Selection of repertoire. Repertoire is the face of the creative team
Repertoire (French repertoire – list), a set of works performed by a creative team. Repertoire is the basis of the creative team’s activities. The repertoire can be used to judge the social and artistic role played by the group. The famous choral conductor G. Ernesaks formulated the place and significance of the repertoire for an artistic group as follows:
The repertoire is a mirror in which we see the face of the collective - in profile and full face.
The repertoire predicts the future of the team. Analysis of the repertoire of a particular group allows us to determine the creative style, quality, taste, capabilities, direction. Therefore, the formation of a repertoire is not just a responsible matter, it determines the entire activity of the collective. One of the main aspects in the issue of repertoire is its educational role both for those who are directly involved in it, who participate in the preparation of a particular work, and for those who see it from the stage. The repertoire is replenished with all the best that is available in the artistic treasury of the world community, enriching the spiritual world, internal culture, and aesthetic tastes of both amateur performers and spectators.
When selecting a repertoire, the manager must rely on developed and accepted criteria and principles. Each team has technical and artistic capabilities unique to it, according to which the leader has to select material for performance. The management of the DU has certain requirements for the repertoire; it is important for them that the group’s performance can be shown at various events with a thematic focus for different audiences. When choosing a repertoire, the head of a creative team must not only take into account his own taste and personal desires, but also take into account a whole range of conditions and factors: the repertoire must correspond to the performing level of the group, be interesting for participants and spectators, so that it allows them to take part in various cultural and leisure events .
The repertoire primarily depends on the profile of the group. Each group must have its own repertoire, corresponding to its individual theme in art, its tasks and capabilities. Conventionally, collectives can be divided into the following types:
by age: children (preschool, school), youth and adults mixed;
by organizational characteristics: circle, studio, ensemble;
according to thematic and repertoire characteristics: folk art groups, classical, modern.
Thus, it is necessary to form a repertoire in accordance with standard principle.
The second important principle when determining the repertoire of a group is taking into account its capabilities. The choice of repertoire should be based on the suitability of the team, its technical and artistic capabilities. One of the well-known laws of pedagogy: the task must correspond to the current capabilities of the team and slightly exceed them, which contributes to development and growth. The presence of people of different abilities in the team poses a serious task for the leader when forming the repertoire, as well as the individuality of the team members. Consequently, next to the mass repertoire, a solo one is needed, as well as a small group one as preparation for the solo one. This means, on the one hand, the formation of the repertoire should be correlated with the general direction that creates the creative face of the team, on the other hand, with the opportunities for growth of the participants, their creative individuality.
The repertoire can be formed according to the principle of the concert program, i.e. several numbers united by a single theme, which together can form no less than a part of the concert. The concert repertoire should remain educational at the same time, contributing to the development and consolidation of performing skills.
Some amateur groups create their own original repertoire based on the study of folk art, the results of folklore expeditions in their area, and enrich the program with so-called “local material.” At various competitions and festivals, originality and the preservation of local folk performing traditions are highly valued.
To provide a high-quality repertoire, scientific and methodological centers of folk art and culture publish special thematic collections, collections of plays, songs, choreographic performances, etc.
The selection of repertoire requires the leader to have a clear long-term vision of the pedagogical process as an integral and consistent system that ensures the solution of common artistic, creative and educational tasks.
Many applicants fail the entrance exams to theater universities. And often this happens not because of ignorance or lack of talent, but because the literature for the competition was incorrectly selected upon admission. Theater school often provides a huge reservoir of knowledge that can become a lifeline for an applicant.
But even after taking courses or a similar school, the future student does not fully understand which works should be chosen in order to fully reveal his talent at the entrance test. No one can tell you exactly which literature to choose or which dance to choreograph, or how to choose the ideal image.
Most applicants do not have the slightest idea about what literature for admission to the theater is most convenient for such a competition. Practice shows that future students of such a university should choose:
- famous fables;
- classical poetry;
- prose works of writers of past centuries (of course, the most popular).
