home-Dresses-Individual ballet lessons for children. History of Russian ballet: emergence and progress

Individual ballet lessons for children. History of Russian ballet: emergence and progress

Ballerina- professional dancer performing classical dances. Ballerinas begin dancing at the age of 4-6 years, using finger techniques. The profession is suitable for those who are interested physical education, singing, music and world artistic culture(cm. choosing a profession based on interest in school subjects).

Short description

You should start practicing ballet dance at early childhood, because at this age the child’s body is very plastic. Future dancers should be short in stature and light in weight, flexible, and have narrow ankles. The commission that admits children to professional ballet schools often pays attention to the physique of the child’s parents, because if the father and mother are large, then the parameters of the dancer’s figure in adolescence may also change.

The guys who have passed the competition begin to actively train, but more than 50% of future ballerinas are eliminated. They can be expelled from the team because the ballerina grows too quickly, gains weight, does not have the necessary flexibility or lightness, is lazy and skips training.

Features of the profession

It is worth understanding that ballet is hard and exhausting work. Light and fragile dancers are forced to deny themselves literally everything. Girls are constantly on a strict diet, because the weight of an adult ballerina, whose height is 163 cm, should not exceed 44 kg. If the weight goes beyond the limits, then the girl may not be allowed to perform or expelled from the choreographic school.

A ballerina must be very resilient and hardworking, because the path to the big stage lies through many hours of training. Classes for children who are just starting their ballet journey begin with ground gymnastics, which helps develop flexibility and prepare the body for more difficult exercises, improving coordination. The success of a ballerina depends on the choreographer who works with her. Many choreographers dream of training a famous prima ballerina, so they try to invest all their knowledge into promising students.

  • high blood pressure;
  • arthrosis and arthritis;
  • flat feet;
  • gastrointestinal diseases;
  • childhood injuries (fractures, ligament ruptures and others that can affect the plasticity and mobility of joints);
  • obesity.

Ballerinas who graduate from specialized ballet schools immediately begin performing, working as corps de ballet dancers or soloists. The ballet troupe tours home country and often travels abroad, a strict hierarchy reigns in the team. Dancers constantly train, work with a choreographer, study the script of the production and its music in order to understand the character of their character. Each member of the troupe receives a ballet part, the complexity and importance of which depends on the professionalism of the ballet dancer, natural abilities, and artistry.

Pros and cons of the profession

pros

  1. Opportunity to perform at best scenes peace.
  2. Ideal figure.
  3. Excellent posture.
  4. No bad habits.
  5. Strong immunity.
  6. Development of good taste.
  7. Strength of mind.
  8. Increased endurance.
  9. Big fees.
  10. Opportunity to become a teacher after completing your career.

Minuses

  1. Diet restrictions.
  2. Strict daily routine.
  3. High competition and envy from other ballerinas.
  4. Development of occupational diseases (joint diseases, dislocations and sprains, arthritis and arthrosis, foot deformities and others).
  5. Lots of business trips.

Important personal qualities

  1. Hard work.
  2. Perseverance.
  3. Respect.
  4. Endurance.
  5. Determination.
  6. Focus on results.
  7. Artistry.
  8. Charisma.
  9. Discipline.
  10. Obedience.
  11. Leadership.

On preparatory classes Children are accepted from the age of 4; at 9-11 they can enter a professional ballet school, where they must study for 8 years. During training, future ballerinas face serious challenges. physical activity, because their classes can last from 3 to 9 hours, which depends on the age of the dancers and their level of training.

If a child has not started ballet before the age of 10-12, then his path lies in folk or variety dance. It is worth noting that ballerinas must have an excellent figure and excellent technique, but teachers make practically no demands on knowledge of the school curriculum.

Often talented ballerinas trained in choreographic schools majoring in “Ballet Art” or “Choreographic Art”, after final exams they are invited to enter the famous academies and ballet schools. Representatives of such schools attend performances and examination concerts, choosing promising dancers. Graduates of famous ballet schools are invited to work in famous theaters(Mariinsky, Bolshoi, Mikhailovsky and others).

Higher education

  • Academy of Russian Ballet named after. AND I. Vaganova.
  • Moscow state academy choreography.
  • Imperial School of Russian Ballet.
  • Ballet school Nutcracker.
  • Ballet school Ilze Liepa.
  • School of ballet art "Arabesques".

Ballet schools

Ballet school "Kasok", St. Petersburg

They work at school professional teachers and current ballet dancers who teach children the art of classical dance. The school has a program for children, teenagers and professional dancers who want to improve their technique and learn to avoid injuries.

Place of work

The career of ballet dancers is short, so until the age of 35-40 they actively tour, performing on the best ballet stages in the world. They can work in famous ballet companies or small teams, but here everything depends on talent.

