina. "Pedagogical excellence and pedagogical technologies." - M. - Pedagogical Society, 2001.
5. T. Baryshnikova. "The ABC of Choreography". C - Pet. - Art, 1999
6. N.P. Bazarov. "Basics of Classical Dance". Textbook for choreographic schools and universities. - M: Education, 1978.
7. S.N.Golovkina, E.N.Zhemchuzhina, N.V. Zolotova, P.A.Pestov, B.G.Rakhmanin, O.A.Ilyina, and others. "Classical dance" - program for choreographic schools No. 2108 in the specialty "Ballet dancer" (8 years of study), M. - 1987
8. O. G. Zaitseva. "To little artists, dancers, vocalists". Yaroslavl "Academy of Development", 2005.

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