The most important rule is that all texts must be learned by heart. It is unacceptable for an applicant to read a role from a piece of paper or tablet at the entrance competition. At the same time, the applicant should have several versions of works, preferably even different genre types.
What else is important for admission?
Developed erudition, culture, and erudition are also extremely important points. The future test will show the applicant's level of knowledge, his manners, cultural level and even upbringing. Equally important is understanding and knowledge of Russian literature.
In addition, the applicant must understand the basics of theatrical art, know who and when stood at the origins of this skill and which famous figures influenced the development of this creative profession.
If you choose GITIS, how to enter there is a question that should not cause difficulties. When an applicant wants to enter a university of this magnitude, he must understand in advance what difficulties may arise along the way.
Literature for admission to theater: common mistakes
When you have all the knowledge, a number of skills and abilities, excellent stage presence, then an incorrectly selected repertoire for entrance exams can ruin your path to a future career and fame.
There are a lot of guys who make mistakes at this stage and don’t go further. What are the most common mistakes made by future students during admission?
- Selecting an unknown work.
- Too simple to perform and unemotional passage.
- Short or poorly learned material.
- Lack of knowledge about the work itself.
It doesn't matter what you choose - poetry, prose or song. The drama school had to provide the applicant with all the basics of acting, including how best to present the chosen essay.
Some applicants do an excellent job even with unknown works. Sometimes enormous talent is visible to the naked eye, and no mistakes can overshadow the genius abilities of the applicant. Therefore, it is difficult to determine the ideal algorithm or recipe for the upcoming trial.
SUBJECT:
There is a repertoire:
Having great
Russian song
The basis of the folk choir’s creativity is folk art in all its diversity. It is the folk basis that gives unique originality and originality to the creative face of each group.
Conclusion
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Description:
SUBJECT:
Criteria for selecting repertoire for a youth group
Let's start covering the topic with the selection of children's singing repertoire.
The vocal repertoire is compiled based on the following criteria:
1. Compliance with the physiological characteristics of the singing apparatus of children in order to protect the health of the children's voice.
3. high level of artistic merit
4. small volume of works
5. figurative and genre contrasts of the selected works
6. educational orientation
The repertoire should not be one in which one can learn purity of intonation, polyphonic singing, and vocal and singing skills. First of all, it should be interesting, bright, modern in a harmonious manner, have a beautiful, meaningful text, flexible dynamics, and contrast in character. The repertoire, as one of the factors in the aesthetic education of students, plays a significant role.
There is a repertoire:
1. Introductory (children get acquainted with the proposed song options)
2. Thematic song repertoire (selection of songs for traditional holidays)
3. For concert activities
In the development of children's musical culture, a large place should be given to expanding their musical horizons; for this, a diverse repertoire must be used. The repertoire of children's songs should be varied in topic, including songs about nature, children's work, kindergarten, school, and the seasons; comic, playful, holiday songs on social topics.
Children's repertoire must be selected in accordance with certain principles:
Be educational in nature. Songs should be pedagogically valuable, highly ideological, instilling a feeling of love for the Motherland, its nature, work, friendship and camaraderie, etc.
Age appropriate
Be diverse in character and content
Should arouse interest in vocal art
Songs should be highly artistic, educational in relation to the content of the text
The melodies of the songs should be simple, bright and varied in character
The themes of the songs are varied, but close and understandable to children.
The melodies of the songs must correspond to the vocal capabilities of the children in terms of range, which should not exceed that specified in the program. The tempo of songs for younger groups cannot be fast, as it is difficult for younger children to pronounce words at a fast pace. The middle group also offers lively songs. The repertoire of older groups includes songs of different tempos, but most are still moderate. The rhythm of song melodies should be simple - consist of a combination of quarter, half and eighth notes.
The deepening of high-quality performance of works should be facilitated by the didactic principle of gradualism in teaching, the principle of gradual complication of the repertoire. Each subsequent song was somewhat more difficult than the previous one (in terms of vocal skills, song melody, rhythmic pattern). Do not overestimate the real performing capabilities of the student, this can fix in the mind the idea of singing as hard work. Sometimes the teacher deliberately introduces works into the repertoire, clearly exaggerating their difficulty. This is done in order to involve the student in active work and help to reveal an unexpected side. Such experiments can be carried out in those semesters that do not end with an exam.