After retirement, ballerinas work as choreographers and give private lessons. Famous prima ballerinas can retrain as theater or film actresses, star in commercials, and open their own schools.

Salary

The size of a ballerina’s salary depends on the level of her training, the place she occupies in the troupe, and her qualification category. The competition for a place in the famous capital's theaters is very large, because 100-150 ballerinas can apply for 1 vacancy.

A prima ballerina can receive wages, the size of which is 100-150 thousand rubles. Corps de ballet dancers receive up to 50 thousand rubles, but the size of the salary depends on the theater in which the troupe works.

Professional knowledge

  1. Knowledge of the history of ballet.
  2. Ability to work in different dance genres.
  3. Performing the established choreographic repertoire.
  4. Working out a ballet part with a partner, choreographer and choreographer.
  5. The ability to enter into an image and convey it through movements.
  6. The ability to feel music and a good ear for music.
  7. Creation stage images.
  8. Ability to maintain excellent physical shape.
  9. Knowledge of professional terminology.

Famous representatives of the profession

  1. Plisetskaya, Maya Mikhailovna.
  2. Ulanova, Galina Sergeevna.
  3. Pavlova, Anna Pavlovna.
  4. Vishneva, Diana Viktorovna.
  5. Obraztsova, Evgenia Viktorovna.

A. G. Bagadaeva

PROFESSIONAL BALLET AS A CULTURAL PHENOMENON

Professional ballet is considered as a unique cultural phenomenon in which artistic images are created that acquire cultural meaning and an aesthetic ideal. The author says that professional ballet shows the beauty of plastic body movements brought to perfection, the harmony of musical and dramatic performance, and from a semantic perspective it reflects values spiritual world culture.

Key words: professional ballet, choreography, drama, music

Professional ballet is regarded as a unique phenomenon of culture in which the artistic images finding the sense of culture and esthetic ideal are created. The author proclaims that professional ballet demonstrates beauty of plastic gestures honed to perfection, harmony of musical and dramatic performance, and in the meaning aspect angle - reflects the values ​​of the spiritual world of culture.

Keywords: professional ballet, choreography, dramaturgy, music

The versatility of culture embraces and reveals all sides human life. One of the facets of culture is art, which conveys reality in artistic images and through creativity displays various shapes being. As a form of culture, art reproduces the aesthetic beauty of various aspects of human existence and creates images that embody perfect performance about the surrounding world1. The phenomenon of art is a type of empirical consciousness, the source of knowledge of which is often sensory-emotional perception. According to E. A. Basin, “art is called upon to reveal the truth in a sensual form, to sensually depict the absolute, to combine an idea and a sensual embodiment into a free, reconciled whole.”

Professionalism in art, as in other types of human activity, is achieved by creating a certain system, characterized by a step-by-step study of all its stages and leading to absolute perfection. Professional art finds full completion in its highest form - the creation of artistically beautiful things. Part professional art is ballet. Professional ballet belongs to the spatio-temporal forms artistic creativity where space is limited stage area, and the time factor is determined by the length of the completed action.

In the encyclopedia, the concept of ballet is revealed as “a type of musical and theatrical art, the content of which is expressed in choreographic images.” It follows from this that in professional ballet there is interaction and mutual influence of at least three components: theatrical art, music and choreography2. According to an outstanding researcher of ballet art

1 On the peculiarities of the formation of aesthetic emotions by means of choreography, see.

2 For more information about the synthesis of arts in ballet, see.

V. V. Vanslova, artistic power ballet “depends not only on high level each of these components, but also on the degree of their fusion into a single and organic artistic whole."

The connecting center of artistic synthesis different arts serves choreography, which occupies a dominant position in ballet and is its main expressive means. Choreography is “the art of dance, as well as staging ballet dancing". When exploring the choreography of professional ballet, one inevitably has to operate with such a concept as dance. The meanings of the words dance and choreography are very close, almost synonymous. Dance can be characterized as a compositional structure of interconnected rhythmic-plastic movements and positions human body, carrying ideological and semantic, and in some cases, plot load. The choreography has more broad meaning, this is the art of dance in general, in all its varieties. The choreography covers many dance styles- from folklore national dance to its modern incarnations. In professional ballet, choreography is fundamental to the viability of a given ballet production.

The highest level of choreography is classical dance. The means and techniques of classical dance form the aesthetic form of professional ballet, becoming its main distinguishing factor from other areas of choreography. " Classical dance- system artistic thinking, which shapes the expressiveness of movements inherent in human dance manifestations at various stages of culture. These movements are included in classical dance not in an empirically given form, but in a form abstracted to a formula,” wrote L. D. Blok, who devoted her works to the study of classical dance.

