Specific features and psychological structure of a ballet dancer's activity. Conditions for the development of professionalism of a ballet dancer

S.P. Mikheeva

METHODOLOGICAL PRINCIPLES OF PROFESSIONAL TRAINING OF A BALLET ARTIST

The professional training of a ballet dancer has its own specificity, which dictates a number of methodological principles, proven by the practice of centuries of ballet art. This allows the future ballet dancer, along with knowledge, skills, and abilities, to comprehend a whole range of phenomena associated with the performing culture of dance, which determines its originality, what distinguishes the domestic school.

Classical dance plays a major role in the preparation of a ballet dancer. “It provides training for the body in movement, which can serve as an aid to any dance decision.”

Classical dance (Latin s1siissh - exemplary) is a fundamental discipline in the choreographic school, it plays a leading role in vocational training future ballet dancers. It is in a classical dance lesson that the language of choreography is learned. “In order to master the high performing skills of classical dance, it is necessary to know and assimilate its nature, its means of expression, its school.” The school of classical dance is the basis for systematic, consistent, methodical training in the profession of a ballet dancer.

Loyalty to traditions and the strictest continuity of generations are the key to the unity of the school and its high professional culture, which determines the creative viability of the ballet school. “Today the vocabulary of classical ballet is a multidimensional complex of stage dance elements, formed by a successive plastic oral tradition and enriched by the creativity of outstanding choreographers of the past.”

Each student, or, as he is still called, pupil, of such a school undergoes a “test” with the classics - the main major subject in the professional training of a ballet dancer, which in the future allows him to become an organic dancer not only in the classical repertoire, but also in productions modern choreographers. “Vaganova’s technique is such a foundation that you can build a house of any style on it, from classic to modern.”

The profession of a ballet dancer is extraordinary and, as a result, training has only its own specificity. Its essence lies in the extremely important role of basic eight-year training and the acceptance of children on a strictly competitive basis. The specifics of teaching the profession of a ballet dancer dictate a number of methodological principles, proven by the practice of centuries of ballet art:

1) availability of relevant professional data;

2) beginning of education from an early age (from 10 years);

3) strict consistency;

4) the principle of oral-plastic learning;

5) annual exams (with the right to eliminate unsuccessful students);

6) training is carried out in parallel with stage practice (studying the classical heritage, participating in theatrical performances, concerts, etc.);

7) an integrated approach to teaching choreographic and general education disciplines based on their interaction and mutual enrichment.

Let's take a closer look at each of the above points.

1. “Ballet is perceived primarily by the eye. Unlike opera or drama, it cannot be broadcast on the radio. This elementary truth reveals the artistic essence of ballet.” And this determines special requirements for many of its components, and first of all for the main character - the ballet dancer. “In the theory and practice of the centuries-old cycle (8 years) of professional performing ballet education, in the process of which not only the professional potential of knowledge, skills, abilities, including the creative potential of the ballet dancer, is created, but also his extremely complex and vulnerable professional instrument - the body of the ballet dancer , unique, but necessarily meeting strict professional criteria.”

Speaking about professional data, we note that it is they that largely determine the student’s academic performance, and in the future, the qualifications and nature of the ballet dancer’s work in the theater. “Talent cannot be acquired without innate data,” says Augusta Bournonville (1795-1878), founder of the Danish ballet. That is why “...the performance data of each student must be comprehensively assessed by a classical dance teacher, since this subject is the leading one in the system of professional choreographic education.” History shows that the list of necessary external, physiological, psychophysical and other data was formed in accordance with the requirements of the profession itself as a result of professional selection. Outstanding ballet theorist, choreographer and dancer of the 18th century. Jean-Georges Noverre (1727-1810) wrote: “Everyone who intends to devote himself to the art of dance must first of all ... carefully weigh all the advantages and disadvantages of his physique.”

The great teacher of the 19th century, dancer, choreographer and dance theorist Carlo Blasis (1795-1878), whose works still arouse professional interest not only from a theoretical but also a practical point of view, wrote about the importance of professional data in training a ballet dancer in in his treatise “Manuel complet de la danse” (“ Complete Guide to dance"), written in 1830: “Those whose legs are not turned out will never become good dancers, despite all their efforts. From this it follows, how necessary it is for someone who devotes himself to dance to study the constitution and capabilities of his body in the most attentive manner before embarking on an acquaintance with the art, in which one cannot excel without possessing certain natural abilities. A teacher who has experience and

long practice helped to cultivate sublime taste in oneself; before starting classes with a student, one must make sure how suitable the latter’s build is for the poses and movements of dance, and if the student still needs to develop, whether his bearing is graceful enough, whether his gait is beautiful and whether his limbs are flexible , since without these natural data the student will never be able to create a name for himself.”

Today, almost two hundred years have passed since these lines were written, when the art of ballet has repeatedly stepped to a new, higher level of development, the requirements for the professional abilities of ballet dancers have increased accordingly. One of the founders of the choreography department of GITIS, professor and artistic director of the pedagogical department of the choreography department of what is now the Russian Academy theatrical arts, who worked as a classical dance teacher at the Moscow Choreographic School from 1923 to 1960, N.I. Tarasov in his book “Classical Dance” (1971) wrote: “The professional qualities of students are composed of external data: physique, proportional slimness of the figure, height; psychophysical data: attention, memory, will, activity, dexterity (free and precise coordination of movements), muscle strength, flexibility and endurance of the entire motor system; musical and acting data: musicality, emotionality, creative imagination. Of course,” the maestro stipulates, “this distinction is very conditional, but it allows you to clearly imagine what factors make up the complex of a student’s professional data.” “The ABC of Classical Dance” (1983) by N. Bazarova, V. Mei defines the prerequisites for mastering classical dance - eversion of the legs, large dance step, flexibility, stability, rotation, light, high jump, free and flexible use of hands, clear coordination of movements and finally endurance and strength.

Over the past decade, significant advances have again occurred in the art of dance, especially in the range of movements. In light of the modern established aesthetics of dance, the requirement for the quality of professional data continues to grow. This once again confirms the need for high professional and personal qualities from the teacher into whose hands such students will fall. After all, the more capable the student, the greater the responsibility falls on the teacher.

2. Professional training of ballet dancers begins at the age of 9-10 years on the basis of primary general education.

N.I. Tarasov, asking the question at what age should one begin training in classical dance: “... to learn its means of expression, its language, which, of course, the future ballet dancer must master technically perfectly, virtuoso, artistically free, flexible and musically”, he himself and answered: “We can safely say that for a future ballet theater artist it is necessary to begin mastering the school of classical dance from the age of ninety... Missed childhood years, as the initial period of training for a future dancer,

will certainly be reflected in something and somewhere in his performing art as a kind of shadow and not fully revealed side.” It is equally important that “childhood is especially receptive to beauty - music and dance. It is childhood that is a time of enormous emotional intensity, impressiveness, dreams and active action,” which plays an important role in the training of a ballet dancer, especially during the period of initial training, when it is necessary to interest the child, excite and captivate his soul and creatively and inquisitively begin to develop it.

In the work of Carlo Blasis we read: “To become familiar with the elements of dance, eight years is the most suitable age. The young student is able to understand the instructions of the mentor, who, being able to carefully weigh the student’s capabilities, teaches him in the most appropriate way for the case.” Time only confirms the infallibility of this assurance and once again convinces of its correctness, as evidenced by the following fact. From the moment of its founding, students of the Imperial Theater School were admitted there precisely at the age of 7-10 years. Of course, here, first of all, physiological laws dictate their own rules. “It is in this age period that the student’s body is most pliable, flexible and receptive in its psychophysical development, which allows one to master the school of classical dance most naturally, thoroughly, without haste, in a more stable and in-depth manner. It is from childhood that the student must thoroughly delve into, get used to the technique of classical dance and its elements, so that then on stage he does not think about overcoming the hardships of physical stress, but devotes all his moral, volitional and mental strength to creating an image in dance,” with this statement It’s impossible not to agree with Tarasov.

3. Strict consistency accompanies the training of a ballet dancer from the first days. It is inherent both in the entire course of his professional training in classical dance, and in each of his lessons separately. Classical dance is the basis of systematic, consistent, methodical training in the profession of a ballet dancer. Classical dance is a purely practical discipline, not theoretical. In the vocational training system, a classical dance lesson is studied for 8 years for 2 academic hours daily. This number of hours allows the student to master the subject at the proper professional level within the framework of the program offered to him.

As an academic subject, classical dance is a strictly structured system of movements that can only be mastered “from simple to complex,” with daily (systematic) repetition and consolidation of what has been previously learned and is, as it were, the next, successively more complex link in the system of the entire course of study. Repeatability of movements is the dominant factor in the educational process.

The structure of the lesson is the same for both the first and subsequent grades, with the only difference being that in the first grade the movements are performed individually and in simple combinations. Every day classical dance lesson consists of exercises at the pole and exercises in the middle of the hall, which are divided into exercise and adagio (a combination of poses and positions of classical dance).

tsa), allegro (jumping) and finger exercises (female class).

Sequence of pole exercises: pIE, battements tendus, battements tendus jetes, rond de jambe par terre, battements fondus (or battements soutenus), battements frappes, battements double frappes, rond de jambe en "l"air, petits battements, battements developpes, grands battements jetes.

Exercises in the middle of the hall are performed in the same sequence as with the stick. Then adagio is introduced into the exercises in the middle of the room. Adagio is followed by allegro - small and large jumps, and in the women's class - at least two to three times a week, exercises on the fingers instead of allegro, or the time allocated for jumps is reduced.

Classical dance is studied by students and female students separately, because differs in program material, techniques and performing style. And this is also within the framework of a system developed and adjusted by the practice of centuries.

In addition, there is a hierarchy of subordination of various substructures and elements included in the teaching system, in which the methodology for composing combined tasks plays a significant role in the construction of a lesson. The construction of combined tasks does not fit into the framework of a stable method at all. In classical dance lessons, a sequence of sections and individual movements has been established, but combined tasks mainly depend on the teachers’ ability to lead educational material in a certain combination with each other. These tasks can be very diverse: large or small, elementary or complex; but all of them must work towards the development of certain performing techniques of dance technique. At the same time, the personality of the teacher, his creative individuality, skill and experience play an extremely important role, which inevitably causes differences in the methods and manner of composing combined tasks by individual teachers, although united by the same focus of the educational process.

4. The principle of oral-plastic training is a key principle in the professional training of a ballet dancer - as continuity, as tradition, as a necessity. Despite the history of almost three hundred years of professional training, knowledge, abilities, and skills in the educational process are passed on to students from generation to generation “hand to hand.” It was already noted above that classical dance is a purely practical subject. It cannot be learned from textbooks or theoretical lectures. A classical dance teacher - “a living thread of transmission of experience and traditions” - conveys his knowledge not only through a story, but also through a mandatory pedagogical demonstration, i.e. oral-plastic. “Every step, every pose and every movement comes from the teacher, is indicated by him and must be understood, learned, rehearsed and performed.” Only in this way, along with knowledge, skills and abilities, can one comprehend a whole complex of phenomena associated with performing culture, determining its originality, development trends, characteristic

style features, i.e. what distinguishes the national ballet school. The specificity of the teaching method once again emphasizes the role of the teacher - an individual, a high professional practitioner, whose importance increases invaluable and whose role cannot be replaced by any detailed recommendations and programs. That is why, while teaching the same things and offering students the same requirements, we have classes that are so different from each other. There are other factors here, but the main one is the teacher himself. Each teacher has his own techniques, his own system, his own pedagogical gift, his own combination of pedagogical abilities and skills, and finally, each has his own language, the “language” of practical actions, the “language” of plastic arts. “When demonstrating a movement or correcting a student, the teacher sees his ideal image with his inner vision, constantly checking simultaneously with his motor sensations and a conceivable visual standard.” And therefore, the personality of the teacher, the artist, his spiritual world, his values, his vision are of decisive importance both on the learning process itself and on the formation of the future ballet dancer in his mastery of the laws of classical dance.

5. Annual exams (with the right to eliminate unsuccessful students). “Inexorable professional requirements for a future ballet dancer leave behind a huge number of children who dream of joining the performing art of ballet. And not everyone who meets these requirements at age 10 will be able to satisfy them throughout the entire eight-year education. That is why students must annually prove that they have outstanding ballet abilities in the form of intermediate certification on a competitive basis.” During the examination, the results of students mastering the program of the corresponding year of study must be shown, which confirms or denies further study opportunities.

6. Within the framework of tradition (and the system at the same time), training is carried out in parallel with stage practice (studying the classical heritage, participating in theatrical performances, concerts, etc.).

One of the main components of preparing a future dancer is stage practice, which is consistently included in the class schedule. Target of this subject- comprehensive development and improvement of students’ performing skills based on rehearsal work and stage performances, including in theater performances. Stage practice is an integral, final part of the educational process.

Stage practice begins in the second year of study. The material that is selected by the classical dance teacher must correspond to the educational goals and objectives of the corresponding class, the level of preparedness and capabilities of the students. It is important for the teacher to achieve coherence and complementarity of the educational and rehearsal processes. Students, in turn, are required to have already defined, albeit elementary, but every year more and more advanced professional skills and abilities, quite accurate and well-practiced. A properly selected repertoire for stage practice helps to target and prepare students for more

free and technically perfect mastery of the performing culture of classical dance, as well as the development of their musicality, individuality and artistry. The final stage of such work is the stage, i.e. participation in concerts and performances of the school.

A special place in stage practice is occupied by the obligatory participation of students in performances of the theatrical repertoire. Where else, if not on the theater stage, can a future ballet dancer have the opportunity to learn stage behavior, a sense of responsibility and the opportunity to feel the significance of being involved in a performance along with professional artists, who always have something to learn from. Since the establishment of the school, choreographers have included children's numbers in their performances, understanding the need to introduce the younger generation to the art of dance. Thanks to this, students have the opportunity not only to observe the best examples of choreography, but also, by taking direct part in them, to gain experience of their future profession, thus becoming familiar not only with the culture, but also with the manner and style of performance, which is so important in the work of an artist ballet

7. An integrated approach to teaching choreographic and general education disciplines based on their interaction and mutual enrichment.

The school day of students at a choreographic school is not similar to the school day of an ordinary student. As a rule, here it starts in the morning and ends late in the evening. The number, and the list of lessons themselves, is far from ordinary.

The choreographic school unites three educational institutions under its roof. Here, a cycle of special subjects, including art history disciplines, is combined with a full course of general education school and primary music education. Therefore, the entire educational process is structured in such a way that the subjects studied by students at the choreographic school are interconnected and work in complete unity towards the main task, which makes it possible to prepare highly qualified ballet dancers who combine professional skill with a high artistic orientation in performing activities. After all, the main goal of professional choreographic education is to train highly qualified ballet dancers who combine professional skills with the ability to create psychologically complex stage images.

One of the main traditions of the national school of classical dance is the education of not just performers, but independent artists, comprehensively developed personalities, creative individuals. Perfect dance technique has never been an end in itself for the Russian school. At the forefront has always been the artist-artist, whose main task was to use the means of dance to create meaningful choreographic images that meet the tasks of the choreographer, because only “artistic quality makes a dance exemplary, that is, the so-called classical.” .

LITERATURE

1. Vaganova A.Ya. Soviet ballet and classical dance // Vaganova A.Ya. Articles. Memories. Materials. L., M.: Art, 1958. P. 67-68.

2. Tarasov N.I. Classical dance. School of male performance. 2nd ed., rev. and additional M.: Art, 1971. 479 p.

3. Bezuglaya G.A. The unity of music and choreography: the role of expressive means of music in comprehending the iconic imagery of the vocabulary of classical

skoy dance / G. A. Bezuglaya, L.V. Kovaleva // Choreographic education at the turn of the 21st century: experience, problems, development prospects: Mater. and articles of the 1st All-Russian. scientific-practical conf. / Rep. ed. M.N. Yuryeva. Tambov: Pershina, 2005. pp. 107-111.

4. Asylmuratova A.A. Vaganova’s technique is the foundation for a house of any style // Bulletin of the ARB named after. AND I. Vaganova. 2001. No. 9. P. 8-10.

5. Karp P.M. About ballet. M.: Art, 1967. 227 p.

6. Isakov V.M. On recognizing the status of a non-standard educational institution for a ballet academy that trains citizens with outstanding

abilities // Materials of the VIII international conference “Modern teaching technologies”. St. Petersburg, 2002. pp. 190-192.

7. Classics of choreography. L.; M.: Art, 1937. 357 p.

8. Noverr J.J. Letters about dance and ballets / Trans. A.G. Movshenson. L.; M.: Art, 1965. 376 p.

9. Bazarova N.P., Mei V.P. ABC of classical dance: Educational method. allowance. 2nd ed. L.: Art, 1983. 207 p.

As a manuscript

SOBOLEVA OLGA SERGEEVNA

PRODUCTIVITY OF CREATIVE ACTIVITIES OF BALLET ARTISTS

Specialty: 19.00.13 - developmental psychology, acmeology (psychological sciences)

dissertation for the candidate's scientific degree psychological sciences

Moscow - 2005

The work was carried out at the Department of Psychology of the Non-state educational institution “Humanitarian and Prognostic Academy”

Scientific supervisor - candidate of psychological sciences,

Official opponents:

Doctor of Psychological Sciences, Professor Agapov Valery Sergeevich

Candidate of Psychological Sciences Badaeva Anna Vyacheslavovna

Lead organization: International Independent

dissertation council D-502.006.13 on psychological and pedagogical sciences at the Russian Academy of Public Administration under the President of the Russian Federation at the address: 119606, Moscow, Vernadsky Avenue, 84, building 1, room 3350

The dissertation can be found in the RAGS library. The abstract was sent out to “Sh” in 2005.

Associate Professor Gorobets Tatyana Nikolaevna

Ecological and Political Science University

Defense will take place

hours at the meeting

Scientific Secretary ^

dissertation council /U /U

Doctor of Psychological Sciences /¿/bgC^! V.GLseev

GENERAL CHARACTERISTICS OF THE WORK The relevance of the research topic is determined by the logic of the development of acmeology as a science h by solving scientific and practical problems related to increasing the productivity of performing arts. creative activity. The development of acmeology is associated with the development of new subject and object areas, among which artistic and creative performing activities stand out, in which there are many psychological and acmeological problems. Their decision is largely determined by the type and specificity of artistic performance activity, among which a special place belongs to ballet - the oldest form of performing art. Therefore, the development of acmeological problems of ballet creativity is relevant from a scientific point of view.

State of development of the research problem The study of the essential characteristics of the performing creativity of artists was carried out mainly on examples of the creativity of actors of drama theaters. A great contribution to the development of this problem was made by outstanding theater practitioners (Stanislavsky K.S., Nemirovich-Danchenko V.I., Vakhtangov E.B., Meyerhold V.E., Tairov A.L., Zavadsky Yu.A., Zakhava B. E., Tovstonogov G. A. and many others).

Psychological scientific research in this subject area is significant (Abramyan D.N., Berezanekaya N.A., Wilson G., Drankov B.JL, Ershov P.M., V.I. Kochnev, Markus S., Natadze R. G., Petrov V.V., Silantyeva I.I., Simonov P.V., Tarasov V.I., Teplov B.M., Shpet G.G., Yakobson P.M., etc.). Among applied psychological research, works on the creative self-concept of artists (Borisov-Fishman B.M.), artistic introspection (Andreikina O.V.), the psychology of stage transformation (Kissin B.V.), transpersonal psychotechnics (Groysman A.L.) should be highlighted. , Rassokhin A.V.), artistic abilities and abilities for transformation (Rozhdestvenskaya N.V.), acting skills (Naidenkin S.M. and others).