Basically, there should be pieces that children can master on their own, which will give them a sense of self-confidence. The form of the song can also become more complex. For example, from a one-part song you should move to a two- or three-part one, from a simple verse to a song with an introduction and conclusion. When choosing songs, the music director pursues, first of all, educational and educational goals in order to instill in children a love for the Motherland, nature, parents, kindergarten, etc. At the same time, the teacher takes into account those vocal skills that can be instilled with the help of a particular song. When choosing a song, one must proceed not only from one literary text, but take into account the nature and structure of the melody, its accessibility for a given group of children. It is also necessary to take into account the general musical development of children.
Songs must meet didactic requirements: accessibility, systematicity and consistency, awareness, activity. Namely: the gradual complication of songs should go from easier to more difficult in melody, harmonization, and structure. Children must understand the content of the text and the requirements for performing the song, and be able to perform the songs independently - solo or in choir. Each song should move the ensemble forward in acquiring certain skills or consolidate them.
If children without musical education are studying in an ensemble, then there is no need to try to take on very difficult songs, this may turn out to be an insoluble task and can lead to fatigue, in some cases even to alienation from singing.
The song repertoire for children should consist of highly artistic works having great educational and cognitive value. Listening and performing songs, the child responds emotionally to them, perceives their artistic images, and comprehends their content as a whole. All this deepens his understanding of the life around him. Musical images embody events that are close and interesting to children, natural phenomena, and social life. Songs. influencing feelings, they evoke a certain attitude towards what is conveyed in them. Children are very fond of musical works that arose on the basis of intonations taken from the life around them. Pay attention to the visual moments that convey the singing of birds. However, these pictorial moments cannot be used in isolation from the musical image of the work as a whole, just as all vocal music for children cannot be reduced to pictorial sounds. The main thing in music is the expression of feelings, moods, emotions. By influencing the child’s feelings with a song, the teacher develops in him an emotionally positive attitude towards reality.
When choosing songs you need to proceed from:
Pedagogical work plan;
The interests of children in which they live at a given time;
Accessibility to children's perception.
Pedagogical function of the repertoire
The social and pedagogical meaning of amateur performances lies in the organic combination of artistic, performing and educational processes. The solution to this problem is connected with the repertoire around which the amateur performance is built. The effectiveness of the functions performed by amateur performances largely depends on their quality, ideological and artistic level and social and pedagogical potential.
The problem of the repertoire for amateur performances receives increased attention from practitioners, the public, composers, choreographers, and playwrights. The question is about creating a repertoire for an independent group that, while not inferior in ideological and aesthetic level to the repertoire of professional orchestras, choirs, theaters, would be available for performance in amateur performances and would not copy the work for professional groups in form, language, and style.
There is constant talk about the tendency for the performing level of amateur performances to approach the performing level of professional groups. This will contribute to the further improvement of amateur creativity, on the other hand, to equip it with highly artistic works of art.
The point of view of the convergence of the artistic and performing level of amateur and professional creativity is correct in relation to an insignificant part of amateur groups. The main, overwhelming mass of them is significantly inferior in this indicator. Therefore, to ensure normal activity, they need their own repertoire, corresponding to the specific characteristics of the team and the functions it performs.
To create such a repertoire, you can go in two ways. Firstly, to “adapt” the existing specific group and, secondly, to create new original works designed for amateur performances.
The first path is often associated with significant changes in the author's text, play, song, dance, and the like, because amateur artists cannot always perform difficult passages and complex psychological scenes. When choosing such plays and works, you have to be especially careful, carefully study the possibility of their performance, the quality of the arrangement, instrumentation, and interpretation. It happens, unfortunately, that after careless or poor-quality arrangement, instrumentation, direction of a play, song, or dance, original works lose their artistic merits, are difficult to recognize, and their tempo, rhythm, text, and linguistic features are distorted. Therefore, the quality of instrumentation, arrangement, arrangement, that is, adaptations for amateur artistic activity, when choosing these plays, is of primary importance.