If ballet as a form of theatrical art originated in the Renaissance, then the process of formation of classical dance began in the era of romanticism. Number

the tota and harmony of classical dance took ballet to a whole new level that reflected this artistic direction. For a long time ballet remained the prerogative and entertainment spectacle for a small number of rich people, while at the same time incurring attacks from progressively minded minds. The emergence of classical dance and classical ballet turned out to be in tune with the high aspirations of romantics who did not accept the surrounding reality. The spirituality, poetry and unreality of classical dance carried the romantics into an environment of ideal perfection.

Classical dance was formed as a result of the enormous work of many generations of people who strived to achieve the greatest expressiveness of the movements of the human body. The classical dance system crystallized in the principles of development dance moves, characteristic of everyday dance (stepping, running, body turns, kicking, stamping in place, etc.), brought to a “geometrically distinct pattern.” The disorder and chaotic nature of everyday movements were brought into a coherent, coherent and logical system.

The basis on which classical dance developed was theatrical or stage dance that had developed over several centuries, which in turn relied on dance techniques of folk choreography. Gradually improving, movements and connecting elements, originating from the stage dance of the New Age, acquired their unique and inimitable face in classical dance.

The norms and rules of classical dance require body positions that are unnatural for natural human physiology, for example, eversion of the legs or finger technique (pointe shoes). A thorough study of the causes of this phenomenon was carried out by L. D. Blok, who scientifically substantiated the mechanism for performing classical dance movements.

The combination of movements of classical dance, arranged in a talented choreography, creates its beauty. Purity of lines, airiness of jumps, refinement of finger technique and virtuosity of rotations become expressive methods of professional classical ballet.

In addition to classical dance, professional ballet may contain elements of folk and modern dance. Synthesis various types choreography is often used in ballet performances. For example, characteristic movements folk dance were included in classical ballets back in the 19th century, and in the productions of modern choreographers, along with classical dance, we see the achievements of modern dance, their fusion creates the new kind choreography - neoclassical. Here we only touch on this topic, which is the subject of a separate article.

The harmony of classical ballet is unthinkable without its most important component - music. “The organic synthesis of music and choreography in ballet becomes possible thanks to the similarity of the figurative nature of these arts.” Firstly, music is necessary for ballet because the tempo and rhythm of the dance are associated with it. Secondly, the similarity between music and choreography as arts lies in their development over time. Thirdly, music gives ballet choreography an emotional and figurative atmosphere.

When ballet remained a courtly entertainment form of theatrical art, ballet music had for the most part applied value. Outstanding composers rarely turned to ballet music and treated it condescendingly, since it was believed that it was intended only to create the so-called “danceness” - a set of formal qualities of music that make it convenient for dance. Only upon arrival in ballet theater such great composers as P. I. Tchaikovsky and A. K. Glazunov, music in ballet has risen to the same level as the peaks musical art. Without denying the historically established genres and forms of ballet music, they filled it with new content and meaning and introduced the principles of symphonic development into ballet.

Another component of professional ballet is dramaturgy. As in other types of theatrical art, dramaturgy in ballet contains the main stages of the development of plot action: beginning, development, climax and denouement. In ballet, according to V.V. Vanslov, “the dance exists as if in a theatrical “frame”, it has dramatic significance and meaning.” Dramaturgy in ballet is designed to reveal images through artistic and plastic embodiment. Therefore, it is important that the choreographer, who is also a playwright, thinks in choreographic images and creates action through the plastic development of the entire ballet.

Ballet drama takes on a special character - it is musical and choreographic. Its basis is a script that has verbal description semantic and plot twists and turns. But the embodiment of dramaturgy in ballet works occurs without the help of words, proceeding in the figurative and dance implementation of musical dramaturgy. The content of musical dramaturgy becomes the support for choreographic dramaturgy, which follows the music not literally repeating its tempo-rhythmic formulas, but acquiring own techniques, conditionally repeating the sound-dramatic basis. Often in ballet the compositional and semantic idea piece of music reflected in choreographic dramaturgy without a visible plot. This phenomenon is especially pronounced in plotless symphonic ballets.

Each of the main components of professional ballet - choreography, music and drama -

gy, - combining into a holistic harmonious relationship, reflects culture in the sensory, kinetic, semiotic, structural-functional and other senses of the diverse environment of forms human existence. The phenomenon of professional ballet is an integral part of culture. Professional

ballet contains many aspects cultural environment, among which aesthetic and semantic ones stand out. From an aesthetic point of view, the phenomenon of professional ballet represents the beauty of plastic body movements brought to perfection; in the semantic aspect, it reflects the values ​​of the spiritual world of culture.

1. Ballet: encyclical. / ch. ed. Yu. N. Grigorovich. - M.: Council. encycl., 1981. - 623 p.

2. Basin, E. Ya. Semantic philosophy of art / E. Ya. Basin. - M.: Mysl, 1973. - 216 p.

3. Belov, V. A. Features of the formation of aesthetic emotions by means of choreographic art / V. A. Belov //

Vestn. Chelyab. state acad. culture and arts. - 2009. - No. 1. - pp. 47-50.