Actually, psychological studies of personal and professional qualities, mental states, features of the creative activity of ballet dancers are very few (Vysotskaya N.E., Groysman A.L., Pozdnyakov V.A., Rozhdestvenskaya N.V., Sukhareva A.I., Fetisova E. IN.). [~P7"~ ~ . Tn-

b- GGKA C f RK

Research hypothesis

The purpose of the study is to determine the psychological and acmeolotic characteristics of ballet dancers, as well as the characteristics of the productivity of their creative activity.

Research objectives:

The theoretical and methodological basis of the dissertation research is work in the field of psychology of creativity (Abramyan D.N., Bogoyavlenskaya D.B., Ponomarev Ya.A., Prangishvili A.S., Savransky I.L., Semenov I.N., Stepanov S.Yu., Stolovich L.N., Tikhomirov O K., Torrance E., Sheroziya A.E., etc.);

psychology of performing arts (Bochkarev L.L., Wilson G., Groysman A.JI, Ershov P.M., V.I. Kochnev, S. Markus, Natadze R.G., Rozhdestvenskaya N.V. et al. ); theory of acmeology, acmeological approach to personal and professional development and the formation of professionalism of personality and activity (Agapov V. S., Anisimov O. S., Bodalev A.A., Ganzhin V.T., Derkach A.A., Zazyyuan V.G., Kuzmina N. V., Laptev L.G., Markova A.K., Ognev A.S., Rean A.A., Selezneva E.V., Stepnova L.A., etc.); acmeology of artistic creativity (Zazikin V.G., Fetisova E.V.); art history and theater studies of ballet (Belova E.P., Belyaeva-Chelombitko G.V., Gaevsky V.M., Grishina E.M.. Vartanov A.S. Ilupina A.P., Krasovskaya V.M., Lvova-Anokhin B.A., Lutskaya E. .Ya., Sabashnikova E.S., Surits E.Ya., Chernova N.M., Elyash N.A.).

Research methods: To solve the problems posed in the dissertation research, a comprehensive methodological toolkit was used, including general scientific methods: a comprehensive analysis of the theoretical aspects of the problem being studied, generalization, a systematic approach; psychological and acmeological methods - psychological examination, acmeological diagnostics (acmeological examination, acmeological assessment, acmeological analysis of the problem, tracing the process of development of psychological and acmeological characteristics), expert assessments, psychodiagnostic techniques - psychological testing (Luscher's eight-color test,

projective tests, “emotional hearing” test, etc.), participant observation, interviewing.

The main scientific results obtained personally by the applicant and their scientific novelty

their enrichment with their own creative solutions, expressive means that correspond to the general plans of the choreographer and teacher-tutor. The range of co-creation depends on the scale of the ballet dancer’s talent, the creative position of the choreographer and can take the form from the artist’s complete acceptance of the concept to the proposal and implementation of his own options.

2. It has been established that the most important abilities of a ballet dancer are: spsmeological - self-realization, self-development, self-realization, self-actualization, self-disclosure and self-affirmation; psychomotor - plastic expressiveness, muscle freedom and emancipation, the ability to control the body (precision of expressive movements), the ability to fill movements, gestures and postures with thoughts and feelings; musical (rhythmic) - ear for music, musical memory, sense of rhythm; autopsychological - self-attitude, self-acceptance, ability for voluntary self-regulation, self-identity; cognitive - intelligence, developmental psychology and superconscious qualities unique to humans; cognitive | in the acmeological context of creative activity, they reflect the interaction of self-awareness and professional activity; creative - searching for an extraordinary solution to a creative problem, reincarnation and creation of new images; social-perceptual - in an acmeological context, reflect self-esteem (inflated, underestimated or adequate) in interpersonal interaction; artistic - mental reflection of an affective nature, passion, sensuality, conscious expression in facial expressions of a sign and modality of emotional accompaniment of an action; empathic - emotional sensitivity, lability and plasticity of emotional reactions

3. It has been proven that the productivity of creative activity of ballet dancers depends on the level of personal and professional development, the skill of the subject of creative activity and individuality and acmeological potential, including a system of interconnected high-level potentials that have the property of resource replenishment as the basis for productive personal and professional development and forward movement to acme. The development of personal professionalism and the productivity of ballet dancers also largely depends on the level of general and special acmeological invariants of professionalism (autopsychological ability to transform, self-regulation, self-efficacy, intellectual activity), musicality, psychomotor skills, productivity of the creative self-concept, accepted personal and professional standards and standards.

level of development, but also psychological and acmeological content: larger and more diverse complex private abilities, greater creative and characterological potential, higher personal strength and activity, more productive reflection, higher level of personal and professional standards, the need for creative self-realization.

6. The psychological and acmeological conditions for the productive development of the creative activity of ballet dancers are determined: updating the need for professionalism in ballet creativity, optimizing interactions in the process of co-creation, developing the psychological and acmeological competence of choreographers and teachers-tutors, developing the autopsychological competence of ballet dancers, which makes it possible to build strategies personally -professional development from the reproductive level to the local modeling level.

7 Psychological and acmeological factors contributing to productive development have been identified psychological characteristics ballet dancers, movement towards acme in ballet creativity: increasing self-efficacy, competitiveness (in the acmeological sense), eliminating limiting factors and psychological barriers in the development of creative and acmeological potentials of artists, developing special acmeological invariants of professionalism and psychological professionally important qualities.

The results of the dissertation research are used in the educational process at the National Educational Institution “Humanitarian and Prognostic Academy”, when writing educational and methodological materials, preparing teaching aids for the courses “Methodology of voluntary self-regulation”, “Thinking and self-regulation as the basis of human health”, as well as during consultations and development of individual recommendations for subjects of ballet creativity

personality strength, anticipatory consistency, high level of self-regulation, decision-making ability, creativity, high and adequate motivation for achievements), productivity of the creative self-concept, personal and professional standards (knowledge, skills and abilities) and standards (ideal role models). The levels of productivity of creative activity (high and low), among the “stars” of ballet (high level) are qualitatively different than those of “ordinary” artists (low level), and not only in terms of the level of development of creative activity, but also in psychological and acmeological content.

3 Levels of productivity of creative activity can be determined by the criteria of success, activity in achieving acme and professional maturity - levels as the degree of completeness of implementation in creative activity can be determined as “high” - “low” according to indicators of the development of the most important abilities. The high level of “stars” is determined by the corresponding indicators acme abilities, psychomotor, autopsychological, cognitive, cognitive, social-perceptual, creative, empathetic, artistic abilities, productive reflection, success, focus of the vector of activity on achieving acme and professional excellence. The low level of “ordinary” ballet dancers, unlike the “stars”, have unexpressed acme abilities, autopsychological, cognitive, social-perceptual, creative, empathic and artistic; success is low, activity in achieving acme and professional maturity is not observed, reflection is unproductive.

4. The levels of psychological and acmeological characteristics of ballet dancers can be described from a systemic point of view: from the position of general and special psychological and acmeological characteristics of ballet dancers - the basis is the personality models according to the levels of K.K. Platonov and V.S. Merlin, as well as positions of a systemic description of the psychological and acmeological characteristics of ballet dancers based on the methodological principle of complexity (individual, subject of activity and individuality). Acme criteria in artistic and creative activity were used as criteria for a level-by-level description.

Explication of the listed levels will allow us to determine the conditions and factors of productivity of the creative activity of ballet dancers.

5. The productivity of the development of creative activity of ballet dancers depends on their acmeological potential and focus on self-realization in creativity. The identified psychological and acmeological conditions and leading factors in the productivity of creative activity of ballet dancers ensure the formation of goal images in their progress towards acme.

Psychological studies of artists and their creative activity, despite their small number, are distinguished by object and subject diversity. Prominent domestic psychologists have repeatedly noted that the artist is the “subject, object and instrument” of theatrical art, therefore, the more complex and significant the artist’s personality, the more multifaceted his abilities, the brighter his individuality and the more interesting his work. A great contribution to the study of the psychological content of acting abilities was made by B.JI Drankov. (versatility of abilities in the creativity of artists), Bogoyavlenskaya D.B. (intellectual activity and intellectual needs in the personal development of artistic thinking), Rozhdestvenskaya N.V. (psychology of artistic creativity and creative activity), Petrov V.V. (readiness for performing artistic activity), Tarasov V.I. (spiritual needs of the individual in creative activity), etc. They noted that acting and artistic abilities cannot be studied in isolation from the creative process, in-depth study of the creative personality.

An important area of psychological research is the study of personal properties and qualities of subjects of creative activity. Psychological studies have noted that many general personal and professional characteristics of artists as subjects of creative activity are inherent in creative individuals, regardless of the specific specifics of their creative activity. N.V. Rozhdestvenskaya, who studied the personality and creativity of artists for a long time, identified the following special psychological characteristics: general emotionality; emotional sensitivity; excitability and plasticity of emotional reactions; the ability to transform; empathy; inner freedom; ability for self-regulation; performance; creative will. Psychological studies have studied the correlations between an actor's emotionality and suggestibility, the level of voluntary self-regulation, anxiety (the so-called “a kind of nerve of an actor”), which determines reflexive sensitivity and plasticity (Bakeev V.A., Zakharov A.I., Popova E.P., etc.). A special role was given to the imagination, the ability to create new images: it is necessary to easily “surrender to imaginary circumstances, believe them, live by them as if they really existed” (Zahava B.E.).

IN last years psychological and acmeological studies related to the study of acmeological aspects of the professional skills of artists appeared. The structure and specificity of an actor’s skill involves the integration of various qualities, skills, and characteristics of the individual’s focus on development. An artist’s professional skill is directly related to the productivity of his self-concept (Agapov V.S., Naidenkin V.K., Fishman-Borisov B.M., etc.), which ensure his self-actualization, self-disclosure and self-affirmation in creativity.

The psychological characteristics of self-expression were studied by G. Wilson. It was noted that the artist’s process of self-expression is staged and heterochronic; there is a significant number of implicit

psychological factors influencing it, which are not always amenable to arbitrary regulation (emotional ups and downs, vicarious experience, catharsis, audience understanding, individual characteristics, genre environment).

Specific psychological (mostly empirical) studies of the personal characteristics of ballet dancers, their mental states, and some psychological aspects of creative activity began to be carried out in the second half of the last century and are being carried out to the present (Bochkarev L.L.: readiness for performing activities; Vysotskaya N.E. .: personal psychological qualitative characteristics; Groysman A.L.: creativity in the artistic and creative activities of artists; Pozdnyakov V.A.: creative performance and activity of ballet dancers, creative skill; Rozhdestvenskaya N.V., Soboleva O.S.: quality the lives of ballet dancers and the conditions for their self-regulation, Fetisova E.V., etc.).

In the theoretical works of outstanding theater figures, choreographers, directors, ballet teachers R. Zakharov, F. Lopukhov, L.D. Blok, V.M. Krasovskaya, M. Fokin, K. Goleizovsky, M. Bejart and others, there is a lot of psychological and acmeological information used in this study.

Among applied psychological research, the works of E.V. Fetisova should be highlighted; she obtained results that had primarily acmeological content. In particular, a comparative analysis of a number of the most important psychological characteristics of “stars” and “ordinary” ballet dancers was carried out in terms of indicators of low-productive and highly productive creative activity.

The psychological and acmeological characteristics of ballet dancers were determined by the levels of productivity of creative activity - the levels act as different degrees of completeness of self-realization in professional situations. The distinctive psychological characteristics of “stars” have been identified - a higher level of personal potential, personality strength and activity, a variety of special abilities (acmeological, psychomotor, musical, autopsychological, cognitive, cognitive, creative, social-perceptual, etc.), special acmeological invariants professionalism, productivity of reflection, high adequate motivation for achievements, focus on self-development and self-realization in ballet creativity, the presence of professional acme standards and references. The distinctive psychological characteristics of “ordinary” ballet dancers are a low level of personal potential and special abilities, “blurring” of acme standards and standards, unproductive reflection, manifestation of external properties, and lack of personal strength.

A theoretical analysis of the problem of productivity in the creative activity of ballet dancers showed that the creative activity of artists is not “independent creativity”, it is always co-creation. In relation to stage creativity, co-creation can be carried out within the framework of the following strategies: full acceptance by the artist of the director’s creative concept; influence on the creative concept of the choreographer, by partially changing it; development of a general creative concept; proposal of his creative concept and its acceptance by the choreographer.

Aspects of the personal and professional properties of ballet dancers that contribute to a productive movement towards acme have been identified. The productivity of ballet dancers depends on the development of general and specific acmeological invariants of professionalism. Some of them were determined in the process of theoretical analysis of the problem.

Analysis of publications of famous critics, art historians, cultural experts and theater experts specializing in the field of ballet (Arkina N. E., Belova E.P., Belyaeva-Chelombitko G.V., Gaevsky V.M., Grishina E.M.. Vartanov A.S. Ilupina A.P., Konstantinova M., Krasovskaya V.M., Lvov-Anokhin B.A., Lutskaya E.Ya., Sabashnikova E.S., Surits E.Ya., Chernova N.M., Elyash N.A. and etc.) allowed, in the context of acmeological research of the problem, to determine the psychological and acmeological factors of productivity of creative activity of ballet dancers.

The problem of acme in the creative activity of ballet dancers was considered in a number of works (Zazikin V.G., Fetisova E.V.). An analysis of the characteristics of the acme of outstanding contemporary ballet dancers was carried out. First of all, those that are general (independent of the professional specifics of activity) acmeological invariants of professionalism are noted: personality potentials, personality strength; anticipatory consistency; high level of self-regulation; ability to make decisions; creativity; high adequate achievement motivation.

It has been revealed that the creative activity of ballet dancers depends on the level of development of their acmeological culture, manifested in the following areas: spiritual (harmonization of the system of needs and development of spiritual abilities); existential (the ability to carry out introspection, self-esteem, relate oneself and one’s achievements to others, etc.); value-semantic (affirmation of the value of self-development); cognitive (autopsychological competence, ethical thinking, etc.); creative (creative self-realization: Selezneva E.V.).

Thus, the psychological and acmeological study of ballet dancers is ultimately projected on the study of their psychological and acmeological properties as generalized personal characteristics, stable characteristics that influence behavior, activities and relationships. In acmeology, psychological and acmeological properties are considered as a set of personal and professional qualities, special complex private abilities,

motivational formations, features of the orientation of the individual as a subject of activity. Psychological and acmeological properties determine internal conditions that can develop arbitrarily and purposefully in a wide range (primarily in the form of self-development), transform system connections, which contributes to the productivity of personal and professional development, movement towards acme. Acmeological studies indicate that as it develops, this set begins to be characterized by systemic qualities, which are manifested in strengthening the regulatory role of standards and standards, “images-goals” of development, increasing the level of acmeological, invariants of professionalism, productivity of reflection (Derkach A.A., Zazykin

V.G. and etc.). These studies became the basis for solving problems in studying the productivity of creative activity of ballet dancers. « Conducting a comparative analysis of “stars” and “ordinary” ballet dancers with

acmeological positions suggests that a “star” in ballet is a ballet dancer who is approaching or has reached his acme in a given type of creative activity. At the same time, there are artists who had the potential to become a “star,” but who have not yet become “stars.” In other words, from an acmeological point of view, such artists have great acmeological potential. In acmeological studies, it is very common the theoretical position that there is a direct connection between the potential of an individual and the level of his self-realization in life and profession (N.I. Konyukhov, V.N. Markov, Yu.V. Sinyagin, E.P. Khodaeva).Acmeological potential of ballet dancers is a system of interconnected potentials (creative, characterological, natural, etc.), having a high level, possessing the property of resource replenishment (resource restoration) and being the basis for productive personal and professional development, progressive movement towards acme. Accordingly, acmeological potential can have different levels (high, medium and low).

The theoretical and methodological analysis of problem 5 carried out in the first chapter became the basis for organizing and conducting step-by-step applied psychological

acmeological empirical research. At the first stage, an expert psychological and acmeological analysis (assessment) of the problem was carried out. Fourteen experts took part in it: leading soloists of ballet troupes of famous theaters, awarded with honorary titles and state awards (four people), choreographers-tutors and teachers-tutors of leading ballet theaters (four people), art critics - recognized experts in the field of ballet creativity, author several monographs (three people), psychologists, recognized experts in the field of psychology of performing artistic and creative activities, with experience in psychological work with ballet dancers (three people).

Professional ballet experts have constantly emphasized that empirical research into the psychological characteristics of ballet dancers will

necessarily associated with the following significant factors of psychological complexity: a high level of reflection (mostly unproductive) in many artists; high level of image behavior; reluctance to contact a psychologist; the characteristic vulnerability and touchiness of artists; high need (often insufficiently satisfied) for social and professional approval; the presence of character accentuations; manifestation of negative traits of professional mentality; fear that the results of psychological diagnostics will be made public. Experts have developed criteria for dividing artists into “stars” and “ordinary” ones.

At the second stage, the actual empirical research was carried out using instrumental and non-instrumental methods of psychological diagnostics and other methods noted above. These empirical studies were carried out in the period from 2001 to 2005 in various professional ballet groups (ballet theaters and ballet troupes of opera and ballet theaters) in Moscow and St. Petersburg. A total of 187 ballet dancers were examined. Due to the complexity of the object, the empirical data obtained were predominantly qualitative.

The study is aimed at identifying the most important abilities of ballet dancers and their influence on the productivity of creative activity, the formation of acmeological and creative potentials.

For a psychological and acmeological study of the productivity of creative activity, experts proposed dividing ballet dancers into two groups - the “group of “stars” and the group of “non-stars”. The criteria were success, activity in achieving acme and professional maturity. “Stars,” according to experts, are distinguished by: a high level of success and activity in achieving acme, a high level of professional maturity. “Ordinary” are distinguished by a low level of success and activity in achieving acme and professional maturity. A study of reflexive abilities using the same criteria confirmed the correctness of the experts’ proposal to divide ballet dancers into two groups of “stars” and “ordinary”; it was carried out using various elements of reflexive practice (organizational-activity dialogues, brainstorming, synectics (I.N. Semenov). “Stars” showed significant high results of highly productive reflection (77.07 - 83.71%) - adequate to the objective assessments of experts, "ordinary" - average indicators (49-62%) - a discrepancy with the assessment of experts, which indicates unproductive reflection.

Analysis of the level of abilities of ballet dancers allows us to conclude that the productivity of creative activity has a linear determination with acme abilities, autopsychological, social-perceptual, creative, empathic and artistic; a high level of development of these abilities is a structural and functional component of acmeological potential.

Significant psychological differences between “stars” and “ordinary” artists were identified and described during a survey of experts, observation of the use of

projective test "Fantastic creature" - a qualitative analysis of the 10 most important abilities of ballet dancers. The results by level are presented in Table No. 1.

TableШ

Ability levels of ballet dancers as a condition for the productivity of creative activity

No. Indicators Stars Ordinary

1. Acmeological abilities High Low

2. Psychomotor abilities High High

3. Musical (rhythmic) abilities High High

4. Autopsychological High Low

5. Cognitive High High

6. Cognitive High Low

7. Social-perceptual High Low

8. Creative Tall Short

9. Empathetic High Low

10. Artistic Tall Short

The levels of productivity of creative activity of ballet dancers are directly dependent on the construction of an algorithm for an individual acme strategy, oriented towards creative self-realization. Ballet dancers by level scale

distributed as follows:

1. reproductive level of activity................... 0%

2. adaptive level of activity...................................0%

3. local modeling level........................ 20%

4. level of system-modeling knowledge...................72%

5. level of system-modeling creativity............ 8%

There were no ballet dancers of the lowest level (reproductive level). At the adaptive level of activity, artists adapt information to the peculiarities of perception, and at the local-modeling level, ballerinas become the subject of cognitive activity, at this level there is a process of accumulation of psychological knowledge and stimulation for self-development: among ballerinas, adaptive< уровень не определился, данный уровень достигается в процессе обучения. Уровень системно-моделирующий знания имеет целью определение профессиональной позиции и целенаправленности. Уровень системно-моделирующий творчество имеет целью преобразовать психологические способности в акме-способности -способность к саморазвитию, самопознанию, самореализации, самосовершенствованию - данный уровень в совокупности с акме-ориентированной стратегией самого артиста формирует акмеологический потенциал «звезд» балета, что является одним из базовых условий продуктивности творческой деятельности.