Naturally, a work created specifically for amateur performances requires additional processing, additional “artistic fine-tuning”, based on the specific conditions and capabilities of the team. But this path is much simpler, easier, justified in ideological and artistic terms, because these works are already published in advance, taking into account amateur performance.
At the same time, it is important to note that amateur performances, from the first steps, focusing on professional art, did not copy it in the selection of the repertoire, but looked for their own specific approaches to solving this issue. The best examples of folklore were actively mastered, and those works that best suited the spirit of the times and the mood of the masses were taken from the classical heritage. These trends, enriched and strengthened during the development of amateur performances, have become traditional, received a new color and the possibility of implementation in modern conditions.
Selecting a repertoire in modern amateur performances is not an easy matter, although, of course, uniform criteria and principles for evaluating it have been developed and adopted, and it is replenished with all the best that is available in the artistic treasury of Soviet society. These difficulties are associated primarily with the fact that each group has technical and artistic relationships unique to it, in accordance with which the director has to select plays. Long and difficult educational and rehearsal work may not give a positive effect - pedagogical, artistic, if a work was taken that was too difficult and could not be mastered, or, on the contrary, it turned out to be easy, not requiring intense search, showing everything that the performers are capable of.
Similar requirements apply to the repertoire of an amateur group of any genre - dance, choral, orchestral (folk, pop, spiritual).
There are many definitions of repertoire. Here are just a few of them:
1. “Repertoire is the choir’s daily bread, without which it cannot survive.”
2. The repertoire is a mirror in which we see the face of the choir - in profile and full face.
3. The repertoire is a sound map on which the creative routes of the choir are visible.
4. The repertoire is a pressure gauge showing the power and capabilities of the choir.
Based on the above, we see that the repertoire predicts the future of the choir. The repertoire shows the connection between the choir and the people, its strength and depth. The repertoire shows whether the values created in the past take pride of place and whether the choir is thinking about the future.
The repertoire demonstrates the friendship of peoples in practice.
The repertoire is where choirs grow, and their choirmasters, and composers, and indirectly, your entire musical culture.
These condensed provisions can be addressed to any group - theater, orchestral, dance, professional and amateur.
One of the criteria when selecting a repertoire is its reality, the correspondence of the repertoire to the technical and artistic capabilities of the group.
The problem of the educational repertoire has to be solved mainly in the first period of the team’s work, when the participants master performing skills, develop initial aesthetic positions, and establish close mutual understanding among themselves.
Plays for training should be interesting to the participants and should not present great technical and aesthetic difficulties, especially at the first stage.
Such a repertoire contributes to the rapid improvement of the participants’ skills, development and consolidation of playing skills; develops among performers an interest in folk art, in group activities, enriches the spiritual world, internal culture, and aesthetic tastes.
In turn, the concert repertoire, along with the requirements that it must meet as an educational one, also has a number of qualities. With its help, broad artistic, performing and social-pedagogical tasks are solved.
Works on revolutionary themes are of great educational importance. They form loyalty to the traditions of our glorious past, civic maturity. As a rule, the group opens its performance with them, giving it a special solemnity, expressing its ideological orientation.
Another group of plays introduced into the repertoire of amateur groups is associated with folk song, folk dance, and folk instrumental music. These are either interesting treatments, adaptations, or original doubts created on their basis. Moreover, despite the fact that modern media neutralize the regional characteristics of artistic creativity, a wide audience quickly becomes familiar with the musical novelty. Nevertheless, in every region of Russia and other union republics, local dance, singing, and musical features that have developed since time immemorial are preserved. Caring for them and promoting them is one of the important tasks of amateur performances.
Folk songs, dances, dramas are clear and simple. But this does not mean that their content is simplified. Works of folk art capture the history of the people, their soul, age-old hopes and aspirations. They are an enduring spiritual wealth, a source of inspiration. In any audience they are greeted with special warmth and exactingness, which is why the leader’s responsibility for the nature of the interpretation of a folk song or folk dance is so great.