4. Blok, L. D. Classical dance: history and modernity / L. D. Blok. - M.: Art, 1987. - 631 p.

5. Borg van Dijk, E. Choreography - the creation of dance / E. Borg van Dijk // Vestn. Academician rus. ballet named after A. Ya. Vaganova. -

2002. - No. 11. - P. 141-146.

6. Braylovskaya, M. A. Synthesis of arts - the integrative basis of ballet: cultural analysis/ M. A. Braylovskaya //

Vestn. Moscow state University of Culture and Arts. - 2006. - No. 3. - Part 1. - P. 102-108.

7. Vanslov, V.V. Grigorovich’s ballets and problems of choreography / V.V. Vanslov. - M.: Art, 1971. - 303 p.

8. Vanslov, V.V. About music and ballet / V.V. Vanslov. - M.: Historical monuments. thoughts, 2007. - 332 p.

9. Ozhegov, S. I. Dictionary of the Russian language / S. I. Ozhegov. - M.: Council. Encycl., 1964. - 900 p.

10. Petrenko, E. A. Synthesis of music and dance as a tradition of Russian ballet / E. A. Petrenko // Vestn. Chelyab. state acad. culture and arts. - 2008. - T. 13. - No. 1. - P. 57-63.

Ilze Liepa's primary school is located on Rublevo-Uspenskoye Highway, more intimate studios are located on Solyanka and in the Pavlovsk gymnasium. Teachers use the author's methodology famous ballerina Ilze Liepa. This technique is based on a combination of gymnastics and Pilates. Ilse herself also takes part in drawing up training programs. The school program includes ballet gymnastics, the basics of classical dance, choreography and the basics of acrobatics. Age groups at Ilze Liepa school: 2.5-4 years, 5-6 years, 7-8 years and 9-12 years. The little ones start with the basics - they practice rhythm, dancing and outdoor games. Serious ballet training begins at age 5. Several times a year, students demonstrate their skills in reporting concerts.

2. Choreographic studio Ksenia Belaya
Age: from 2 years
Studio on Patriarch's Ponds / on Frunzenskaya
The Choreographic Studio was opened in 1999 by Ksenia Belaya, a graduate of the choreography department. Russian Academy Theater Arts(GITIS). Ballet is taken seriously here, which is confirmed by regular performances of students in the Grand Kremlin Palace, Concert hall named after Tchaikovsky, House of Music. The studio teaches classical and modern dance, dances of the peoples of the world and demiclassical performances. During the lessons, children get acquainted with folk art, learn to feel music and rhythm, do gymnastics, acting skills, study the history of world dance, etiquette and even art history. The youngest are engaged in choreography, after which they can choose a course to their liking: classical dance or modern jazz.

3. Yegor Simachev Ballet Workshop
Age: from 2 to 11 years
22 branches in Moscow



The Yegor Simachev Ballet Workshop can be considered an important promoter of children's ballet in the capital. The first studio was opened in the Hermitage Garden in 2011, and today there are already 16 branches of the Workshop operating in the city. Ballerinas of the Bolshoi Theater work with children. There are three here age groups- from 2.5 to 4 years, from 5 to 7 and from 8 to 11 years. Depending on age, level of training and capabilities, the child is helped to choose the necessary load so that training does not cause damage to health. Among the studio's unusual services are ballet lessons in French or English language, and you can start studying both ballet and languages ​​from scratch.

4. Studio of classical ballet "AkTer"
Age: from 3 to 13 years
4 branches


The AkTer ballet studio operates under the State academic theater classical ballet, and its students actively participate in theater productions. Students also perform at foreign venues. The artistic director of the studio, Oksana Georgievna Tereshchenko, graduated from the Moscow State Ballet School at Bolshoi Theater and is a soloist of the theater. Ballet art in the studio is taught to children aged 3 years and older; there are age groups for boys and girls 3-6 and 6-8 years old. In classes, children learn classical dance, folk character dance and acting.

5. Ballet school “Nutcracker”
Age: from 3 to 10 years
School on Leninsky Prospekt, 32
Branches in the clubs "Ribambel" on Kutuzovsky Prospekt, 48 and in the Botanical Garden

The school, respected in Moscow, was founded in 2000 by the People's Artist of the RSFSR, the famous ballerina Natalya Chekhovskaya. The Nutcracker school has a preparatory department for children 3-10 years old and professional classes for children from 10 years old (1st ballet class). They teach at school according to the “Classical Dance” program S.N. Golovkina, approved by the Ministry of Culture of the Russian Federation. Students have at their disposal: spacious dance hall with mirrors and comfortable changing rooms. You can come to view on any weekday from September to May, as well as on certain days in June.



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