The criteria for the productivity of creative activity in the theoretical and applied aspect of the study define the criteria of acme in artistic and creative activity (Zazikin V.G): the humanistic orientation of the creative activity itself; the artistic value of the created works and images, the time imperative in the context of relevance for any era, the highest level of performing skills, public recognition, innovation in creativity. A high level of development of these characteristics is characteristic of “stars”: it determines the algorithm for self-realization of stars in an acme-oriented life perspective in the context of the productivity of creative activity and is the structural and functional basis of acmeological potential.

Acmeological invariants of professionalism of ballet dancers were studied using observation, Luscher color test data and expert assessment. The study of the productivity of creative activity of ballet dancers combines traditional expert assessment and acmeological examination: methods of paired (group) comparison, projective and rating assessment - these methods identified objective conditions and factors contributing to productive personal and professional creative development. Descriptions of general and special invariants were described at a qualitative level and demonstrated a significant difference (high and low levels) in their expression and content between “stars” and “ordinary” artists.

General acmeological invariants include: personal professional standards and standards; strength of personality; personal potential; self-regulation; anticipation, ability to make decisions, features of achievement motivation “Stars” have a high and very high level of all common acmeological invariants. “Ordinary” people have a low level of personality strength and, relative to “stars,” a low level of personal potential; other types of invariants among the “ordinary” have a very wide range of dispersion.

The special acmeological invariants of the creative activity of ballet dancers in this study include: level of musicality; psychomotor skills; figurative thinking; self-efficacy. “Stars” have equally high scores on all special invariants; “Rankers” show a wide range of dispersion in the level of musicality and psychomotor skills, as well as insufficiently expressed imaginative “plastic thinking” and a low level of self-efficacy.

Other empirical studies of reactions to frustration were carried out - the Rosenzweig test, the determination of the cognitive-emotive characteristics of ballet dancers (according to Yu M. Orlov), personality relationships (the neurotic triad is determined according to the main scales of the LNSobchik), medical and biological ("big batman", serial dynamometry, haptic reflexes, neurodynamic, etc., which made it possible to identify functional disorders of the nervous system - mobility of the nervous processes of fatigue and typological variants of the personal norm); A total of 107 people were examined. Their results

used in the development of system descriptions of the psychological and acmeological characteristics of ballet dancers, as well as for practical recommendations for optimizing the creative activity of ballet dancers using self-regulation and psycho-correction techniques used for the productivity of creative activity.

The theoretical and methodological analysis of the problem and the obtained results of empirical research made it possible to carry out a systematic description of the general and special psychological and acmeological characteristics of ballet dancers. A qualitatively strict linguistic description was chosen based on the personality models of K.K. Platonov and V.S. Merlin.

The first type of systematic description of the psychological and acmeological characteristics of ballet dancers, which influence the increase in the productivity of creative activity, reflects systemic ideas about personality properties (K.K. Platonov).

At the level of natural properties for ballet dancers, the main role is played by the temperamental characteristic of neuroticism - emotional instability necessary for the artist to transform; With age, ballet dancers’ “motor capabilities” decrease and their artistry and depth of penetration into the character increases. The personal potential of ballet dancers is a system of replenishable resources, so the individual’s potential can be increased. The activity and strength of personality of ballet dancers dialectically combines dependence on the situation with overcoming immediate influences; psychopathological properties of ballet dancers are distinguished by a pronounced polarity of dyads in different types of activity: independence - conformism, seriousness - childishness, etc.

At the level of mental processes and functions, the volitional qualities of ballet dancers (especially “stars”) are manifested in the ability to voluntarily control the processes of goal formation and overcoming - performances with injuries and during illness, negative mental states; the mental functions of ballet dancers are characterized by well-developed attention, trained muscle memory, and a rich imagination; thinking is characterized by imagery and the ability to achieve insights; the emotional sphere and feelings provide ballet dancers with transformation into the created images, and ballet dancers are capable of voluntary regulation of emotional states

At the character level, learning the art of ballet begins at an early age and therefore the main features of ballet dancers are: respect for the teacher, hard work, discipline, empathy, dedication and perseverance; in the process of creative activity, accentuations of character develop, which, with arbitrary volitional regulation, are factors in increasing the productivity of creative activity (for “stars”), and in the absence of internal locus control and volitional regulation of behavior, they reduce productivity and block the self-development of a ballet dancer.

At the level of experience - a high level of professional perception and thinking of ballet dancers; technical mastery is a necessary condition for achieving acme in ballet; self-efficacy in difficult creative situations among ballet dancers is manifested in the search for “reasons in oneself” and contributes to quickly overcoming difficulties that arise, and is also expressed in a constant desire for self-realization.

At the level of personality orientation, the content of the substructures of the worldview of ballet dancers is distinguished by the humanistic orientation of creative activity; personal and professional standards and benchmarks are focused on specific famous performers in ballet creativity, artists are often self-centered, which is due to their high concentration on the subject of their creativity and the importance of self-realization in it; the main motive of ballet dancers is creative self-realization and achievement motivation; the interests of ballet dancers, as a rule, are concentrated in the sphere of the subject of their creative activity, which determines the productivity of their creative activity even to the detriment of other aspects of human existence.

The second type of system description is based on the presentation of the psychological and acmeological characteristics of ballet dancers, according to the methodological principle of complexity as individuals, subjects of creative activity and individuals. In its implementation, the results were used

surveys to describe the general and special characteristics of ballet dancers as individuals: the integrity of the psychophysiological organization, stability and activity; as subjects of creative activity - a source of knowledge and transformation, characterized by self-organization and focus on development; as individuality - an integral property of a ballet dancer’s personality, which makes the individual unique and inimitable. Acme of personality is an individual way of self-realization (Derkach A. A.). These types of systematic description of the psychological and acmeological characteristics of ballet dancers made it possible to determine the algorithm for the productivity of their creative activity in the context of progress towards acme; the system description made it possible to use the method of comparative analysis of highly productive and low-productive activities (Derkach A.A., Kuzmina N.V.) to identify general and special acmeological invariants of professionalism and conditions and factors for increasing the productivity of creative activity.

The identified psychological and acmeological conditions and factors of productivity of creative activity of ballet dancers determine the self-realization of subjects of creative activity and the progressive movement towards acme in ballet creativity.

The following psychological and acmeological conditions are described (conditions as objective circumstances): social demand for professionalism and increasing the productivity of creative activity; the request should be formed at the state level in the context of the high prestige of professional achievements; the formation of benchmarks and standards as psychological and acmeological attitudes is developed and achievements are currently

time, the suggestive influence of the media introduces into the subconscious standards and standards that do not correspond to existing highly professional models of productive creative activity; development of psychological and acmeological competence among subjects of creative activity and its main component - social-perceptual competence; development of “counter adaptation” in the process of co-creative activity of subjects of interaction on the basis of subject-subject relations as optimization of psychological compatibility; development of autopsychological competence of subjects of creative ballet activity, based on self-development, productive reflection and introspection.

Psychological and acmeological factors (factors as causes) influencing the productivity of creative activity of ballet dancers have been identified, namely: the development of self-efficacy as a personality trait, which is a module of self-management and self-development behavior in the context of increasing the productivity of creative activity; development of competitiveness in creative activity as a set - anticipatory consistency, ability to make decisions and act effectively in compliance with the principle of responsibility, to renew (replenish and develop the resources of the individual as a subject of activity) and use opportunities for self-development - to develop acmeological invariants of professionalism; development of reflexive culture as the formation of a productive reflective multicomponent organization (components - perceptual, cognitive, affective, evaluative, regulatory); elimination or compensation of restraining factors and psychological barriers and restrictions (uncontrollable character accentuations, low or high self-esteem, low self-control, inappropriate behavior and self-attitude, deep intrapersonal conflicts that are perceived as external and leading to partial or complete maladaptation. Psychological limitations include high psychoticism, external traits, low self-efficacy and negative attitudes towards one’s potential); formed normative regulations of activities and relationships, based on socially approved corporate social norms and ethics of behavior; optimization of communication and relationships in the “choreographer-artist” system in the context of increasing communicative competence and optimizing interactions.

In general, it should be noted that the theoretical and methodological analysis of the state of the research problem made it possible to substantiate the theoretical and practical significance of studying the psychological and acmeological aspects of the productivity of creative activity of ballet dancers, the significance of the acmeological components of the development of their skill and professionalism.

In the process of research, scientific and practical recommendations were developed for developing the productivity of creative activity of ballet dancers

1. It is advisable to use the results of the dissertation research in professional psychological selection for choreographic educational institutions.

2. The developed systematic description of psychological and acmeological characteristics can be used in the development of individual plans for the personal and professional development of ballet dancers, revealing their creative potential.

3. Based on the identified characteristics of ballet dancers, it is advisable to carry out psychological self-regulation and correction, which will contribute to the productivity of creative activity.

Prospects for further research are:

■ in-depth study of psychological barriers and limitations at all levels of the personality structure that impede the productive development of the creative and acmeological potential of ballet dancers;

■ study of changes in creative individuality and creative orientation of the personality of ballet dancers throughout the entire range of their active creative activity;

■ development of acmeological models of professionalism of the personality of ballet dancers and the conditions for their practical application;

■ development of acmeograms for young artists with significant creative and acmeological potential;

■ development of an algorithm and technologies for psychological and acmeological support of the processes of creative development of ballet dancers;

■ in-depth development of acme problems in ballet creativity

1. Methodology for determining creative indicators in the process of artistic and creative activity (using the example of the creative performance of a ballet dancer). - M: Kogito-Tseitr, 2002. - 0.5 pp. (together with A.L. Groysman and V.A. Pozdnyakov).

2. Research into the quality of life of ballet dancers. Toolkit. - M.: Kogiyu-Tseshr, 2003. - 1 pp.

3. Empirical study of the psychological and acmeological characteristics of ballet dancers. - M.: International Academy of Acmeological Sciences, 2005. - 1.5 pp.

4. Soboleva O S. Acmeological approach to the study of psychological characteristics of ballet dancers. - M" International Academy of Acmeological Sciences, 2005. - 4.5 pp.

5. Psychological and acmeological characteristics of ballet dancers and their expert assessment. //Acmeological study of the potential of human reserves and resources, - M.: RAGS, 2005. - 0.5 pp.

Dissertations for the degree of candidate of psychological sciences

Soboleva Olga Sergeevna

Productivity of creative activity of ballet dancers

Scientific supervisor: Candidate of Psychological Sciences, Associate Professor Tatyana Nikolaevna Gorobets

Production of the original layout: Soboleva Olga Sergeevna

Signed for printing "Ш И 2005. Circulation 100 copies. Conditional sheet 1.3

Printing house of the Realproekt Office 119526, Moscow, Vernadskogo Ave., 93 bldg. 1. Tel.433-12-13

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Contents of the dissertation author of the scientific article: candidate of psychological sciences, Soboleva, Olga Sergeevna, 2005

INTRODUCTION

CHAPTER 1 THEORETICAL AND METHODOLOGICAL

BACKGROUND OF THE STUDY

1.1. Psychological and acmeological studies of creative performing activities.

1.2. The problem of ACME, professionalism and productivity in the creative activity of ballet dancers.

1.3. Methodological and methodological foundations for the psychological-acmeological study of the personal characteristics of ballet dancers.

Conclusions on the first chapter

CHAPTER 2. RESEARCH RESULTS OF CREATIVE ACTIVITY PRODUCTIVITY

BALLET ARTISTS.

2.1. Empirical study of the psychological and acmeological characteristics of the creative activity of ballet dancers: approach, methods, results.

2.2. A systematic description of the general and special psychological and acmeological characteristics of the creative activity of ballet dancers.

2.3. Psychological and acmeological conditions and factors of productivity of creative activity of ballet dancers. 132 Conclusions on the second chapter

Introduction of the dissertation in psychology, on the topic "Productivity of creative activity of ballet dancers"

The relevance of the research topic is determined by the logic of the development of acmeology as a science and the solution of scientific and practical problems related to increasing the productivity of performing artistic and creative activities. The development of acmeology is associated with the development of new subject and object areas, among which artistic and creative performing activities stand out, in which there are many psychological and acmeological problems. Their solution is largely determined by the type and specificity of artistic and creative performing activity, among which a special place belongs to ballet, the oldest form of performing art. Therefore, the development of acmeological problems of ballet creativity is relevant from a scientific point of view.

The relevance of the problem is also determined by the presence of the following contradiction, namely: on the one hand, there is a focus of ballet dancers on successful creative activity, achieving acme in ballet creativity, on the other hand, there is insufficient knowledge of their resources and capabilities, the inability to create subjective prerequisites for the disclosure of creative and acmeological potentials, ensuring their resource replenishment.

The relevance of the study of the psychological and acmeological characteristics of the personality of ballet dancers is due to the lack of special research into the development of creative activity in this profession.

State of development of the research problem

The study of the essential characteristics of the performing arts of artists was carried out mainly using examples of the creativity of actors of drama theaters. A great contribution to the development of this problem was made by outstanding theater practitioners (Stanislavsky K.S., Nemirovich-Danchenko V.I., Vakhtangov E.B., Meyerhold V.E., Tairov A.Ya., Zavadsky Yu.A., Zakhava B.E., Tovstonogov G.A. and many others).

Psychological scientific research in this subject area is significant (Abramyan D.N., Berezanskaya N.A., Wilson G., Drankov B.JL, Ershov P.M., V.ShSochnev, Markus S., Natadze R.G. , Petrov V.V., Silantyeva I.I., Simonov P.V., Tarasov V.I., Teplov B.M., Shpet G.G., Yakobson P.M., etc.). Among applied psychological research, it is worth highlighting works on the creative self-concept of artists (Borisov-Fishman B.M.), artistic introspection (Andreikina O.V.), the psychology of stage transformation (Kissin B.V.), transpersonal psychotechnics (Groysman A. JL, Rassokhin A.V.), artistic abilities and abilities for transformation (Rozhdestvenskaya N.V.), acting (Naidenkin S.M. and others).

Actually, psychological studies of personal and professional qualities, mental states, features of the creative activity of ballet dancers are very few (Vysotskaya N.E., Groysman A.JL, Pozdnyakov V.A., Rozhdestvenskaya N.V., Sukhareva A.I., Fetisova E. .IN.).

Thus, the problem of studying the productivity of creative activity of ballet dancers in an acmeological context is insufficiently developed, despite its obvious scientific and practical relevance.

Research hypothesis

Psychological and acmeological characteristics of the personality of ballet dancers are stable features that have an invariant nature, influencing behavior, activities and relationships, determining the productivity of creative activity and ensuring the acmeological nature of personal and professional development, movement towards acme in this type of artistic stage creativity.

In the process of developing the psychological and acmeological properties of the personality of ballet dancers, their acmeological and creative potentials are revealed and multiplied. The most productive movement towards acme occurs among ballet dancers who have a large and largely realized acmeological potential (a system of interconnected potentials of a high-level personality with the property of resource replenishment as the basis for productive personal and professional development and progressive movement towards acme). Productivity in progress towards acme is possible for ballet dancers who have the ability to increase their potential and carry out this in the process of creative activity.

Purpose of the study: to determine the psychological and acmeological characteristics of ballet dancers, as well as the characteristics of the productivity of their creative activity.

Object of study: professional creative activity of ballet dancers.

Subject of research: productivity of creative activity of ballet dancers.

Research objectives:

1. Carry out a theoretical and methodological analysis of the research problem.

2. Develop a systematic description of the psychological and acmeological characteristics of ballet dancers.

3. Give an essential description of the creative activity of ballet dancers. Justify the criteria, indicators and levels of creative activity of ballet dancers.

4. Identify psychological and acmeological conditions and factors for increasing the productivity of creative activity of ballet dancers.

The theoretical and methodological basis of the dissertation research is work in the field of psychology of creativity (Abramyan D.N., Bogoyavlenskaya D.B., Ponomarev Ya.A., Prangishvili

A.S., Savransky I.L., Semenov I.N., Stepanov S.Yu., Stolovich L.N., Tikhomirov O.K., Torrance E., Sheroziya A.E. and etc.); psychology of performing arts (Bochkarev L.L., Wilson G., Groysman A.L., Ershov P.M., V.I. Kochnev, S. Markus, Natadze R.G., Rozhdestvenskaya N.V., etc. .); theory of acmeology, acmeological approach to personal and professional development and the formation of professionalism of personality and activity (Agapov

B.S., Anisimov O.S., Bodalev A.A., Ganzhin V.T., Derkach A.A., Zazykin V.G., Kuzmina N.V., Laptev L.G., Markova A.K., Ognev A.S., Rean A.A., Selezneva E.V., Stepnova L.A. and etc.); acmeology of artistic creativity (Zazikin V.G., Fetisova E.V.); art and theater studies of ballet (Belova E.P., Belyaeva-Chelombitko G.V., Gaevsky V.M., Grishina E.M.

Vartanov A.S. Ilupina A.P., Krasovskaya V.M., Lvova-Anokhin B.A., Lutskaya E.Ya., Sabashnikova E.S., Surits E.Ya., Chernova N.M., Elyash N.A.) .

Research methods: To solve the problems posed in the dissertation research, a comprehensive methodological toolkit was used, including general scientific methods: a comprehensive analysis of the theoretical aspects of the problem being studied, generalization, a systematic approach; psychological and acmeological methods: psychological examination, acmeological diagnostics (acmeological examination, acmeological assessment, acmeological analysis of the problem, tracing the process of development of psychological and acmeological characteristics), expert assessments, psychodiagnostic methods - psychological testing (Luscher eight-color test, projective tests, emotional hearing test ", etc.), participant observation, interviewing.

The empirical basis of the study was the results of an expert assessment (14 experts - leading soloists, choreographers, tutors, specialist psychologists, ballet critics in the field of ballet creativity), the results of psychological testing (187 dancers of ballet theaters in Moscow and St. Petersburg) , data obtained during interviews, participant observation, conversations, discussions, as well as the results of generalization and analysis of psychological and art historical studies of ballet creativity.

The reliability and validity of the obtained scientific results is ensured by the theoretical and methodological study of the problem, the use of proven and reliable research methods, and the representativeness of the sample.

The main scientific results obtained personally by the applicant and their scientific novelty.

1. It is substantiated that the creative activity of ballet dancers is co-creation with choreographers and teachers-tutors. In psychological terms, the content of co-creation is the adoption and stage embodiment of the concept, creative solutions, characteristics of images and their enrichment with their own creative solutions, expressive means that correspond to the general plans of the choreographer and teacher-tutor. The range of co-creation depends on the scale of the ballet dancer’s talent, the creative position of the choreographer and can take the form from the artist’s complete acceptance of the concept to the proposal and implementation of his own options.

2. It has been established that the most important abilities of a ballet dancer are: acmeological - self-realization, self-development, self-realization, self-actualization, self-disclosure and self-affirmation; psychomotor - plastic expressiveness, muscle freedom and emancipation, the ability to control the body (precision of expressive movements), the ability to fill movements, gestures and postures with thoughts and feelings; musical (rhythmic) - ear for music, musical memory, sense of rhythm; autopsychological - self-attitude, self-acceptance, ability for voluntary self-regulation, self-identity; cognitive - intelligence, developmental psychology and superconscious qualities unique to humans; cognitive - in the acmeological context of creative activity, reflect the interaction of self-awareness and professional activity; creative - searching for an extraordinary solution to a creative problem, reincarnation and creation of new images; social-perceptual - in an acmeological context, reflect self-esteem (inflated, underestimated or adequate) in interpersonal interaction; artistic - mental reflection of an affective nature, passion, sensuality, conscious expression in facial expressions of a sign and modality of emotional accompaniment of an action; empathic - emotional sensitivity, lability and plasticity of emotional reactions.