Whether we are talking about dynamics, tempo, the relationship between groups and individual performers, about other components thanks to which art receives real forms of existence - all this should be considered by the leader from only one position - the disclosure of artistic, aesthetic and social-pedagogical content.
Songs, dances, and plays written by local playwrights and composers are of interest in the repertoire of amateur groups. As a rule, they are not widely known and are perceived carefully and with interest. The material for creating such works is local folklore, ditties, tunes, folk songs, dances, historical events taking place in a particular area. In this case, the manager does not have to wait for an interesting work to be heard on the radio or television, for notes, scores, recordings, or plays to go on sale.
Special mention must be made of the selection of repertoire for vocal, vocal-instrumental, instrumental, dance ensembles, etc. Difficulties in this matter arise mainly from the fact that each of the ensembles has its own composition and a certain level of performance technique. All this requires appropriate transcriptions, arrangements, instrumentation, stage compositions, and dances.
The selection of a repertoire for amateur performances requires the leader to have a clear long-term vision of the pedagogical process as an integral and consistent system in which each link, each structural unit, each factor complements each other, thereby ensuring the solution of common artistic, creative and educational tasks.
Russian song
Singing, especially choral singing, is the most beloved, popular and widespread genre of art in our country. At the same time, it is the broadest and most accessible school for the musical education of the people.
The traditions of choral singing go deep into history and are carefully preserved and developed by the people.
Choirs are faithful guardians of old songs and creators of new songs that reflect our reality. Closeness to the people is the basis of the vitality of these groups, the source of their creative power. Only truly folk art expresses the spirit, thoughts of its people, its social and aesthetic ideals.
The composition of the choir, the length of its activity, local characteristics, the qualifications of the leader, the level of educational work, material resources - all this most directly affects the performing culture of the group and determines its creative personality.
All work with the choir, the selection of repertoire in particular, requires the director to have a clear, long-term idea of the pedagogical process as a unified, coordinated and consistently implemented system of educating and training choir members.
The formation of the repertoire in a choir occurs in stages; it is based on certain preparatory periods. The repertoire always reflects one or another organizational method of work of a folk amateur choir.
The composition of a beginning choir is based on specific, real local conditions: it may include only female or only male voices, the choir can be mixed.
The manager needs to show skill and resourcefulness to work with any staff.
The basis of the folk choir’s creativity is folk art in all its diversity. It is the folk basis that gives unique originality and originality to the creative face of each group.
Conclusion
As we can see, the repertoire provides a lot for the formation of the creative team as a whole. He cannot be a stranger, he must become an integral part of the team, be it a theater, choral or orchestral group.
The formation of the repertoire itself cannot be spontaneous. Everything must be calculated in advance, what the repertoire should be and, therefore, what the creative team itself should be like.
Along with the practical training of performers, the tasks of the repertoire also include nurturing creative will, the desire for self-improvement, the formation of artistic taste, a sense of style, a broad outlook, acquaintance with the best examples of domestic and foreign music, works of modern composers, and folk art. The repertoire should emphasize the originality of the creative team.
Creating your own repertoire is quite difficult, but this is the only way to achieve the desired result. Of course, you can hire professional writers who can work on the repertoire of this amateur group. But, unfortunately, not all teams have this opportunity. In this case, the group itself has to select the repertoire.
The repertoire is the face of an amateur group, its calling card. The repertoire is created by the entire team, where each performer complements each other, thereby ensuring the fulfillment of common creative tasks.
List of used literature:
1. A.S. Kargin. "Educational work in an amateur group." Moscow, “Enlightenment”, 1984
in modern conditions, it is necessary to pay special attention to the formation of the repertoire, since the future of the group, raising funds to ensure the life of the group, success with the audience, the arrival of new performers, participation in festivals and competitions depends on it.
The repertoire is the “face” of the group, and it does not matter what type of creative activity this group belongs to (vocal, instrumental, choreographic). The principles of creating a repertoire are the same everywhere.
When forming a repertoire for a group, one must be guided by the following principles, developed according to the methodology of organization and choreographic and vocal creativity:
· ideological orientation,
· artistic value and aesthetic significance of works,
availability for execution,
· pedagogical expediency.
· accessibility of musical and literary texts;
· variety of genres and styles, layout logic for the future concert program.
The criteria for the success of education for children and adolescents are:
· concert performances;
· participation and victories in performing competitions at various levels.
The learning process (singing, dancing) is based on the following principles:
· unity of artistic and technical development (singers, dancers);
· gradualism and consistency in mastering skills (singing, dancing);
· applying an individual approach to students.
When selecting works for educational and creative activities, it is imperative to take into account how meaningful the musical material is, how much it contributes to the development of the creative abilities of students, improves their (vocal-singing) (choreographic) skills, and develops musical taste.
The repertoire, first of all, depends on the profile of the choreographic group and is built taking into account the needs of the participants, their preparedness to perceive the works and work on them, as well as in order to maintain interest in this type of activity. The repertoire is one of the indicators of the development of a choreographic group, determines its main educational and creative life, and carries certain pedagogical functions. So the repertoire of a children's group should be different from the repertoire of an adult. Therefore, the selection of repertoire requires the leader to have a clear long-term vision of the pedagogical process as an integral and consistent system in which each link, each structural unit, each factor complements each other, thereby ensuring the solution of common artistic, creative and educational tasks.
When creating a repertoire for a group, it is necessary to adhere to certain requirements:
1. It is necessary to remember that productions must correspond to the age (each age has its own numbers) and the level of development of children, they must be understandable to them, then the audience will understand and accept them.
2. For the same age group it is necessary to create dances of different genres
3. When deciding on a number, its content and imagery should proceed from its theme, dictated by the musical material.
4. Take into account educational and training goals and the content of UPEC programs.
5. Remember the age-related psychology of children towards a specific abstract and associative perception of the content of the choreographed number and proceed from the individual capabilities of the performers when staging dances.
True creativity does not recognize ready-made recipes and rules, and each choreographic production, like any work of art, requires an original solution and an individual approach. Whatever your work is, it should “teach goodness” through choreography. Creative activity contains enormous educational opportunities. Educates everything related to the participation of children in a team:
· artistic pedagogical level of the repertoire,
· planned and systematic training sessions,
· relationship with the teacher,
· the surrounding world.
Rehearsal - This is a complex artistic and pedagogical process, which is based on collective creative activity, which requires a certain level of preparation of the participants. Rehearsal is the main link of all educational, organizational, methodological, educational and educational work with the team. Based on the rehearsal, one can judge the level of creative activity of the group, its aesthetic orientation and the nature of the performing principles, as well as the level of training of the leader.
A rehearsal can be thought of as a collective exercise in artistic, performing and technical finishing, elaboration of works of art, and giving them aesthetic integrity and originality. During training sessions, parts, roles, movements on stage, dance steps are learned, which are subsequently combined into a single whole - a dance, song, performance, musical or choral piece. It should be noted that the division of classes into rehearsal and teaching and performing is conditional. Mastery of the text and the technical side of performance often occurs during rehearsal. A significant part of the training sessions in an amateur artistic group is transformed and included in the initial stage of rehearsal.
A number of factors have a significant influence on the methodology of rehearsal work in an amateur creative team:
· the degree of preparedness of the team in technical and artistic terms;
· the degree of difficulty of the piece chosen for learning;
· conditions, time, number of rehearsals allocated for learning a new piece;
· the mood of the participants, the experience of the leader.
Each leader develops his own methodology for constructing and conducting rehearsal classes. However, knowledge of the basic principles and conditions of the rehearsal is necessary, based on which each leader can choose or select such techniques and forms of work that would correspond to his individual creative style.
The accumulated experience of professional art can play a huge role in the development of general and specific methods of rehearsal work.