3. It has been proven that the productivity of creative activity of ballet dancers depends on the level of personal and professional development, the skill of the subject of creative activity and individuality and acmeological potential, including a system of interconnected high-level potentials that have the property of resource replenishment as the basis for productive personal and professional development and forward movement to acme. The development of personal professionalism and the productivity of ballet dancers also largely depends on the level of general and special acmeological invariants of professionalism (autopsychological ability to transform, self-regulation, self-efficacy, intellectual activity), musicality, psychomotility, productivity of the creative self-concept, accepted personal and professional standards and standards.

4. It has been established that the psychological and acmeological characteristics of ballet dancers are largely related to their professional social status of “stars” and “ordinary” ones. For “stars” of ballet, they are qualitatively different in almost all parameters and indicators (expert assessments of acmeological invariants of professionalism, levels of emotional hearing , accentuations of character, levels of personal properties) than among “ordinary” artists, not only in terms of development level, but also in psychological and acmeological content: complex private abilities are larger and more diverse, more creative and characterological potential, higher personality strength and activity, more productive reflection, higher level of personal and professional standards, the need for creative self-realization.

5. A qualitative, systemic, level-by-level structure of the psychological and acmeological characteristics of ballet dancers has been determined. At the level of natural properties, the influence of temperament, neuroticism, personal potentials, personality strength, activity, age, gender, physical development was determined; mental properties - will, mental processes, emotions, feelings; character - the most important personal and professional properties; experience - professional excellence, self-efficacy; personality orientation - worldview, individual preferences acme, creative standards and benchmarks, motives for creative self-realization. A linearly determined dependence of the productivity of creative activity on psychological and acmeological characteristics has been revealed. The creativity of ballet dancers that is focused on formal compliance with the rules and canons of this type of professional activity is unproductive; Creativity focused on self-education, self-development, self-improvement and movement towards acme is highly productive. b. The psychological and acmeological conditions for the productive development of the creative activity of ballet dancers are determined: updating the need for professionalism in ballet creativity, optimizing interactions in the process of co-creation, developing the psychological and acmeological competence of choreographers and teachers-tutors, developing the autopsychological competence of ballet dancers, which makes it possible to build strategies personally -professional development from the reproductive level to the local modeling level.

7. Psychological and acmeological factors have been identified that contribute to the productive development of the psychological characteristics of ballet dancers, the movement towards acme in ballet creativity: increasing self-efficacy, competitiveness (in the acmeological understanding), eliminating limiting factors and psychological barriers in the development of creative and acmeological potentials of artists, development of special acmeological invariants of professionalism and psychological professionally important qualities.

The practical significance of the study is due to the possibility of using its results in the practice of training future ballet dancers in choreographic educational institutions, optimizing creative relationships in the “choreographer-artist”, “teacher-tutor-artist” system, developing individual programs of psychological and acmeological support for promising artists and author’s programs creative growth of ballet dancers.

Testing and implementation of research results.

The results of the dissertation research were presented at the International scientific conference“Acmeology: personal and professional development”, Moscow, 2004; International conference “Problems of man and society in the formation of a new Russia”, Moscow, 2004.

The main theoretical principles and results of the study were discussed at meetings of the problem group and the Department of Acmeology and Psychology of Professional Activity of the Russian Academy of Public Administration under the President of the Russian Federation.

The conclusions of the dissertation research and practical recommendations were discussed and implemented in the creative teams of the Moscow State Academic Children's Musical Theater named after. N.I.Sats, Russian Academy of Theater Arts, Choreographic School of Moscow.

Provisions for defense

1. The psychological complexity of the creative activity of ballet dancers is due to the fact that this activity is co-creation with choreographers and teachers-tutors, which is largely determined by the creative individuality of the subjects, the “scale of their talent,” the ability to make creative decisions, implement them through the prism of personal meanings, and enrich own creative solutions, expressive means that correspond to the general creative intentions of the choreographer.

2. The productivity of creative activity of ballet dancers depends on the levels of development of the most important abilities of ballet dancers (acmeological, psychomotor, musical, autopsychological, cognitive, cognitive, creative, artistic, social-perceptual, empathy, etc.), their psychological and acmeological properties (as generalizing personal characteristics, stable characteristics - a set of personal and professional qualities, special private abilities, motivational formations in the context of the productivity of personal and professional development and movement towards acme) and acmeological potential, the ability for voluntary self-development and potential enhancement, the level of general and special acmeological invariants of professionalism ( the main qualities and skills of a professional that ensure high stable efficiency and reliability of the work performed - personality potentials, personality strength, anticipatory consistency, high level of self-regulation, decision-making ability, creativity, high and adequate motivation for achievements), productivity of the creative self-concept, personal and professional standards ( knowledge, skills and abilities) and standards (ideal role models). The levels of productivity of creative activity (high and low), among the “stars” of ballet (high level) are qualitatively different than those of “ordinary” artists (low level), and not only in terms of the level of development of creative activity, but also in psychological and acmeological content.

3. Levels of productivity of creative activity can be determined by the criteria of success, activity in achieving acme and professional maturity - levels as the degree of completeness of implementation in creative activity can be determined as “high” - “low” according to indicators of the development of the most important abilities. The high level of “stars” is determined by the corresponding indicators of acme abilities, psychomotor, autopsychological, cognitive, cognitive, social-perceptual, creative, empathic, artistic abilities, productive reflection, success, focus of the vector of activity on achieving acme and professional excellence. The low level of “ordinary” ballet dancers, unlike the “stars”, have unexpressed acme abilities, autopsychological, cognitive, social-perceptual, creative, empathic and artistic; success is low, activity in achieving acme and professional maturity is not observed, reflection is unproductive.

The productivity of creative activity goes through five stages of development: reproductive, adaptive, locally modeling, systemically modeling knowledge, systemically modeling creativity.

4. The levels of psychological and acmeological characteristics of ballet dancers can be described from a systemic point of view: from the position of general and special psychological and acmeological characteristics of ballet dancers - the basis is the personality models according to the levels of K.K. Platonov and V.S. Merlin, as well as positions of a systematic description of the psychological and acmeological characteristics of ballet dancers based on the methodological principle of complexity (individual, subject of activity and individuality). Acme criteria in artistic and creative activity were used as criteria for a level-by-level description.

Explication of the listed levels will allow us to determine the conditions and factors of productivity of the creative activity of ballet dancers. 5. The productivity of the development of creative activity of ballet dancers depends on their acmeological potential and focus on self-realization in creativity. The identified psychological and acmeological conditions and leading factors in the productivity of creative activity of ballet dancers ensure the formation of goal images in their progress towards acme.

Conclusion of the dissertation scientific article on the topic "Developmental psychology, acmeology"

Conclusions on the second chapter

1. As a result of the expert assessment (psychological and acmeological examination), the specifics of empirical studies of the psychological and acmeological characteristics of the creative activity of ballet dancers were determined, the grounds for stratifying artists according to the level of acmeological potential were determined, the psychological factors of complexity of ballet dancers as subjects of creative activity were substantiated and described.

2. In the process of empirical research using observation methods, interviewing, psychological testing (Lüsher, Dukarevich, Rosenzweig, “emotional hearing”, control measurements of quality of life parameters, performance parameters, etc.) with stratification into two groups of “stars” and “ordinary "the general and special psychological characteristics of ballet dancers were determined, the levels of development of ballet dancers' abilities (high, low), the dominant functional states in the process of creative activity and rehearsals were described, the levels of creative potential, typical accentuations of character, special acmeological invariants of professionalism, etc., influencing on the productivity of creative activity.

3. Based on a generalization of the results of theoretical and empirical research, a systematic qualitative level-by-level description of the most important psychological and acmeological characteristics of ballet dancers was developed with a description of the subsystems; productivity levels of creative activity are determined according to the criteria of success, activity in achieving acme and professional maturity; The levels of productivity of creative activity of ballet dancers are determined according to the stages of its development (reproductive, adaptive, local-modeling, system-modeling knowledge and system-modeling creativity).

4.0 the most important psychological and acmeological conditions are identified that contribute to the productivity of creative activity of ballet dancers, the movement towards acme in ballet creativity. Among the conditions, one should highlight the demand for professionalism in ballet creativity, optimization of interactions in the process of co-creation, development of the psychological and acmeological competence of choreographers and teachers-tutors, development of autopsychological competence of ballet dancers.

5. Factors of productivity of creative activity of ballet dancers have been identified - increasing self-efficacy, competitiveness (in the acmeological sense), eliminating limiting factors and psychological barriers in the development of creative and acmeological potentials of artists, special acmeological invariants of professionalism, etc.

CONCLUSION

Summing up the general results of this dissertation research, I would like to first of all note its relevance and significance. The relevance is associated both with the solution of purely scientific problems related to the development of acmeology, the expansion of its object and subject space, and the use of psychological and acmeological knowledge in the development of professionalism of ballet dancers, their productive movement towards acme in this art form. It is also important that acmeological knowledge turned out to be in demand in such an ancient art form as ballet. The results of the psychological and acmeological study yielded results that have obvious scientific and practical significance in the development of the productivity of creative activity of ballet dancers.

Thus, based on the results of this dissertation research, the following conclusions can be drawn.

1. The theoretical and methodological analysis of the state of the research problem made it possible to substantiate the theoretical and practical significance of studying the psychological and acmeological characteristics of ballet dancers, the significance of the psychological and acmeological aspects of the development of their skill and professionalism for the development of the productivity of creative activity. The problem has been revealed to be insufficiently developed in psychology and acmeology, despite its obvious relevance.

2. As a result of the analysis, it was established that the most important psychological and acmeological characteristics of ballet dancers are determined by the uniqueness of this ancient type of stage artistic creativity, in which the only “language” is expressive movements. It is shown that expressive movements have deep psychological content, the ability to convey all the nuances of the emotional aspects of human relationships, which makes it possible to study them psychologically and acmeologically.

3. An important psychological feature of the creative activity of ballet dancers, which affects the productivity of creative activity, is their co-creation with the choreographer, director, and tutor. The process of co-creation can be carried out in a wide range, determined by many psychological factors (the “scale of personality” of the artist and choreographer, creativity, ability to transform, attitudes towards the creative process, existing relationships, professional status of the artist and choreographer, etc.).

4.The most important abilities of a ballet dancer that influence the productivity of creative activity are: acmeological, psychomotor, musical (rhythmic), autopsychological, cognitive, cognitive, social-perceptual, creative, empathic, artistic. Their levels of development (high - low) determine the productivity of creative activity.

5. The productivity of creative activity of ballet dancers largely depends on the level of general and special acmeological invariants of professionalism, the productivity of the creative self-concept, arbitrarily accepted personal and professional standards and references.

6. As a result of a theoretical analysis of the problem, the concepts of “psychological and acmeological properties of ballet dancers” and “acmeological potential of ballet dancers” are substantiated.

7. As a result of the expert assessment (psychological and acmeological examination), the specifics of empirical studies of the psychological and acmeological characteristics of ballet dancers were determined, the grounds for stratifying artists according to the level of acmeological potential were determined, the psychological factors of complexity of ballet dancers as subjects of creative activity were substantiated and described.

8. In the process of empirical research using observation methods, interviewing, psychological testing (Lüscher, Dukarevich, Rosenzweig, “emotional hearing”, control measurements of quality of life parameters, performance parameters, etc.) with stratification into two groups of “stars” and “ordinary "The general and special psychological characteristics of ballet dancers were determined; according to the criteria of success, activity in achieving acme and professional maturity, the levels of productivity of creative activity (high - low) and levels as stages of development of productivity of creative activity (reproductive, adaptive, locally-modeling, system-modeling, knowledge and system-modeling creativity are determined; described dominant functional states in the process of creative activity and rehearsals, levels of creative potential, typical accentuations of character, special acmeological invariants of professionalism, etc.

9. Based on a generalization of the results of theoretical and empirical research, a systematic qualitative level-by-level description of the most important psychological and acmeological characteristics of ballet dancers with a description of subsystems was developed.

Yu. The most important psychological and acmeological conditions and factors contributing to the productivity of creative activity of ballet dancers and the movement towards acme in ballet creativity have been identified. Among the conditions, one should highlight the demand for professionalism in ballet creativity, optimization of interactions in the process of co-creation, development of the psychological and acmeological competence of choreographers and teachers-tutors, development of autopsychological competence of ballet dancers. Among the factors are increased self-efficacy, competitiveness (in the acmeological sense), the elimination of limiting factors and psychological barriers in the development of the creative and acmeological potential of artists, special acmeological invariants of professionalism, etc.

During the research process, scientific and practical recommendations were developed for developing the productivity of creative activity of ballet dancers.

1. It is advisable to use the results of the dissertation research in professional psychological selection for choreographic educational institutions.

4. The concept of “acmeological potential”, substantiated in the dissertation research, must be used in the co-creation of artists and teachers-choreographers to form an image of the result to be strived for when moving towards acme.

Prospects for further research are: an in-depth study of psychological barriers and limitations at all levels of the personality structure that impede the productive development of the creative and acmeological potential of ballet dancers; study of changes in the creative individuality and creative orientation of the personality of ballet dancers throughout the entire range of their active creative activity; development of acmeological models of professionalism of the personality of ballet dancers and the conditions for their practical application; development of acmeograms for young artists with significant creative and acmeological potential; development of an algorithm and technologies for psychological and acmeological support of the processes of creative development of ballet dancers; in-depth development of acme problems in ballet creativity.

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Ballet dancer - creative worker theater, a professional dancer who performs the roles assigned to him in ballet performances and other works of ballet art in accordance with his job description and qualifications. The work of a ballet dancer, like any type of activity, requires the performer to have specific qualities that determine his suitability for it and ensure a certain level of success in its implementation.

It is impossible to imagine mastering the profession of a ballet dancer without daily lessons and rehearsals, improving the skills that are developed with childhood. Strict purity, lightness and airiness are achieved through long, methodical work.

The immediate prerequisites for achieving goals are competencies. Competencies describe a person’s behavior at work, which is determined by his mental state, abilities, experience, knowledge and motivation.

The connection between the educational process and the formation of competencies is traditional. Currently, the issue of the formation of “general cultural competencies” has been most fully, deeply and thoroughly studied. Meanwhile, the complex concept of “professional competencies” in the theory and practice of specialized choreographic education is in the process of development.

To reveal creative abilities, to instill a high artistic taste, which includes a sense of proportion and a sense of style, musical sensitivity, the ability to be imbued not only with the content of a performance, but also with its mood, to awaken a love for the theater, for the future profession, to develop a sense of artistic duty - these and teachers face other challenges. That is why the main feature of the education of future ballet dancers is the interrelation of special disciplines. The complex influence of all objects contributes to the development of the technical level of performance, plastic expressiveness and general culture.

It should be noted that there is a certain contradiction in the specifics of transferring knowledge and skills in professional choreographic education, because the practical side of the learning process cannot be even partially replaced by any detailed recommendations and programs. The most important factor here is the style and style of a particular teacher, who reveals his vision, creative personality, skill and experience. Thanks to this, each teacher has his own techniques. This approach gives the teacher the right to independently decide the most pressing and pressing issues of the pedagogical process.

Artistry as a professionally significant competency.

In dance, a person uses his own body as a means of expression, as an instrument that he makes to sound plastically. Therefore, ballet theater by its very nature is characterized by demands for virtuosity, and the work of a ballet dancer to improve choreographic technique continues throughout his entire acting life. In various opinions about professional choreographic education, there is a strong, stable dominant idea about the need to improve choreographic technique. We agree that the performance of a dancer who is not self-confident and not free in combinations is far from art; here all the artist’s attention is directed only to maintaining the form. Undoubtedly, good technical training expands the competencies of a ballet dancer, represents the development of his performing language, and enhances the ability to reveal the internal content of the image. At the same time, a ballet dancer cannot and should not focus all his attention on technical performance.

Why do the poses, gestures, and facial expressions of some actors create the necessary illusion of the hero’s complex psychological experiences, while the performance of other artists looks unconvincing? How many artists, who have an excellent command of the school, lack something important in their performance. What distinguishes a bright, expressive ballet dancer from a “pale” and “inarticulate” one?

Artistry is a professionally significant competence that gives activities a pronounced aesthetic and emotional character. This opinion was justified by the ideas of the classics of choreography: J. Novera, C. Didelot and others.

There is no language barrier for the art of ballet; its internal significance is accessible to the consciousness and feelings of all people in the world. This is the main reason why a ballet dancer must master the ability to create an atmosphere around himself. If an artist is truly a personality, if he is internally rich and extraordinary, he is interesting to the audience.

It is important for a future ballet dancer to realize that art opens up limitless spaces for self-expression of his personality. According to the basic principle of stage culture, an artist, showing his work on stage, simultaneously demonstrates his intellectual level to the public. The creativity of ballet dancers, oriented towards formal adherence to rules and canons, is unproductive; Only creativity focused on self-education, self-development, and self-improvement can be fruitful.

Formation of the competencies of a future ballet dancer during the training period.

The professional competencies of a future ballet dancer are formed over a long period of time, intensely and persistently. A child's demonstrated dancing abilities are in no way a guarantee that the child will be a ballet dancer. For this to happen, special training is required. The path to the stage is harsh: it subjugates the student’s entire lifestyle and requires all his strength. In order to reach the top in any art in the future, you need a special character, ability to work, love for your work, spiritual wealth, intelligence and a bright personality.

Classical dance abilities are expressed not only in motor, physical and musical abilities a child, on which he is tested during entrance exams, but also in the ability to apply these abilities in the formation of creative skills. Without the persistence shown by the teacher and the child, good health and many other conditions, abilities can freeze and never develop.

That is why during the training period, primary attention is paid to the formation in students of internal motivation for their future profession, personality development, and orientation towards professional activities. In building the educational process, the student initially takes an active position. And the factor of conscious choice of a future profession gives training a purposeful character.

In the analysis of the choreographic educational process, a number of mental properties are identified that are necessary for mastering the profession of a ballet dancer: attention, memory, will, etc.

One of the main higher mental functions of the creative nature of an actor, his ability to master a profession, is attention. A ballet dancer must develop concentrated attention on the entire body, while all sensations as a whole must be maximally involved - visual, auditory, and muscular, with the maximum inclusion of analytical thinking.

Correct professional control over the work of your muscles is the key to free execution of choreography. Therefore, from the first days of training, the teacher of “Classical dance” devotes greatest attention instilling a culture of muscular understanding. He ensures that students not only learn and perform, but also analyze every movement, develops in them the desire to work with maximum efficiency, consciously, with an understanding of “why” and “why”. As a result of such training, students not only learn the experience of performing, but are also able to explain the laws of performing movements themselves.

One of the most valuable skills of a future ballet dancer is the speed of perception and memorization of various combinations. Reproduction of movements is associated with controlled work of consciousness and a high level of motor memory, the most important feature of which is the ability to long-term preserve learned movements. Gradually, as a certain degree of professionalism, students develop automated execution of movements, which makes it possible to free up attention for creative tasks.

When performing a dance, the objects of attention are choreography with its inherent technical difficulties, music with its melodic and rhythmic content, movement in the stage space, communication with partners, etc. Instantly switching his attention from one object to another, the artist must, nevertheless, be able to keep the others in his zone of control. Moreover, all unlearned objects of attention should always be perceived by him as fresh. Thus, during stage performance, complete concentration of all mental processes is achieved.