The quality of rehearsal work and its pedagogical effectiveness depend on a number of organizational and pedagogical aspects. First of all, the director must come to the rehearsal 20-30 minutes before the agreed time, check the availability and quality of the necessary props, instruments, consoles, parts, and other accessories. In choral, orchestral and amateur theater performances, before rehearsal, be sure to check the voices of the parts or the text of the roles. Handwritten parts and texts must be verified against the score or printed text to avoid errors. Only by personally making sure that everything is ready for work can you avoid many stops during rehearsal.
Unexpected calls from the manager, for example, to the telephone or to visitors, are considered a gross violation; this has a bad effect on the creative spirit of the participants.
Rehearsal must begin on time, no matter how many participants came. This will get everyone into the habit of arriving at rehearsal 10-15 minutes before the start. The irresponsible attitude of some irritates, and in some respects relaxes others. Thus, starting a rehearsal at a strictly established time is an ethical, pedagogical, and artistic-aesthetic requirement.
In amateur groups of various genres - choral, orchestral, dance, theater - the rehearsal begins with preliminary preparation of the participants for it in an appropriate manner. In dance groups They conduct a warm-up to warm up the performers and prepare them for long training and rehearsal work. In folk and academic choirs, participants are chanted. Careful chanting ensures good breathing, even sound, and good diction. A singer's working condition largely depends on correct voice production and constant special exercises. In wind and folk orchestras, before the start of a rehearsal, musical instruments are carefully tuned. The purity of the sound of the instruments and the structure of the orchestra as a whole depend on the tuning.
The listed organizational and technical measures have enormous educational meaning. Rehearsal also presents enormous opportunities from the point of view of artistic and pedagogical influence. During the rehearsal process, everything is carefully verified and memorized: strokes, nuances, steps, mise-en-scène. At the same time, the participants assimilate the emotional and moral experience embedded in the work of art. Therefore, the more meticulous and purposeful the artistic treatment of a play, song, or dance, the deeper the moral and aesthetic transformations in the personality of the participant and performer.
The pedagogical effectiveness of rehearsal largely depends on a skillfully drawn up work plan. Without planning, an element of spontaneity and gravity appears in the rehearsal. The rehearsal plan is thought out in advance and recorded on paper. The plan can be more or less detailed, detailed or brief. The leader’s knowledge of his orchestra, choir, dance or theater group and its creative capabilities allows him to draw up a plan for each rehearsal quite accurately and in detail.
The rehearsal plan includes the main areas of activity and tasks with their detailed decoding. Tasks must be specific in nature and include technical, artistic, aesthetic and pedagogical aspects.
The pace of the rehearsal is very important. You should not rehearse the same passage more than 2-3 times, even if its performance does not suit the leader. Repeated repetitions reduce attention and sensitivity to gestures and explanations of the leader. Sometimes it is advisable to take a break during rehearsal. It is most justified to do it 40-45 minutes after the start of work. If the director needs to hold a 3-hour rehearsal, he must agree on this issue with the performers.
It is also important that the rehearsal is completed. During the first half of the rehearsal, the team must engage in more complex work: learning roles or technically and artistically difficult places in new works that require perseverance and willpower. In the second half of the rehearsal, you need to let the whole team play more, i.e. engage in more creative activities: play previously learned works with full dedication.
In order to make more effective educational work during rehearsal, it is necessary to take into account the individual characteristics of each performer, both in terms of personal, psychological, and in terms of his artistic training.
The class concludes with a dress rehearsal. Conducting it has features determined by the fact that it is a rehearsal and at the same time bears the hallmarks of a concert performance. The dress rehearsal is the final stage for a certain stage of preparing a piece for a concert. It solves the following tasks: prepare participants psychologically for the concert; check the program, its structure and sound; perform every piece, dance, song that will be performed at the concert as cleanly and artistically as possible. During the dress rehearsal there is no need to make frequent stops, but it is necessary to let the participants feel the entire program as a whole, the combination and sequence of numbers, thereby promoting an even distribution of forces. It is best to conduct a dress rehearsal in the room in which the performance will take place. The performers and the director must feel the acoustic characteristics of the hall and adapt to the new conditions.