Another important quality of creative activity is the act of will. “Will is a person’s ability to consciously control his behavior, to mobilize all his strength to achieve goals.” During the learning process, the development of will occurs through the development of an attitude towards difficulties and a mechanism for overcoming them. Thanks to volitional efforts, the learning process itself becomes much more effective: concentration on muscle work improves, the speed and dexterity of muscle reactions changes.

Nurturing the inner state of a ballet dancer is also impossible without influencing his emotional sphere, since despite all the external conventionality of ballet, it is precisely the psychological reserve that makes it a fully-fledged artistic form.

In order for every movement to become picturesque, “speaking”, to receive its own logic, it must be understood, felt, sensed. Any movement can be performed intoned with different emotional or characteristic coloring. For example, pas de bourree can be beaded, light, flirtatious and capricious, or metallic, hard, embossed. A slight change in posture, head turn, or direction of gaze leads to a change in the character and mood of the image. This kind of plastic nuances opens up wide possibilities for the performer. To teach one to give the same poses and movements different content, shades, and nuances means to instill the skill of acting consciousness.

Interrelation of special disciplines.

The high quality of the professional choreographic educational process will be revealed only in the analysis of the entire volume of knowledge acquired by students at different levels of special training.

For example, in the “Historical and Everyday Dance” lessons, students absorb the rules of good manners, the uniqueness of posture, and the peculiarities of wearing a costume. The main task here is to learn to reproduce the stylistic features of historical dances and the behavior of characters from different eras.

Every ballet dancer in the theater must know and be able to perform various dances of past centuries. “Not a single choreographer, working on the production of a new ballet, will teach an artist to dance the waltz necessary during the action: it is assumed that the ballet artist knows how to dance it well.”

The set of movements, taken by itself, most often does not present any technical difficulty; the whole difficulty lies in mastering the style. An artist who possesses stylistic characteristics will easily be able to tastefully and plastically embody acquired behavioral skills in a specific historical setting.

The “Character Dance” discipline reveals the peculiarities of the national color, focusing students’ attention on the differences in manner, temperament and plastic characteristics. Without developing nobility, elegance and chic in body positioning, a sensitive sense of movement and posture, breadth of gesture, expressiveness of the hands, and inner impulse, professional performance of stage character dance is impossible.

In “Duet Dance” lessons, students learn the culture of communication between partners. Only a precisely executed support, when both performers work synchronously, gives a beautiful stage effect. At the same time, internal contact and attentiveness of partners to each other help to reveal plastic images more deeply.

It is the structure of the full complex of special subjects that ensures the manifestation of the developed culture of a ballet dancer, capable of fulfilling any creative requirements of the theater, and gives the future artist the chance to fully realize his capabilities.

Formation of self-education, self-development, self-improvement.

The learning process cannot be based on coercion and mechanical repetition. Modern requirements confront ballet teachers with the task of developing students’ ability to perform independent activity. Effective personal development is possible only under conditions of high activity and independence.

“Self-realization is the main condition under which creative activity manifests itself as the main factor in the harmonious development of the individual. A person’s desire to realize the creative powers and abilities inherent in him is the deepest need of the individual, a need that determines the meaning of his life and the significance of his Self in the eyes of other people. The task of pedagogy is to provide the opportunity to reveal one’s self.” Expressing one's inner world through external manifestation is the most important feature of any artist.

Self-education is a human activity aimed at changing one’s personality in accordance with consciously set goals, established ideals and beliefs. The principle of student independence in the educational process presupposes orientation in such a way that they take a direct part in preparing for their future activities, and learning goals set from the outside become their own, personal goals. Based on the principle of self-control and self-organization, the teacher does not teach, but helps to learn. It demonstrates to students the need and correctness of mastering learning skills in order to perform them independently, develops in students the habit of constant improvement, working on themselves, on their creative growth, which they will need throughout their creative activity.

The magic of artistry.

A significant role in the development of the creative thinking of the future ballet dancer is given to stage practice, which brings little artists not only the joy of being on stage, helps to give a deeper understanding of the chosen profession, and forms the right attitude towards the work of their life. It is during stage practice that students take their first steps on the path of artistry.

Modern trends in ballet have brought virtuoso technique to the forefront, which has led to the fact that the dancer has become more significant than the actor. However, dance must express feelings, and therefore must be understandable not only to connoisseurs and ballet lovers, but to every receptive viewer. Therefore, I would like to note once again that artistry is a professionally significant competence of a ballet dancer, which should not be neglected.

If an artist, when going on stage, does not know how to show the viewer his inner state and expressiveness, he will be a boring actor. Each image must be revealed artistically, musically, emotionally and psychologically justified. Any gesture, pose, nuance must have an internal impulse. To fill a pose with content, you need to revive it, discover some of your own elements in it, fill it with your inner thought - then it will be organic and meaningful.

Despite the fact that the choreography is fixed, each performer looks for his own psychological nuances of plasticity in it, looks for the most expressive pose, the most advantageous angle, tilt and turn of the head, hand positions, and thus colors the role with his individuality. Human characters are multifaceted, all people express feelings differently, so different people cannot have exactly the same masks of emotions. Using one paint to reveal an image is a completely wrong method.

“Each feeling has many shades and, accordingly, the strength and scale of its manifestation. So, for example, joy can be quiet and soft, but it can also be stormy and unrestrained. To be able not only to evoke a tender feeling in oneself, but also to accurately determine its scale is a great and subtle art of acting.”

It is important to remember that inspiration does not come to the artist on its own, say, in the middle of the night or during vacation, on the banks of a river or sea. It is necessary on a specific evening, at a specific hour, when the bells ring in the theater and the audience is seated in their chairs. Consequently, the artist must be able to evoke his inspiration himself, at his own will and discretion. Even in moments of poor health, he must find ways to awaken within himself the elation before the upcoming work, to achieve the highest manifestation of mental, spiritual and creative forces. To breathe life into the created image, the skill of an actor requires spiritual work.

Theater requires independence, personal qualities, and creativity on stage from a modern ballet dancer. We should not forget that ballet dancers are not dancers or dancers, but actors of choreographic art! In the process of preparing a performance in the theater, work on creating an image and technical improvement of the dance take place in parallel. Mastery of the classical dance form makes it possible to perform the dance without a feeling of tension, but the absolute completeness of the image cannot be achieved without mastery of acting skills, which allow artists to penetrate deeply into the spiritual world of the hero and emotionally saturate his plasticity. A ballet dancer must have not only technical professionalism, but also acting expressiveness; the performance must captivate the viewer with images.

The level of performing culture is the main thing that determines the face of the theater, because often the same titles of performances are performed in different troupes. The difference is in the level of execution. Today, unfortunately, we are often faced with certain losses in artistic performance. It’s not so often now that performances amaze audiences with deep inner content; individuality and personalities have disappeared.

The main performers strive to focus on the technique of performance, showing the audience the full weight of their profession, forgetting about the loss of imagery and natural expression of feelings on stage. The acting style itself is often characterized by closed feelings and restraint. The dominance of technology introduces a note of artificiality and falsehood. The performance loses its magic, the artistic side of the performance is lost. The elusive essence that touches the audience's souls disappears without a trace.

But, after all, Russian ballet art has always been distinguished by its warmth, the ability to reflect inner life in artistic stage form. Let us remember that in the Soviet years there was the concept of “Leningrad school style”. For many years, in school and theater, great importance was attached to precision of form, quality and certainty of style. The artists easily demonstrated crystal clear dance; at the same time, technique was not the end in itself of performance.

The most important thing in ballet is the living creativity of the artist. A full-fledged creation of an artistic image in a ballet performance is possible only if one is fluent in both choreographic and acting techniques. The competence of a ballet dancer, which lies in the ability to play not only with the plasticity of external form, but also in the ability to convey one’s inner content, one’s inner experience into choreographic language, is the key to success on the path of stage creativity.

Introduction

Ballet is an art form that combines the beauty and melody of music, the plasticity and rhythm of dance, the subtlety of acting and the diversity of literary subjects. Ballet, according to V.V. Vanslova - “synthetic art”.

The Russian ballet school is rightfully considered one of the best in the world. It is enough just to remember the names of B. Eifman, G.S. Ulanova, A.Ya. Vaganova, N.M. Dudinskaya and others.

A school is a certain set of ideas, directions, concepts, and views. For it to exist and develop, a clear system of pedagogical support is needed, which allows us to take the best from these ideas and directions, translate them into reality, and supplement them with new ideas. “We expect from the school perfectly trained dance virtuosos, technically strong and at the same time real artists who can express thought and fiery feeling in the most complex dance, capable of transforming each time into a new artistic image,” writes R.V. Zakharov.

Currently, the system of choreographic education in Russia is undergoing significant changes caused by global trends, such as Russia's entry into the Bologna Agreement, and the reform of the professional education system in general. These trends are expressed in the training of specialists in the “bachelor’s-master’s” type, the introduction of practice-oriented education, and the widespread informatization of the higher education system.

Relevant in the system of training modern specialists is their ability to integrate directly into professional activities immediately after graduating from a university or secondary vocational institution. G.B. talks about this in his works. Golub, E.Ya. Kogan, V.A. Bolotov, A.V. Khutorskoy and others. In the case of choreographic education, this implies a smooth transition from a choreographic school, academy to the theater. To ensure this transition means to substantiate the essence of the pedagogical training of the future ballet soloist, to establish interaction between theaters and educational institutions, and to be able to determine the level of readiness of yesterday's student for today's adult professional activity.

There are practically no works devoted to a comprehensive study of the processes of developing the professionalism of a ballet dancer. There are only individual publications that examine one side or another of this broad issue. Nevertheless, there are precedents for the competent construction of a system of transition to professional activity in our country, and they require detailed study. One of such precedents can be considered the city of Krasnoyarsk, where one of the most famous Russian theaters- Krasnoyarsk Opera and Ballet Theater, some of whose soloists were trained at the Krasnoyarsk Choreographic School. And these soloists occupy a leading position in the Krasnoyarsk ballet.

Taking into account all of the above, let us highlight the problem of this study.

Problem: lack of research devoted to the development of professionalism of ballet dancers, shortage of models describing the development of professionalism of ballet dancers.

Research hypothesis: the formation of professionalism of a ballet dancer occurs under the following conditions:

§ the presence of pedagogical support for the entire process of becoming an artist from a professional in the field of ballet;

§ the opportunity to carry out real practice of professional activity in the early stages of training;

§ the presence of constant competition from other emerging professionals;

§ systematic physical, intellectual and psychological preparation and self-training of the future professional;

§ the presence of basic readiness for the professional activity of a ballet dancer and constant confirmation of increased readiness throughout the entire process of becoming a professional.

Purpose of the study: analysis and description of the modern model of becoming a professional ballet dancer.

To achieve the goal, it is necessary to solve the following tasks:

§ determine the specific features of the professional activity of a ballet dancer;

§ will reveal the requirements of the profession of a ballet dancer to the personality and psyche of a person;

§ determine the criteria for a ballet dancer’s professionalism, ways to measure and form it;

§ collect historical information about the development of Krasnoyarsk ballet (using the example of the Krasnoyarsk Opera and Ballet Theater and the Krasnoyarsk Choreographic School);

§ determine the trends of the modern system of professional education in general and the system of training ballet dancers in particular;

Object of study: graduates of the choreographic school - opera and ballet theater artists.

Subject of research: the process of professional training of a ballet dancer.

Research methods:

observation;

description;

theoretical analysis;

The theoretical basis of the work is the research of psychology and pedagogy of professionalism by A.K. Markova, psychology of creative activity A.I. Sevastyanova, B.S. Meilakha, B.M. Runina, Ya.A. Ponomarev, the fundamentals of ballet art V.V. Vanslova, M.M. Gabovich, N.I. Tarasova and others. The work also used periodicals, memoirs, biographies and autobiographies describing the activities of leading ballet soloists of the past and present.

The work consists of an introduction, two chapters, a conclusion, and a bibliography.

The introduction substantiates the relevance of the research topic, purpose, objectives, object, subject of research, its theoretical and practical significance.

Chapter 1 “Theoretical aspects of the development of professionalism of a ballet dancer (using the example of ballet dancers of the Krasnoyarsk State Opera and Ballet Theater)” defines the specifics of the professional activity of a ballet dancer, criteria for professionalism, presents historical reference about the development of Krasnoyarsk ballet.

Chapter 2, “Analysis of the ways of developing the professionalism of a ballet dancer in the postgraduate period (using the example of ballet dancers of the Krasnoyarsk State Opera and Ballet Theater),” examines the main trends in the modern system of professional education, the features of developing the professionalism of a ballet dancer, and presents developed methodological recommendations for developing the professionalism of a ballet dancer in postgraduate period.

Finally, general conclusions for the entire work are presented.

From a theoretical point of view, the work may be of interest to researchers in the field of psychology and pedagogy of creative activity; from a practical point of view, the work is interesting for the methodological recommendations it contains for developing the professionalism of a ballet dancer in the postgraduate period.

Chapter 1. Theoretical aspects of the development of professionalism of a ballet dancer (using the example of ballet dancers of the Krasnoyarsk State Opera and Ballet Theater)

.1 Specifics of the professional activity of a ballet dancer

To determine the specifics of the professional activity of a ballet dancer, let us clarify the key concepts and, first of all, the concept of “ballet”. Vanslov V.V. defines ballet as “a type of musical and theatrical art, the content of which is expressed in choreographic images.” The choreographic image, in turn, is “a dance-plastic embodiment of life content: mood, feeling, state, action, imbued with thought and finding its manifestation in a special system of expressive movements of a person” [ibid.]. Ballet, Vanslov argues, is “synthetic art,” as it combines several types of artistic creativity: choreography, music, drama, and visual arts.

Shatalov O.V. “ballet” means a type of theatrical art where the main means of expression are the so-called “classical” (historically established, subject to a strict code of rules) dance and pantomime, accompanied by music, as well as a stage work belonging to this type of art.”

As can be seen from these definitions, ballet is a fairly multidimensional and systemic phenomenon. The structure of the ballet can be distinguished:

Ballet script - dramatic concept, libretto (it is worth noting that there are also plotless ballets). It provides a brief verbal summary of the ideas, plot, conflict, and characters of the play. The ballet script must be written taking into account its musical and choreographic embodiment. Very often, a ballet script is created based on a literary work. The author of the script is usually a special ballet playwright. But the script can also be composed by a choreographer, composer, artist, or several creators of a ballet performance at the same time.

Choreography. Modern choreography distinguishes between everyday dance (folk and ballroom), as well as stage dance (variety and ballet). Ballet is the highest form of choreographic art. Dance forms the effective core of ballet. “The plastic possibilities of choreography are limitless; it can express any feelings, including grief, depression, despair, etc. She has the means plastic characteristics not only movement, but also peace, the embodiment of not only beauty and goodness, but also ugliness and evil,” writes V.V. Vanslov.

Musical accompaniment. The commonality of figurative nature creates the possibility of organically combining music and choreography into a single artistic whole. The importance of music for choreography in a ballet performance is, first of all, meaningful. “The choreographer stages the performance, relying not only on the dramatic outline of the script, but also, first of all, on the music, which transforms this script outline and emotionally and meaningfully enriches it,” says V.V. Vanslov.

Pantomime, elements of gymnastics and acrobatics. A ballet dancer is not only a performer of pre-prepared and scheduled dance movements. He is also a full-fledged theater actor. As for any actor, pantomime for a ballet dancer is an integral part of his work on stage. Small movements and subtle facial expressions convey a large amount of information, reveal the essence of the hero, convey his feelings and moods.

Decoration. Ballet is a full-fledged theatrical performance. In addition to the work of people on stage, it also includes general artistic atmosphere, which is created on stage and with the help of props, hero costumes, play of shadows and light. All this is extremely important for conveying the choreographer’s intentions.

And yet the main role in ballet is given to people - ballet dancers. They are the performers of the ballet director's plan, actors, dancers, heroes. “Without an actor there is and cannot be a choreographic performance, there is no ballet as an art form. The best libretto, the most beautiful music, the richest imagination of the artist bear fruit only if the ballet characters come to life in choreographic images, ballerinas and dancers,” says M.M. Gabovich.

The specificity of the professional activity of a ballet dancer lies in the need to hold several positions simultaneously, transfer artistic meaning with just movements, without uttering a word.

.2 Psychology of professional activity of a ballet dancer

Like any professional activity, ballet makes certain demands on the artist’s personality and the level of development of his mental functions. Thus, the active motor activity of a ballet dancer requires the full development of such mental functions as sensations. “The development of the kinesthetic or motor analyzer is of great importance, especially in human performing activities,” writes A.I. Sevastyanov. Kinesthetic sensations are caused, for example, by irritation of nerve endings embedded in muscles, joints, ligaments and bones, as well as those arising as a result of body movement in space, and provide the body with the necessary information to carry out coordinated and complex motor acts of the performer.”

It is also clear that in the activity of a ballet dancer, such types of sensations as auditory, tactile, static, and visual are also important. It should be noted that the development of a particular mental function implies their qualitative state. Each healthy person has a certain set of mental functions, but the degree of their expression can vary significantly, and thereby create individual mental characteristics of each person. In the case of sensations, we can talk about such qualitative characteristics as the absolute threshold of sensations - the least powerful irritation that causes a barely noticeable sensation, positive or negative adaptation - the adaptation of the sensory organs to the stimuli acting on them.

A high level of development of perception and attention is important in the activities of a ballet dancer. With high activity of these functions, some people may develop creative powers of observation, characteristic feature which is “the ability to notice subtle, but very significant, typical signs of an object or phenomenon in objects and phenomena.”

A creative personality manifests itself in the originality of capturing the phenomena of surrounding reality. The most important thing for a creative person is the so-called figurative memory, “consisting in the imprinting and subsequent reconstruction of the representation of previously perceived objects.” Emotional memory is also extremely important, which consists of remembering, reproducing and recognizing emotions and feelings.

Sensitivity and emotionality are important for any creative profession. The originality of emotions and feelings is determined by personal characteristics, the orientation of the individual, his motives, aspirations, intentions, individual mental properties, for example, character and emotional-volitional components. A person not only experiences emotions and feelings, they also have an external “bodily” design in the form of facial expressions, pantomimes, intonation and vegetative-vascular manifestations.

An integral element of creative activity is its awareness and mental elaboration by a person. In ballet, as in art in general, a person’s ability to think creatively is important. The main properties of creative thinking are:

§ flexibility of thinking (transition from one class of phenomena to another, sometimes distant in content);

§ freedom from the pattern (non-triviality, characterized by the search for new approaches to solving problems);

§ breadth of thinking (the ability to attract knowledge from various fields and the ability to apply this knowledge);

§ criticality (the ability to correctly evaluate the object of one’s own actions);

§ depth (the degree of penetration into the essence of phenomena);

§ openness (accessibility of thinking to various kinds of incoming ideas and judgments);

§ independence (the ability to independently and originally formulate and solve creative problems without being influenced);

§ empathy (the ability to penetrate into another person’s train of thought).

The process of staging a ballet involves enormous mental work by all performers. A ballet dancer has to work with artistic images. Their formation and implementation rests with the imagination.

Thus, all human cognitive abilities are involved in the work of a ballet dancer on stage. In addition to them, a person’s character traits and temperament also have a significant influence. Leonhard K. introduced the concept of accentuated personalities, taking into account the emphasis of both character traits, expressed in the characteristics of the mental sphere, a person’s motivations, and temperament, which influences the reactive qualities of the individual, in particular the pace and depth of emotional manifestations.

There are several different classifications of character accentuations, most of which are accompanied by special diagnostic techniques that make it possible to identify the type of accentuation. Without focusing on specific methods, we note that dividing people into types is always quite arbitrary. It is possible to identify character traits and types of accentuation that are “favorable” to the profession, but this must be done with caution, paying attention to the holistic perception of the professional’s personality, his professional qualities, reviews from colleagues, and the social environment in which he is included.

For a creative profession, in the work of a ballet dancer, such character traits as openness, friendliness, patience, responsibility, independence, activity, and initiative are important. This list is not complete, but in general it reflects the specifics of creative professional activity.

When characterizing the activities of a ballet dancer, one cannot fail to note such a feature of his work as collectivism. A ballet troupe is a large group of people, with their own individual characteristics, in which certain rules of behavior apply, and a certain hierarchy of relationships has developed. Communication as the ability to find a common language with other people is the most important character trait of a creative person and a ballet dancer as well.

.3 The concept of “professionalism” in ballet, research on its level and methods of formation

Under the professionalism of Markov A.K. understands “the totality, a set of personal characteristics of a person necessary for the successful performance of work.” Professionalism, according to the author, consists of two elements: motivational and operational.

The motivational element implies:

§ passion for the mentality, meaning, focus of the profession for the benefit of other people, the desire to penetrate modern humanistic orientations, the desire to remain in the profession;

§ motivation for high levels of achievement in one’s work;

§ the desire to develop oneself as a professional, motivation for positive dynamics of professional growth, taking advantage of any chance for professional growth, strong professional goal setting;

§ harmonious passage of all stages of professionalization - from adaptation to the profession further to mastery, creativity, to the painless completion of the professional path;

§ absence of professional deformations in the motivational sphere, crises;

§ internal locus of professional control, that is, the search for reasons for success and failure in oneself and within the profession;

§ the optimal psychological price for high results in professional activities, that is, the absence of overload, stress, breakdowns, and conflicts.

The operational element includes:

§ full awareness of the traits and characteristics of a professional, developed professional consciousness, a holistic vision of the appearance of a successful professional;

§ bringing oneself into line with the requirements of the profession;

§ actual performance of professional activities at the level of high examples and standards, mastery of skills, high labor productivity, reliability and sustainability of high results;

§ a person’s development of himself through the means of his profession, self-compensation of missing qualities, professional learning and openness;

§ making a creative contribution by a person to the profession, enriching its experience, transforming and improving the surrounding professional environment;

§ attracting public interest in the results of their work, because society may not know its needs for the results of this professional work, this interest must be formed.

Professionalism, according to Markova, is achieved through the following stages:

1.The stage of a person’s adaptation to a profession, the person’s initial assimilation of norms, mentalities, necessary techniques, techniques, technologies of the profession; this stage can end quickly within the first 1-2 years of starting work, or it can last for years and be painful;

2.The stage of a person’s self-actualization in the profession; a person’s awareness of his capabilities to fulfill professional standards, the beginning of self-development through the means of the profession, a person’s awareness of his individual capabilities for performing professional activities, conscious strengthening of his positive qualities, smoothing out negative ones, strengthening of individual style, maximum self-realization of his capabilities in professional activities;

.The stage of a person’s fluency in a profession, manifested in the form of mastery, harmonization of a person with the profession; here the assimilation of high standards takes place, the reproduction at a good level of previously created methodological recommendations, developments, and instructions.

Significant developments in the field of research into the characteristics of professionalism have helped to develop a whole diagnostic complex for determining the levels of its formation. Diagnostics is based on a number of principles:

The principle of staged selection of applicants

The first stage - selection based on medical indicators - is carried out, as a rule, by general practitioners and is used mainly only as a means of detecting contraindications to training. The absence of specialists of a narrow profile - a psychologist or a psychiatrist-psycho-hygienist - during the selection process negatively affects the purity of professional selection.

The second stage is the identification of those who are professionally suitable, those who are conditionally suitable and those who are unsuitable for studying at a creative university. It is carried out in the process of working with applicants, masters and teachers of the educational institution.

The third stage is control. It identifies both favorable and unfavorable changes in professional and educational activities.

The principle of taking into account the functional reserves of the psyche speaks of the great plasticity of the nervous system, the enormous hidden potentials inherent in a creative personality, and the possibilities for developing and revealing the reserves of the human psyche. Hence the need to conduct selection according to the upper, middle and lower criteria in order to clarify the range of acceptability of professional selection methods and the variability of criteria.

Professional principle.

The professionogram is one of the main diagnostic tools. Professionogram, according to Sevastyanov A.I. it is “a system of requirements imposed on a person by a certain specialty, profession or group of them.” Part of the professionogram is a psychogram - a brief summary of the requirements for the human psyche, which constitutes a list of necessary abilities.

The principle of reliability underlying professional work takes into account the complicated conditions of studying professional activity and the so-called “noise immunity” of an individual.

The above tools help determine a person’s readiness for professional activity in general. But creative activity has its own specifics, which should not be forgotten. You cannot determine the professionalism of a ballet dancer through a professiogram, just as you cannot identify a future master from among applicants only by the results of a test, examination, or other objective methods.

The professionalism of a ballet dancer is not so much objective factors of professional activity in general, but rather a set of requirements and expectations from the artist’s actions on stage, formed by traditions, the history of ballet, its outstanding performers, ballet directors, and ordinary spectators. Therefore, let us turn to understanding the professionalism of the ballet dancer of those people who are directly associated with this art.

The work of a ballet dancer is hard work every day. According to A. Ol, ballet should become a “lifestyle” of an artist. There is no time left for anything else. Therefore, first of all, a professional in ballet is a person who gives himself entirely to this art without a trace.”

The willingness to constantly learn from others and improve oneself is another important requirement for a professional. Here is what one of the leading soloists of the Krasnoyarsk ballet, Alexander Butrimovich, says about this: “... any hint is perceived as the shortest path to the better and is only beneficial. I’m trying… to listen more…” . We find confirmation of these words from A. Ol: “After work... I have to watch the video sequence of some classical productions almost frame by frame. And this is not to mindlessly lick someone’s technique, but to understand and understand the full depth of performance.”

The correlation between ballet and acting art is emphasized repeatedly: “When a ballet actor manages to combine brilliant knowledge of the craft, dance technique with intelligence, feelings and creative imagination, he rightfully belongs to the title of artist,” says M.M. Gabovich. . We find the same thing in A. Ol: “If the performance does not have energy, well-structured roles, neither beautiful music nor luxurious costumes and scenery can save it - it will be boring and unprofessional.”

Ballet also places serious demands on the physical condition of the performer. “First of all, it depends on the structure of the muscles and ligaments, and to some extent the bone structure of a person’s figure, whether he can perform this or that movement...” states F.V. Lopukhov. . A ballet professional is always in good physical shape, flexible and artistic. The individual physiological characteristics of the soloist determine his role on stage.

Professionalism is a comprehensive characteristic of a specialist’s skill level. The professionalism of a ballet dancer is formed in the process of long training and everyday work. A ballet professional is a physically and intellectually developed, creatively gifted person who is psychologically resistant to all sorts of troubles. Achieving professionalism is possible only through the practical activities of a person, through self-development, and the active help of already formed masters.

.4 History of ballet in the city of Krasnoyarsk

The Krasnoyarsk Opera and Ballet Theater was created on the basis of a decision of the Council of Ministers of the RSFSR dated December 30, 1976, by order of the Ministry of Culture of the RSFSR dated January 17, 1977. The founder of the theater is the administration of the Krasnoyarsk region represented by the department of culture. The theater officially opened on August 12, 1978.

The building was built in 1966-78 according to the design of USSR State Prize laureate architect I.A. Mikhaleva. The opening of the theater was timed to coincide with the 350th anniversary of Krasnoyarsk, located on the square of the same name (now Teatralnaya Square).

The 1978-1979 season was marked by eleven premieres. Spectators were shown wonderful works of the opera and ballet repertoire. On December 20, 1978, the premiere of A.P.’s opera took place. Borodin "Prince Igor". This performance became a kind of business card our theater. On December 21, 1978, P. I. Tchaikovsky’s ballet “Swan Lake” was shown, on December 22, 1978, G. Rossini’s opera “The Barber of Seville” was shown, on December 23, 1978, the premieres of two one-act ballets “Carmen Suite” by G. Bizet - R. Shchedrin and “The Young Lady and the Hooligan” by D. Shostakovich, December 24, 1978 - opera by P.I. Tchaikovsky “Eugene Onegin”, December 26, 1978 - A. Adam’s ballet “Giselle”.

In 1979, the theater's repertoire was steadily replenished with wonderful performances: operas - “Hurricane” by V.A. Grokhovsky, “Aida” by G. Verdi, “Iolanta” by P.I. Tchaikovsky and ballets - “Chopiniana” and “Paquita” by L. Minkus, as well as the children’s play “The Tale of the Priest and His Worker Balda” by M.I. Stockings. In just 30 years of the theater's existence, 53 operas, 2 mystery plays, 57 ballets and 16 children's performances were staged.

It is also necessary to note the names of outstanding masters who contributed to the formation of the Krasnoyarsk Opera and Ballet Theater. These are production directors - M.S. Vysotsky, R.I. Tikhomirov, G. Pankov, B. Ryabikin, L. Kheifits, V. Tsyupa, E. Buzin; conductors - I. Shavruk, V. Kovalenko, N. Silvestrov, I. Latsanich, A. Kosinsky, A. Chepurnoy, A. Yudasin; artists - N. Kotov, T. Bruni, G. Arutyunov, V. Arkhipov, Cherbadzhi, M. Smirnova-Nesvitskaya; choreographers - N. Markryants, V. Burtsev, V. Fedyanin, A. Gorsky, S. Drechin, A. Polubentsev, Vl. Vasiliev, S. Bobrov. Foreign musicians J. Stanek, M. Piecuch and others also worked at the Krasnoyarsk Theater.

The names of leading opera and ballet soloists are widely known both in Russia and abroad. Among them National artist of Russia V. Efimov, People's Artist of Russia A. Kuimov, People's Artist of Russia L. Marzoeva, People's Artist of Russia L. Sycheva, Honored Artists of Russia V. Baranova, Zh. Tarayan, S. Kolyanova, A. Berezin, S. Efremova, G Efremov, N. Sokolova, I. Klimin, Honored Artist of the Republic of Tyva G. Kontsur. The works of young opera soloists A. Lepeshinskaya, O. Basova, A. Bocharov, E. Baldanov, and ballet soloists A. Ol, E. Bulgutova, M. Kuimova, I. Karnaukhov, V. Kapustin, V. Guklenkov and etc. The names of the famous dancers N. Chekhovskaya and V. Polushin, the magnificent opera singer D. Hvorostovsky, who worked at the Krasnoyarsk Opera and Ballet Theater.

The Krasnoyarsk Choreographic School was created in 1978. Its opening is associated with the beginning of the activities of the Krasnoyarsk Opera and Ballet Theater and the Krasnoyarsk Dance Ensemble "Sibir". The first director is I. G. Shevchenko.

Artistic direction at different times was carried out by: G. N. Gurchenko, R. T. Khakulova, V. I. Burtsev, B. G. Fedchenko.

Over the course of its existence, the school has graduated more than 150 specialists who successfully work in theaters and dance groups across the country.

Leading teachers: G.N. Gurchenko, T. A. Dzyuba, Khakulova, L. V. Vtorushina.

Among the students and graduates of the school are laureates of all-Union, Russian and international ballet competitions (S. V. Dauranova, A. V. Yukhimchuk, E. Koshcheeva, etc.).

conclusions

In the first chapter, we were able to identify the essential features of ballet as an art and as a sphere of professional activity.

The profession of a ballet dancer is versatile and multifaceted. It requires quite a long and high-quality preparation during the training process, and constant self-improvement upon completion of training. The work of a ballet dancer is daily physical training, this is a high level of moral and aesthetic education, intelligence, self-awareness. The profession of a ballet dancer requires the development of a person’s personal qualities, constant activity of cognitive functions, creativity.

Defining professionalism is a twofold process. On the one hand, there are objective tools for measuring physical, intellectual and psychological readiness for the profession. On the other hand, even the highest performance in these areas does not guarantee the emergence of a true master as a result of becoming a professional. What is decisive in the process of preparing a ballet soloist? What are the factors behind its success? The second chapter is devoted to the disclosure of these issues.

Chapter 2. Analysis of the ways of developing the professionalism of a ballet dancer in the postgraduate period (using the example of ballet dancers of the Krasnoyarsk State Opera and Ballet Theater)

.1 Trends in the modern system of choreographic education

.1.1 Current state of the vocational education system

Analysis of legal acts and other normative documents allows us to formulate the following characteristics of vocational education in the Russian Federation.

For a long time in our country there was a clear division of vocational education into secondary, which was carried out in technical schools, colleges, lyceums, and higher, which was carried out in institutes and universities. This approach has been gradually abolished since Russia adopted the Bologna Agreement.

Since 2007, higher professional education in Russia has been carried out at the following levels:

§ higher professional education, confirmed by the assignment to a person who has successfully passed the final certification, qualification (degree) “bachelor” - bachelor’s degree;

§ higher professional education, confirmed by the assignment to a person who has successfully passed the final certification, qualification (degree) “specialist” or qualification (degree) “master” - specialist training or master’s degree.

Bachelor's programs last for four years, specialty programs take at least five years, and master's programs take two years.

It is planned to bring secondary vocational institutions under the format of an applied bachelor's degree in order to unite disparate educational programs and institutions into a unified system of vocational education.

In addition to the division into levels, Russia's entry into the Bologna Agreement brought a credit rating system and the possibility of integration into a single European educational space. The credit rating assessment system involves allocating a credit as a unit for assessing the success of mastering an educational program and calculating the rating among all students enrolled in this program.

The Bologna Agreement also provides for the possibility of a student’s smooth transition from one educational institution to another throughout Europe thanks to a unified system for assessing educational programs and a similar ranking of the credit “load” of each educational course.

It should be noted that Russia’s entry into the Bologna Agreement is assessed by many educators as extremely ambivalent. Thus, it is practically impossible to rebuild the world-famous domestic system of training medical workers according to the Bologna principles. Certain difficulties also arise when training specialists in the field of culture and art. In this area, the professionalism of an individual teacher and the training traditions that have developed over many years in a particular institution are of great importance. Experience accumulated over the years cannot simply be converted into credit units and divided into universal training courses. Meanwhile, we cannot stop the reform process and the transition to the “bachelor’s + master’s” system is inevitable. And all educational institutions have to adapt to these trends. So, for example, the Russian Academy of Russian Ballet named after A.Ya. quite successfully trains bachelors and masters. Vaganova."

Another characteristic feature of modern vocational education in Russia, repeatedly mentioned in the “Concept of long-term socio-economic development until 2020”, in the “Program for the development of Russian education for 2010-1015”, is the focus on practice as the main tool of professional training. For a long time, the Russian education system was overloaded with fundamental knowledge, absolutely useless for a specialist in real life: “Russian fundamental education, writes F. Yalalov, was created on the knowledge paradigm. Educational process In the system of general and vocational education for several decades, it was built on a deductive basis in accordance with the didactic triad of “knowledge - abilities - skills”, with the main attention being paid to the assimilation of knowledge.”

Recently, there has been a revision of educational content, a move away from excessive theorizing, and the creation of greater opportunities for students to undergo practical training in real professional activities.

The above documents establish the concept of “competence” as the basic unit of measurement of the quality of education.

The European Training Foundation's Glossary of Labor Market Terms defines competence as:

§ the ability to do something well or effectively;

§ compliance with the requirements for employment;

§ ability to perform special job functions.

Ivanova T.V. competence is considered as “...an independently realized ability based on the acquired knowledge of the student, his educational and life experience, values and inclinations, which he developed as a result of cognitive activity and educational practice."

The peculiarity of competence as a result of education is that, in comparison with other results of education, it:

§ is an integrated result;

§ allows you to solve a whole class of problems;

§ exists in the form of activity, not information about it;

§ manifests itself consciously.

A significant trend in modern domestic professional education is its active informatization. Educational institutions are equipped with modern computer technology, electronic educational environments are used as one of the learning tools, network technologies make it possible to establish distance education, expanding the educational opportunities of people with disabilities, people living far from densely populated cities.

.1.2 Modern ballet education in Russia

The training of professionals in the field of choreography in our country is carried out at three levels:

Entry level - ballet schools.

Average professional level - choreographic schools.

The highest professional level - academy.

Atypical educational institutions that provide comprehensive and systematic training (combining all three previous levels).

As a result of vocational training (at intermediate and higher levels), you can obtain the following professions:

A ballet dancer is a creative theater worker, a professional dancer who, in accordance with his job description and qualifications, performs the parts assigned to him in ballet performances and other works of ballet art.

Artist dance group(ensemble) - a creative worker, a professional dancer who, in accordance with his job description and qualifications, performs the parts (roles) assigned to him in works of choreographic art (with the exception of ballet).

A choreographer is a creative worker who, in accordance with his job description, under the guidance of a choreographer (choreographer), participates in the creation (composition) of new, renewal of previously staged choreographic works, and their release on stage.

Choreographer (choreographer) is a creative worker who, in accordance with his job description, creates (composes) his own choreographic works, revives previously staged choreographic works and carries out a set of organizational measures for their release on stage.

A tutor is a creative worker who, in accordance with his job description, leads the work of learning parts with artists in new and previously created performances, rehearsing performances of the current repertoire.

A teacher is an employee of an educational institution who provides training to students in various forms and develops certain competencies in them.

A teacher-tutor is an employee of an educational institution, a professional teacher who performs the functions of an assistant, consultant, mentor, confidant of a student, who is the organizer of his life and accompanies him in his desire to independently solve the problems of education.

A ballet scholar is a specialist in the field of research of ballet art, a ballet historian, a ballet critic, who often combines these functions with teaching activities in the relevant field.

Choreologist is a specialist in the field of complex and interdisciplinary research choreography in its entirety (including ballet), an art critic who often combines these functions with teaching in the relevant field.

Kinesiologist - doctor, medical worker, specialist in kinesiology.

Dance therapist - doctor, psychologist, medical worker, specialist in the field dance therapy.

The goals of a ballet dancer’s professional education are set by a list of competencies outlined in the Federal State Educational Standard for Higher Professional Education in the field of training “Choreographic Art”.

So, in the project of the Federal State Educational Standard for Higher Professional Education of the third generation, bachelors in this area must have:

social, personal and general cultural competencies;

general scientific competencies;

instrumental competencies;

professional competencies.

The latter are divided into general professional and profile-specialized competencies (in accordance with the type of professional activity).

Among the professional competencies that a bachelor must have:

knowledge of choreographic repertoire;

practical experience in performing choreographic repertoire;

mastery of the basics of drawing, painting, composition, etc.

The list of competencies is quite extensive. It remains unclear how the maturity of each can be checked, and whether it is possible to judge the student’s professionalism as a future ballet dancer based on the totality of their maturity.

In the future, in the most general form, we will characterize the content of the professional training of the future ballet dancer in educational institutions in Russia.

As already noted, training in ballet art begins at the age of ten in ballet schools. N.I. Tarasov, asking the question at what age should one begin training in classical dance: “...to learn its means of expression, its language, which, of course, the future ballet dancer must master technically perfectly, virtuoso, artistically free, flexible and musically,” he himself and answered: “We can safely say that for a future ballet theater artist it is necessary to begin mastering the school of classical dance from the age of nine or ten... The missed childhood years, as the initial period of training for a future dancer, will certainly affect his performance in some way and somewhere.” art as a kind of shadow and not fully revealed side."

It is equally important that “childhood is especially receptive to beauty - music and dance. It is childhood that is a time of enormous emotional intensity, impressiveness, dreams and active action” [ibid.], which plays an important role in the training of a ballet dancer, especially during the period of initial training, when it is necessary to interest the child, excite and captivate his soul and begin to be creatively inquisitive develop it.