From the above it follows that the leader at a rehearsal should in each case proceed from the specific conditions in which the amateur creative team works. Without a thoughtful organization of rehearsal work, there can be no mutual understanding between the leader and the team, and there can be no result of the creative activity of amateurs.
The group's repertoire
The repertoire is of great importance in the education of an aesthetic, creative personality. A properly selected repertoire provides the opportunity to solve artistic, creative and educational problems at the same time. The richer and more diverse the repertoire of the group, the wider the opportunities for discovering young talents.
When selecting a repertoire, the team leader is required to have a clear long-term vision of the pedagogical process as an integral and consistent system. The reality of the repertoire, its compliance with the technical, artistic and performing capabilities of the team members is the main criterion when selecting the repertoire. True creativity does not recognize ready-made recipes and rules, and each choreographic production, like any work of art, requires an original solution and an individual approach. Responsibility for the repertoire lies with the leader, since the repertoire is the face of the team, showing its capabilities and revealing future prospects.
When selecting the repertoire, the director must take into account the suitability of the productions to the age of the group members, their age-related psychology and the level of development of the children; they must be understandable to them, then the audience will understand and accept them. For the same age group it is necessary to create dances of different genres: game, plot. Remember the age-related psychology of children towards a specific abstract and associative perception of the content of the choreographed number and proceed from the individual capabilities of the performers when staging dances.
It is necessary to create dance works for the entire group, individual solo performers, for five to six people, as this allows for the largest number of participants in the concert program.
When deciding on a number, its content and imagery should proceed from its theme, dictated by the musical material. Take into account educational and training goals and use material from folk, historical, everyday, ballroom dances and combine it with various relevant types of modern expressive plasticity. And the classics, which have a specific language, seem to cement all the material, creating a kind of generalized figurative alloy.
The social and pedagogical meaning of a choreographic group lies in the organic combination of artistic, performing and educational processes, giving them an ideological and moral orientation.
The motivational and goal settings of production numbers in different dance groups are not the same. In some, the leader and participants count on official recognition, victory at shows and competitions. Here, a high performing level is achieved at the cost of hard work, the program is often created with the help of invited choreographers, the dances are staged in the spirit of the “best standards” of professional art and are designed for success, no matter what. Others focus primarily on spending leisure time together, communicating, getting to know the art of choreography, and collectively engaging in creativity. But the role of all groups in the education of an aesthetically educated, creative personality is very great. It is necessary to clearly understand the specifics, capabilities and tasks of each of these groups, since inaccurate creative orientation can ultimately lead to a decrease in popularity and significance.
The terms "accompanist" and "accompanist" are not identical, although in practice and in the literature they are often used as synonyms. An accompanist (from the French “akkompagner” - to accompany) is a musician who plays the accompaniment role for the soloist (soloists) on the stage. The melody is accompanied by rhythm and harmony; accompaniment implies rhythmic and harmonic support. From this it is clear what a huge burden falls on the shoulders of the accompanist. He must cope with it in order to achieve artistic unity of all components of the performed work. Concertmaster (German) – master of the concert. An accompanist is a musician who helps vocalists, instrumentalists, and ballet dancers learn parts and accompanies them at rehearsals and concerts.
· Knowledge of basic conducting gestures and techniques;
· Knowledge of the basics of vocals: voice production, breathing, articulation, nuances; be especially sensitive in order to be able to quickly suggest words to the soloist, compensate where necessary for tempo, mood, character, and, if necessary, quietly play along with the melody;
· Knowledge of the basics of choreography and stage movement in order to correctly organize musical accompaniment for dancers and correctly coordinate hand gestures for singers; awareness of the basic movements of classical ballet, ballroom and Russian folk dances; knowledge of the basic behavior of actors on stage; the ability to simultaneously play and see the dancers; the ability to lead an entire ensemble of dancers; the ability to improvise (select) introductions, acting out, conclusions necessary in the educational process in choreography classes;