“It all starts with simple things,” writes E.A. Menshikov. Movements that are honed daily in class and that seem boring and non-danceable, when included in the text of a choreographic composition, are perceived by children as an integral part of dance... the sooner the opportunity arises to put the letters of the ballet alphabet into words... the more organic the existence on stage will be.” At the initial stage, the author suggests paying attention to the child’s physical training, the development of plasticity, a sense of rhythm: “... without teaching children the initial elements of choreographic literacy, you cannot teach them to dance, otherwise teaching loses all meaning.”

Particular attention should be paid to cultivating patience, discipline, and instilling a love of music and art. “In the classroom you need to develop will, character, discipline,” writes N.M. Dudinskaya". Emphasis is also placed on the development of imagination, memory, attention, perception, and emotionality.

Training is conducted in the following disciplines: rhythm, gymnastics, choreography, dance, general school disciplines. Classes are held in groups of 10-12 people.

It should be noted that students of ballet schools from an early age are involved in professional activities and take part in productions. “The evening always began with a class concert... Each dancer had one or two solo numbers, which I selected according to their individuality and preparedness,” writes N.M. Dudinskaya. The choice of the theme of the productions is determined by the developmental characteristics of children in a particular age period: “Children of every age have their own dances. The younger ones dance “Polka”, “Polonaise”. Middle - “Geese”, “Rock and Roll”, senior - “Victory Salute”. “Productions must correspond to the age and level of development of children, they must be understandable to them, then the audience will understand and accept them.”

Training in choreographic schools lasts from five to eight years. The selection process for these institutions, as well as for ballet schools, is quite strict. Strict requirements are imposed on the child’s physical readiness, health, and level of intellectual and psycho-emotional development. Exams at the school take place in three stages:

checking professional data, body features (external data) - addition of proportions, stage presence, turnout, lifting, step, jump, flexibility;

medical commission - vision, hearing, internal organs, nervous system, apparatus. Russian language testing;

art commission - musical and rhythmic data: rhythm, hearing, memory; professional data, dance.

The main methods and means of teaching are (using the example of OOP used at the A.Ya. Vaganova Academy of Russian Ballet):

independent work;

consultation;

practical lesson;

excursion;

educational and industrial practice;

course work;

graduation work.

Among the basic disciplines in choreographic schools: classical dance, folk stage dance, historical and everyday dance, jazz, step, rhythm, gymnastics, acting, makeup, foreign languages, history of theater, music, visual arts, musical literacy, philosophy, fundamentals of law, economics, sociology, anatomy, etc.

Classical dance plays a major role in the preparation of a ballet dancer. “It provides training for the body in movement, which can serve as an aid to any dance decision.”

Classical dance is a fundamental discipline in the choreographic school; it plays a leading role in the professional training of future ballet dancers. It is in a classical dance lesson that the language of choreography is learned. In order to master the high performing skills of classical dance, it is necessary to know and assimilate its nature, its means of expression, its school. The school of classical dance is the basis for systematic, consistent, methodical training in the profession of a ballet dancer.

One of the main components of preparing a future dancer is stage practice, which is consistently included in the class schedule. The purpose of this subject is the comprehensive development and improvement of students' performing skills based on rehearsal work and stage performances, including in theater performances. Stage practice is an integral, final part of the educational process.

Thus, the features of training a ballet dancer in Russia include the following:

§ due to the physiological characteristics of the human body, there are strict deadlines for the professional activity of a ballet dancer: the beginning of professional training at 10 years, the beginning of professional activity at 18-19 years, the end of professional activity at 38-40 years;

§ training at a ballet educational institution (choreographic school, ballet academy) is considered as professional training from the first steps, from the age of 10;

§ special treatment and the student’s load level is comparable to the regime and workload of an adult artist, which corresponds to the physical activity of high-achievement sports;

§ general (school) education and vocational (primary, secondary, higher) education are combined in a single educational process, often it is impossible to make a clear distinction between them;

§ the need for advanced development of humanitarian and art history disciplines leads to the inclusion of elements of higher education in the program of a secondary vocational educational institution;

§ direct transfer of skills, knowledge, experience from generation to generation (“from hand to hand - from foot to foot”, bypassing material media);

§ functioning of the choreographic school (ballet academy) simultaneously as an educational institution and as theater group, the unity of the actual educational process and practice;

§ mandatory interaction between a choreographic school (ballet academy) and a professional, “basic” ballet troupe (theater): the troupe mostly consists of graduates of this educational institution, and most of its teachers are former and current artists of the troupe; orientation of the educational process to the stylistic characteristics and repertoire of the troupe; the opportunity for students to participate in professional performances from the first years of study.

.2 Pedagogical activities for preparing a ballet dancer

“The role of the teacher is enormous; the creative growth of artists largely depends on him,” wrote N.M. Dudinskaya.

We conducted a study to determine the specifics of developing the professionalism of a ballet dancer.

Research base: Krasnoyarsk Choreographic School and Krasnoyarsk Opera and Ballet Theater.

Research methods:

observation;

“The only possible way to accumulate and preserve socio-cultural experience in the context of the continuity of generations is the system of continuous humanitarian education,” says V. M. Zakharov. In the most convincing, visual form, this system was developed within the framework of continuous choreographic education “school - choreographic school (university) - theater”. Teachers of the Krasnoyarsk Choreographic School adhere to similar positions.

The school was founded in 1978. Today, 56 teachers work there, 18 of them part-time. Since 2010, the school has been preparing bachelors in the field of Choreographic Art. The professional activities of bachelors in this area are carried out in the field of culture and art related to choreographic art and the ways of its functioning in society, in institutions of education, culture, art and management.

The institution has established fairly close ties with the Krasnoyarsk Opera and Ballet Theater. Students of the school constantly perform reporting performances on the theater stage; their future mentors, the theater choreographers, regularly meet and work with the students.

In ballet, students are required to have good preparation, the ability to meaningfully apply a complex of acquired knowledge and skills, and to understand a certain interdisciplinary range of issues. The teacher must manage the process of training, development and education, and for this “you need to be competent, you need to fully and accurately know all the conditions of production, you need to know the technology of this production at its modern level, you need to have a well-known scientific education. Knowledge, competence, education cannot be replaced by any other, even the best human qualities».

The current conditions of education place an immutable requirement on the modern teacher - knowledge of the fundamental sciences. Moreover, “not only the volume of knowledge is of decisive importance, but also its accuracy, systematicity, and mobility. It is not the maximum of knowledge, but its mobility and controllability, flexible adaptation to the conditions of the educational institution that makes a specialist suitable for teaching.”

Based on these provisions, we analyzed the level of fundamental training of teachers from the Krasnoyarsk Choreographic School. All teachers have higher professional education, regularly take advanced training courses, participate in conferences and symposiums, and prepare and publish their own articles.

The professionalism of teachers is also manifested in the ability to quickly adapt to new trends and trends in education. In this case, proof of this is the revision of the traditional training system by school teachers due to the introduction of a bachelor's degree system. They prepared OOP projects, discipline programs based on the third generation Federal State Educational Standard, and updated educational and methodological materials.

Modern researchers are increasingly talking about the formation of empathy as a professional quality, especially in relation to sociometric professions. “Understand and feel your student, his aspirations, hopes, motivations, eliminate fears and complexes, set him up to achieve his goal, and also, having realized in time the futility of further efforts, be able, without traumatizing the child’s psyche, to convince the student of this, suggest him possible options self-realization outside of ballet - isn’t this the highest pedagogical skill?”

Observing the ways teachers establish interaction with school students allows us to highlight the following:

the school has a favorable atmosphere between students and teachers;

teachers’ comments relate to the actions of students, not their personalities;

pointing out mistakes, teachers suggest and show how they can be corrected, and are not content with criticism alone;

All specialists in the institution have great authority among students.

Pedagogical activities in preparing a ballet dancer are not the prerogative of only an educational institution. School teachers in the theater are replaced by choreographers and choreographers, who continue to improve the artist’s skills. “To the theater as an improvement class,” writes N.M. Dudinskaya, dancers come who have already been trained by someone at the school, someone’s students, they already have a diploma and come to improve their profession, practice movements, increase dance technique, gain skill, increase professionalism.”

The transition from the Krasnoyarsk Choreographic School to the Krasnoyarsk Opera and Ballet Theater is carried out smoothly. Students of the school perform in the theater on a regular basis, get acquainted with it and the procedures adopted in it. Therefore, the moment of graduating from college and entering the theater to work is not something overly exciting for them.

The theater brings together professionals in their field, the artistic director of the theater is S.R. Bobrov and artistic director of ballet - M.V. Peretokin make a significant contribution to the formation of new stars of Russian ballet. “Ballet is the art of the young, whether we like it or not,” says S.R. Bobrov. But where do they have to start? As Maris Liepa said, to dance, you need to dance. Here they get such an opportunity. Anastasia Chumakova and Nikolai Olyunin are very capable and promising guys; tutors from the Bolshoi Theater taught them. Are others worse? Maria Kuimova danced Odette in Swan Lake, Kitri in Don Quixote, Denis Zykov danced Basil there. Maxim Klekovkin and Anna Ol danced The Nutcracker in England, I gave them this opportunity. And in “Romeo and Juliet”, along with Anya, young students of the choreographic school Ekaterina Bulgutova and Elena Kazakova are involved.”

Pedagogical activity in the theater represents the highest level of honing an artist’s skills. Here he does not have the opportunity to learn the basics, but must demonstrate own capabilities as efficiently as possible. The work of a teacher here is combined with the work of yesterday’s student. If in school everything was aimed at training and educating the future artist, then in the theater attention is paid to the artistic image, which is created by both the director-teacher and the performer-artist.

The theater's artistic director and choreographer take care of the constant improvement of the artists' skills. Tutors from the country's leading theaters are regularly invited to the Krasnoyarsk Opera and Ballet Theater; before each new production, the troupe works on video materials from existing productions by other authors.

Experts place communication at the heart of theater pedagogy. “Communication,” writes E.A. Demidov, along with effective expression, is the central concept of the theatrical sphere." The theatrical theory of action defines the following features of teacher behavior in the process of interaction with students:

When performing his duties, the teacher should look concentrated, collected, and mobilizing. The teacher needs to establish “illegal” communication, i.e. achieve working noise, “mix” the artists, “destroy the correctness of the ranks.” This is a necessary prerequisite for creating real conditions for the emergence of individual positions, so that it is easier for performers to express their opinions during communication.

Speech artistry occupies a special place in pedagogical communication according to the laws of theatrical action. Speech artistry is a bright focus in the speech of the teacher’s personality, the ability to create in speech, evoking an emotional and sensory response in students. This is its energy, intensity, associativity, expressiveness, subtle and appropriate use of non-verbal language.

choreographic education professional ballet

conclusions

Conclusion

In the first chapter, we were able to identify the essential features of ballet as an art and as a sphere of professional activity. Shatalov O.V. by ballet we mean a type of theatrical art where the main means of expression are the so-called “classical” (historically established, subject to a strict code of rules) dance and pantomime, accompanied by music, as well as a stage work belonging to this type of art

The profession of a ballet dancer is versatile and multifaceted. It requires quite a long and high-quality preparation during the training process, and constant self-improvement upon completion of training. The work of a ballet dancer involves daily physical training, a high level of moral and aesthetic education, intelligence, and self-awareness. The profession of a ballet dancer requires the development of a person’s personal qualities, constant activity of cognitive functions, and creative abilities.

In the second chapter, we identified the main trends in modern choreographic education, the specifics of pedagogical activities in training a ballet dancer.

Modern Russian professional education is characterized by the transition to two-level education (the “bachelor’s-master’s” system), the introduction of a modular principle of training, and a credit rating assessment system. There are also trends towards practice-oriented education, which manifest themselves both in the active implementation of practice as a learning tool, and in the desire to obtain a real, socially useful and practical result.

Similar trends apply to choreographic education. Choreographic schools are moving on to preparing bachelors. This process is accompanied by a revision of the content of education and the time frame of training. New requirements are being introduced for assessing the quality of the output result. The competency-based approach is dominant in modern educational practice. Future ballet dancers must have social-personal, general cultural, general scientific, instrumental and professional competencies.

The process of training ballet dancers in Krasnoyarsk is complex. It includes preparatory and initial training, basic training in a choreographic school, professional training in senior years of school and in the theater itself. Not only the school’s teachers, but also the artistic directors of the theater take an active part in the process of developing professionalism.

The professionalism of a ballet dancer is formed under the following conditions:

§ with available external and physical data corresponding to professional activity;

§ subject to the start of education at an early age (no later than 10 years);

§ subject to a comprehensive education at a choreographic school;

§ with a desire for learning and constant self-improvement;

§ in the presence of competent and highly qualified pedagogical support throughout the entire path of developing professionalism;

§ if there are established connections between the educational institution and the theater, the possibility of constant practice.

Based on an analysis of approaches to organizing pedagogical activities for the training of ballet dancers in Krasnoyarsk, the following methodological recommendations were formulated:

The training of a ballet dancer should be carried out systematically and include three related stages: the stage of initial training in ballet school, the stage of basic training in a choreographic school, the stage of professionalization in high school and in the theater. It is possible to combine these stages. A typical example An atypical higher educational institution performs here - the Academy of Russian Ballet named after. AND I. Vaganova”, who manages to conduct training from a very early age for 5-8 years in various specialties.

2. It is necessary to establish close contacts between choreographic schools and theaters. This interaction should include reporting performances by school students, participation of the best students in theater productions, and teaching of certain disciplines by theater staff.

Within the walls of the school, it is necessary to develop opportunities for healthy competition among students, develop competitive programs with encouragement, and monitor and evaluate the success of educational activities. All this will allow you to fit into the theater’s work schedule in the least painful way after graduating from college.

The theater should provide opportunities for young performers to continuously improve their skills. This means inviting qualified tutors, participating in internships, and active teaching activities on the part of the choreographer and experienced performers.

During the process of studying at the school, the future ballet dancer must develop the desire and ability to self-learn. It is important to emphasize the need for constant self-improvement and to show ways of self-development.

Thus, the tasks set at the beginning of the study can be considered completed, and the formulated hypothesis proven.

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Introduction

Ballet is an art form that combines the beauty and melody of music, the plasticity and rhythm of dance, the subtlety of acting and the diversity of literary subjects. Ballet, according to V.V. Vanslova - “synthetic art”.

The Russian ballet school is rightfully considered one of the best in the world. It is enough just to remember the names of B. Eifman, G.S. Ulanova, A.Ya. Vaganova, N.M. Dudinskaya and others.

There are practically no works devoted to a comprehensive study of the processes of developing the professionalism of a ballet dancer. There are only individual publications that examine one side or another of this broad issue. Nevertheless, there are precedents for the competent construction of a system of transition to professional activity in our country, and they require detailed study. One of such precedents can be considered the city of Krasnoyarsk, where one of the most famous Russian theaters operates - the Krasnoyarsk Opera and Ballet Theater, some of the soloists of which were trained at the Krasnoyarsk Choreographic School. And these soloists occupy a leading position in the Krasnoyarsk ballet.

Taking into account all of the above, let us highlight the problem of this study.

Problem: lack of research devoted to the development of professionalism of ballet dancers, shortage of models describing the development of professionalism of ballet dancers.

Research hypothesis: the formation of professionalism of a ballet dancer occurs under the following conditions:

§ the presence of pedagogical support for the entire process of becoming an artist from a professional in the field of ballet;

§ the opportunity to carry out real practice of professional activity in the early stages of training;

§ the presence of constant competition from other emerging professionals;

§ systematic physical, intellectual and psychological preparation and self-training of the future professional;

§ the presence of basic readiness for the professional activity of a ballet dancer and constant confirmation of increased readiness throughout the entire process of becoming a professional.

Purpose of the study: analysis and description of the modern model of becoming a professional ballet dancer.

To achieve the goal, it is necessary to solve the following tasks:

§ determine the specific features of the professional activity of a ballet dancer;

§ will reveal the requirements of the profession of a ballet dancer to the personality and psyche of a person;

§ determine the criteria for a ballet dancer’s professionalism, ways to measure and form it;

§ collect historical information about the development of Krasnoyarsk ballet (using the example of the Krasnoyarsk Opera and Ballet Theater and the Krasnoyarsk Choreographic School);

§ determine the trends of the modern system of professional education in general and the system of training ballet dancers in particular;

§ develop methodological recommendations for developing the professionalism of a ballet dancer in the postgraduate period.

Object of study: graduates of the choreographic school - opera and ballet theater artists.

Subject of research: the process of professional training of a ballet dancer.

Research methods:

Observation;

Description;

Theoretical analysis;

The work consists of an introduction, two chapters, a conclusion, and a bibliography.

The introduction substantiates the relevance of the research topic, purpose, objectives, object, subject of research, its theoretical and practical significance.

Chapter 1 “Theoretical aspects of the development of professionalism of a ballet dancer (using the example of ballet dancers of the Krasnoyarsk State Opera and Ballet Theater)” defines the specifics of the professional activity of a ballet dancer, the criteria of professionalism, and provides historical information on the development of Krasnoyarsk ballet.

Finally, general conclusions for the entire work are presented.

Chapter 1. Theoretical aspects of the development of professionalism of a ballet dancer (using the example of ballet dancers of the Krasnoyarsk State Opera and Ballet Theater)

1.1 Specifics of the professional activity of a ballet dancer

Shatalov O.V. “ballet” means a type of theatrical art where the main means of expression are the so-called “classical” (historically established, subject to a strict code of rules) dance and pantomime, accompanied by music, as well as a stage work belonging to this type of art.”

As can be seen from these definitions, ballet is a fairly multidimensional and systemic phenomenon. The structure of the ballet can be distinguished:

1. Ballet script - dramatic concept, libretto (it is worth noting that there are also plotless ballets). It provides a brief verbal summary of the ideas, plot, conflict, and characters of the play. The ballet script must be written taking into account its musical and choreographic embodiment. Very often, a ballet script is created based on a literary work. The author of the script is usually a special ballet playwright. But the script can also be composed by a choreographer, composer, artist, or several creators of a ballet performance at the same time.

2. Choreography. Modern choreography distinguishes between everyday dance (folk and ballroom), as well as stage dance (variety and ballet). Ballet is the highest form of choreographic art. Dance forms the effective core of ballet. “The plastic possibilities of choreography are limitless; it can express any feelings, including grief, depression, despair, etc. She has the means of plastically characterizing not only movement, but also peace, the embodiment of not only beauty and goodness, but also ugliness and evil,” writes V.V. Vanslov.

3. Musical accompaniment. The commonality of figurative nature creates the possibility of organically combining music and choreography into a single artistic whole. The importance of music for choreography in a ballet performance is, first of all, meaningful. “The choreographer stages the performance, relying not only on the dramatic outline of the script, but also, first of all, on the music, which transforms this script outline and emotionally and meaningfully enriches it,” says V.V. Vanslov.

4. Pantomime, elements of gymnastics and acrobatics. A ballet dancer is not only a performer of pre-prepared and scheduled dance movements. He is also a full-fledged theater actor. As for any actor, pantomime for a ballet dancer is an integral part of his work on stage. Small movements and subtle facial expressions convey a large amount of information, reveal the essence of the hero, convey his feelings and moods.

5. Decoration. Ballet is a full-fledged theatrical performance. In addition to the work of people on stage, it also includes the general artistic atmosphere, which is created on stage and with the help of props, hero costumes, and the play of shadows and light. All this is extremely important for conveying the choreographer’s intentions.

The specificity of the professional activity of a ballet dancer lies in the need to hold several positions at the same time, to convey artistic meaning with movements alone, without uttering a word.

1.2 Psychology of professional activity of a ballet dancer

A high level of development of perception and attention is important in the activities of a ballet dancer. With high activity of these functions, some people may develop creative observation, the characteristic feature of which is “the ability to notice subtle, but very significant, typical signs of an object or phenomenon in objects and phenomena.”

An integral element of creative activity is its awareness and mental elaboration by a person. In ballet, as in art in general, a person’s ability to think creatively is important. The main properties of creative thinking are:

§ flexibility of thinking (transition from one class of phenomena to another, sometimes distant in content);

§ freedom from the template (non-triviality, characterized by the search for new approaches to solving problems);

§ breadth of thinking (the ability to attract knowledge from various fields and the ability to apply this knowledge);

§ criticality (the ability to correctly evaluate the object of one’s own activities);

§ depth (the degree of penetration into the essence of phenomena);

§ openness (accessibility of thinking to various kinds of incoming ideas and judgments);

§ independence (the ability to independently and originally formulate and solve creative problems without being influenced);

§ empathy (the ability to penetrate into another person’s train of thought).

The process of staging a ballet involves enormous mental work by all performers. A ballet dancer has to work with artistic images. Their formation and implementation rests with the imagination.

1.3 The concept of “professionalism” in ballet, research on its level and methods of formation

Under the professionalism of Markov A.K. understands “the totality, a set of personal characteristics of a person necessary for the successful performance of work.” Professionalism, according to the author, consists of two elements: motivational and operational.

The motivational element implies:

§ passion for the mentality, meaning, focus of the profession for the benefit of other people, the desire to penetrate modern humanistic orientations, the desire to remain in the profession;

§ motivation for high levels of achievement in one’s work;

§ desire to develop oneself as a professional, motivation for positive dynamics of professional growth, taking advantage of any chance for professional growth, strong professional goal setting;

§ harmonious passage of all stages of professionalization - from adaptation to the profession further to mastery, creativity, to the painless completion of the professional path;

§ absence of professional deformations in the motivational sphere, crises;

§ internal locus of professional control, that is, the search for reasons for success and failure in oneself and within the profession;

§ the optimal psychological price for high results in professional activities, that is, the absence of overload, stress, breakdowns, and conflicts.

The operational element includes:

§ full awareness of the traits and characteristics of a professional, developed professional consciousness, a holistic vision of the appearance of a successful professional;

§ bringing oneself into line with the requirements of the profession;

§ actual performance of professional activities at the level of high examples and standards, mastery of skills, high labor productivity, reliability and sustainability of high results;

§ a person’s development of himself through the means of his profession, self-compensation of missing qualities, professional learning and openness;

§ making a creative contribution by a person to the profession, enriching its experience, transforming and improving the surrounding professional environment;

§ attracting public interest in the results of one’s work, because society may not know its needs for the results of a given professional work, this interest must be formed.

Professionalism, according to Markova, is achieved through the following stages:

1. The stage of a person’s adaptation to the profession, the person’s initial assimilation of norms, mentalities, necessary techniques, techniques, technologies of the profession; this stage can end quickly within the first 1-2 years of starting work, or it can last for years and be painful;

2. The stage of a person’s self-actualization in the profession; a person’s awareness of his capabilities to fulfill professional standards, the beginning of self-development through the means of the profession, a person’s awareness of his individual capabilities for performing professional activities, conscious strengthening of his positive qualities, smoothing out negative ones, strengthening of individual style, maximum self-realization of his capabilities in professional activities;

3. The stage of a person’s fluency in a profession, manifested in the form of mastery, harmonization of a person with the profession; here the assimilation of high standards takes place, the reproduction at a good level of previously created methodological recommendations, developments, and instructions.

1. The principle of staged selection of applicants

The third stage is control. It identifies both favorable and unfavorable changes in professional and educational activities.

2. The principle of taking into account the functional reserves of the psyche speaks of the great plasticity of the nervous system, the enormous hidden potentials inherent in a creative personality, and the possibilities of developing and revealing the reserves of the human psyche. Hence the need to conduct selection according to the upper, middle and lower criteria in order to clarify the range of acceptability of professional selection methods and the variability of criteria.

3. Professional principle.

4. The principle of reliability underlying professional work takes into account the complicated conditions of studying professional activity and the so-called “noise immunity” of an individual.

The work of a ballet dancer is hard work every day. According to A. Ol, ballet should become a “lifestyle” of an artist. There is no time left for anything else. Therefore, first of all, a professional in ballet is a person who gives himself entirely to this art without a trace.”

The correlation between ballet and acting art is emphasized more than once: “When a ballet actor manages to combine brilliant knowledge of craft, dance technique with intelligence, feelings and creative imagination, he rightfully belongs to the title of artist,” says M.M. Gabovich. . We find the same thing in A. Ol: “If the performance does not have energy, well-structured roles, neither beautiful music nor luxurious costumes and scenery can save it - it will be boring and unprofessional.”

1.4 History of ballet in the city of Krasnoyarsk

The 1978-1979 season was marked by eleven premieres. Spectators were shown wonderful works of the opera and ballet repertoire. On December 20, 1978, the premiere of A.P.’s opera took place. Borodin "Prince Igor". This performance has become a kind of calling card of our theater. On December 21, 1978, P. I. Tchaikovsky’s ballet “Swan Lake” was shown, on December 22, 1978, G. Rossini’s opera “The Barber of Seville” was shown, on December 23, 1978, the premieres of two one-act ballets “Carmen Suite” by G. Bizet - R. Shchedrin and “The Young Lady and the Hooligan” by D. Shostakovich, December 24, 1978 - opera by P.I. Tchaikovsky “Eugene Onegin”, December 26, 1978 - A. Adam’s ballet “Giselle”.

The names of leading opera and ballet soloists are widely known both in Russia and abroad. Among them are People's Artist of Russia V. Efimov, People's Artist of Russia A. Kuimov, People's Artist of Russia L. Marzoeva, People's Artist of Russia L. Sycheva, Honored Artists of Russia V. Baranova, Zh. Tarayan, S. Kolyanova, A. Berezin, S. Efremova, G. Efremov, N. Sokolova, I. Klimin, Honored Artist of the Republic of Tyva G. Kontsur. The works of young opera soloists A. Lepeshinskaya, O. Basova, A. Bocharov, E. Baldanov, and ballet soloists A. Ol, E. Bulgutova, M. Kuimova, I. Karnaukhov, V. Kapustin, V. Guklenkov and etc. The names of the famous dancers N. Chekhovskaya and V. Polushin, the magnificent opera singer D. Hvorostovsky, who worked at the Krasnoyarsk Opera and Ballet Theater, are widely known to the Russian and world communities.

Artistic direction at different times was carried out by: G. N. Gurchenko, R. T. Khakulova, V. I. Burtsev, B. G. Fedchenko.

Over the course of its existence, the school has graduated more than 150 specialists who successfully work in theaters and dance groups across the country.

Leading teachers: G.N. Gurchenko, T. A. Dzyuba, Khakulova, L. V. Vtorushina.

Among the students and graduates of the school are laureates of all-Union, Russian and international ballet competitions (S. V. Dauranova, A. V. Yukhimchuk, E. Koshcheeva, etc.).

conclusions

In the first chapter, we were able to identify the essential features of ballet as an art and as a sphere of professional activity.

The profession of a ballet dancer is versatile and multifaceted. It requires quite a long and high-quality preparation during the training process, and constant self-improvement upon completion of training. The work of a ballet dancer involves daily physical training, a high level of moral and aesthetic education, intelligence, and self-awareness. The profession of a ballet dancer requires the development of a person’s personal qualities, constant activity of cognitive functions, and creative abilities.

Chapter 2. Analysis of the ways of developing the professionalism of a ballet dancer in the postgraduate period (using the example of ballet dancers of the Krasnoyarsk State Opera and Ballet Theater)

2.1 Trends in the modern system of choreographic education

2.1.1 Current state of the vocational education system

Analysis of legal acts and other normative documents allows us to formulate the following characteristics of vocational education in the Russian Federation.

Since 2007, higher professional education in Russia has been carried out at the following levels:

§ higher professional education, confirmed by the assignment to a person who has successfully passed the final certification, qualification (degree) “bachelor” - bachelor’s degree;

§ higher professional education, confirmed by the assignment to a person who has successfully passed the final certification, qualification (degree) “specialist” or qualification (degree) “master” - specialist training or master’s degree.

Bachelor's programs last for four years, specialty programs take at least five years, and master's programs take two years.

Another characteristic feature of modern vocational education in Russia, repeatedly mentioned in the “Concept of long-term socio-economic development until 2020”, in the “Program for the development of Russian education for 2010-1015”, is the focus on practice as the main tool of professional training. For a long time, the Russian education system was overloaded with fundamental knowledge, absolutely useless for a specialist in real life: “Russian fundamental education, writes F. Yalalov, was created on a knowledge paradigm. The educational process in the system of general and vocational education for several decades was built on a deductive basis in accordance with the didactic triad of “knowledge - abilities - skills”, with the main attention being paid to the acquisition of knowledge.

The above documents establish the concept of “competence” as the basic unit of measurement of the quality of education.

The European Training Foundation's Glossary of Labor Market Terms defines competence as:

§ the ability to do something well or effectively;

§ compliance with the requirements for employment;

§ ability to perform special job functions.

Ivanova T.V. competence is considered as “...an independently realized ability based on the student’s acquired knowledge, his educational and life experiences, values and inclinations, which he developed as a result of cognitive activity and educational practice.”

The peculiarity of competence as a result of education is that, in comparison with other results of education, it:

§ is an integrated result;

§ allows you to solve a whole class of problems;

§ exists in the form of activity, not information about it;

§ manifests itself consciously.

2.1.2 Modern ballet education in Russia

The training of professionals in the field of choreography in our country is carried out at three levels:

1. Entry level - ballet schools.

2. Average professional level - choreographic schools.

3. The highest professional level - academies.

4. Atypical educational institutions engaged in comprehensive and systematic training (combining all three previous levels).

As a result of vocational training (at intermediate and higher levels), you can obtain the following professions:

1. A ballet dancer is a creative theater worker, a professional dancer who performs the parts assigned to him in ballet performances and other works of ballet art in accordance with his job description and qualifications.

2. An artist of a dance group (ensemble) is a creative worker, a professional dancer who performs the parts (roles) assigned to him in works of choreographic art (with the exception of ballet) in accordance with his job description and qualifications.

3. A choreographer is a creative worker who, in accordance with his job description, under the guidance of a choreographer (choreographer), participates in the creation (composition) of new ones, the renewal of previously staged choreographic works, and their release on stage.

4. Choreographer (choreographer) is a creative worker who, in accordance with his job description, creates (composes) his own choreographic works, revives previously staged choreographic works and carries out a set of organizational measures for their release on stage.

5. A tutor is a creative worker who, in accordance with his job description, leads work on learning parts with artists in new and previously created performances, rehearsing performances of the current repertoire.

6. Teacher - an employee of an educational institution who provides training to students in various forms and develops certain competencies in them.

7. Teacher-tutor - an employee of an educational institution, a professional teacher who performs the functions of an assistant, consultant, mentor, confidant of a student, who is the organizer of his life and accompanies him in his desire to independently solve the problems of education.

8. Ballet scholar - a specialist in the field of research of ballet art, ballet historian, ballet critic, who often combines these functions with teaching activities in the relevant field.

9. Choreologist - a specialist in the field of complex and interdisciplinary studies of choreography in its entirety (including ballet), an art critic who often combines these functions with teaching in the relevant field.

10. Kinesiologist - doctor, medical worker, specialist in the field of kinesiology.

12. Dance therapist - doctor, psychologist, medical worker, specialist in the field of dance therapy.

So, in the project of the Federal State Educational Standard for Higher Professional Education of the third generation, bachelors in this area must have:

Social, personal and general cultural competencies;

General scientific competencies;

Instrumental competencies;

Professional competencies.

The latter are divided into general professional and profile-specialized competencies (in accordance with the type of professional activity).

Among the professional competencies that a bachelor must have:

Knowledge of choreographic repertoire;

Practical experience in performing choreographic repertoire;

Knowledge of the basics of drawing, painting, composition, etc.

In the future, in the most general form, we will characterize the content of the professional training of the future ballet dancer in educational institutions in Russia.

Particular attention should be paid to cultivating patience, discipline, and instilling a love of music and art. “In the classroom you need to develop will, character, discipline,” writes N.M. Dudinskaya". Emphasis is also placed on the development of imagination, memory, attention, perception, and emotionality.

Training is conducted in the following disciplines: rhythm, gymnastics, choreography, dance, general school disciplines. Classes are held in groups of 10-12 people.

Checking professional data, body features (external data) - addition of proportions, stage presence, turnout, lifting, step, jump, flexibility;

Medical commission - vision, hearing, internal organs, nervous system, apparatus. Russian language testing;

Artistic commission - musical and rhythmic data: rhythm, hearing, memory; professional data, dance.

The main methods and means of teaching are (using the example of OOP used at the A.Ya. Vaganova Academy of Russian Ballet):

Seminar;

Independent work;

Consultation;

Practical lesson;

Excursion;

Educational and industrial practice;

Course work;

Graduation work.

Among the basic disciplines in choreographic schools: classical dance, folk stage dance, historical and everyday dance, jazz, tap, rhythm, gymnastics, acting, makeup, foreign languages, history of theater, music, fine arts, musical literacy, philosophy, fundamentals law, economics, sociology, anatomy, etc.

Classical dance plays a major role in the preparation of a ballet dancer. “It provides training for the body in movement, which can serve as an aid to any dance decision.”

Thus, the features of training a ballet dancer in Russia include the following:

§ due to the physiological characteristics of the human body, there are strict deadlines for the professional activity of a ballet dancer: the beginning of professional training at 10 years, the beginning of professional activity at 18-19 years, the end of professional activity at 38-40 years;

§ training in a ballet educational institution (choreographic school, ballet academy) is considered as professional training from the first steps, from the age of 10;

§ the student’s special regime and level of workload are comparable to the regime and workload of an adult artist, which corresponds to the physical activity of high-achievement sports;

§ general (school) education and vocational (primary, secondary, higher) education are combined in a single educational process, often it is impossible to make a clear distinction between them;

§ the need for advanced development of humanities and arts disciplines leads to the inclusion of elements of higher education in the program of a secondary vocational educational institution;

§ direct transfer of skills, knowledge, experience from generation to generation (“from hand to hand - from foot to foot”, bypassing material media);

§ functioning of the choreographic school (ballet academy) simultaneously as an educational institution and as a theater group, the unity of the educational process itself and practice;

2.2 Pedagogical activities for preparing a ballet dancer

“The role of the teacher is enormous; the creative growth of artists largely depends on him,” wrote N.M. Dudinskaya.

We conducted a study to determine the specifics of developing the professionalism of a ballet dancer.

Research base: Krasnoyarsk Choreographic School and Krasnoyarsk Opera and Ballet Theater.

Research methods:

Observation;

In ballet, students are required to have good preparation, the ability to meaningfully apply a complex of acquired knowledge and skills, and to understand a certain interdisciplinary range of issues. The teacher must manage the process of training, development and education, and for this “you need to be competent, you need to fully and accurately know all the conditions of production, you need to know the technology of this production at its modern level, you need to have a well-known scientific education. Knowledge, competence, and education cannot be replaced by any other, even the best human qualities.”

Specific features and psychological structure of a ballet dancer's activity. Conditions for the development of professionalism of a ballet dancer

Contents of the dissertation author of the scientific article: candidate of psychological sciences, Soboleva, Olga Sergeevna, 2005

Introduction of the dissertation in psychology, on the topic "Productivity of creative activity of ballet dancers"

Conclusion of the dissertation scientific article on the topic "Developmental psychology, acmeology"

Dissertation bibliography author of the scientific work: candidate of psychological sciences, Soboleva, Olga Sergeevna, Moscow

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Introduction

Ballet is an art form that combines the beauty and melody of music, the plasticity and rhythm of dance, the subtlety of acting and the diversity of literary subjects. Ballet, according to V.V. Vanslova - “synthetic art”.

§ the presence of pedagogical support for the entire process of becoming an artist from a professional in the field of ballet;

§ the opportunity to carry out real practice of professional activity in the early stages of training;

§ the presence of constant competition from other emerging professionals;

§ systematic physical, intellectual and psychological preparation and self-training of the future professional;

§ the presence of basic readiness for the professional activity of a ballet dancer and constant confirmation of increased readiness throughout the entire process of becoming a professional.

§ determine the specific features of the professional activity of a ballet dancer;

§ will reveal the requirements of the profession of a ballet dancer to the personality and psyche of a person;

§ determine the criteria for a ballet dancer’s professionalism, ways to measure and form it;

§ collect historical information about the development of Krasnoyarsk ballet (using the example of the Krasnoyarsk Opera and Ballet Theater and the Krasnoyarsk Choreographic School);

§ determine the trends of the modern system of professional education in general and the system of training ballet dancers in particular;

§ develop methodological recommendations for developing the professionalism of a ballet dancer in the postgraduate period.

Chapter 1. Theoretical aspects of the development of professionalism of a ballet dancer (using the example of ballet dancers of the Krasnoyarsk State Opera and Ballet Theater)

Shatalov O.V. “ballet” means a type of theatrical art where the main means of expression are the so-called “classical” (historically established, subject to a strict code of rules) dance and pantomime, accompanied by music, as well as a stage work belonging to this type of art.”

An integral element of creative activity is its awareness and mental elaboration by a person. In ballet, as in art in general, a person’s ability to think creatively is important. The main properties of creative thinking are:

§ flexibility of thinking (transition from one class of phenomena to another, sometimes distant in content);

§ freedom from the template (non-triviality, characterized by the search for new approaches to solving problems);

§ breadth of thinking (the ability to attract knowledge from various fields and the ability to apply this knowledge);

§ criticality (the ability to correctly evaluate the object of one’s own activities);

§ depth (the degree of penetration into the essence of phenomena);

§ openness (accessibility of thinking to various kinds of incoming ideas and judgments);

§ independence (the ability to independently and originally formulate and solve creative problems without being influenced);

§ empathy (the ability to penetrate into another person’s train of thought).

Under the professionalism of Markov A.K. understands “the totality, a set of personal characteristics of a person necessary for the successful performance of work.” Professionalism, according to the author, consists of two elements: motivational and operational.

The motivational element implies:

§ passion for the mentality, meaning, focus of the profession for the benefit of other people, the desire to penetrate modern humanistic orientations, the desire to remain in the profession;

§ motivation for high levels of achievement in one’s work;

§ desire to develop oneself as a professional, motivation for positive dynamics of professional growth, taking advantage of any chance for professional growth, strong professional goal setting;

§ harmonious passage of all stages of professionalization - from adaptation to the profession further to mastery, creativity, to the painless completion of the professional path;

§ absence of professional deformations in the motivational sphere, crises;

§ internal locus of professional control, that is, the search for reasons for success and failure in oneself and within the profession;

§ the optimal psychological price for high results in professional activities, that is, the absence of overload, stress, breakdowns, and conflicts.

§ full awareness of the traits and characteristics of a professional, developed professional consciousness, a holistic vision of the appearance of a successful professional;

§ bringing oneself into line with the requirements of the profession;

§ actual performance of professional activities at the level of high examples and standards, mastery of skills, high labor productivity, reliability and sustainability of high results;

§ a person’s development of himself through the means of his profession, self-compensation of missing qualities, professional learning and openness;

§ making a creative contribution by a person to the profession, enriching its experience, transforming and improving the surrounding professional environment;

§ attracting public interest in the results of one’s work, because society may not know its needs for the results of a given professional work, this interest must be formed.

Professionalism, according to Markova, is achieved through the following stages:

1. The stage of a person’s adaptation to the profession, the person’s initial assimilation of norms, mentalities, necessary techniques, techniques, technologies of the profession; this stage can end quickly within the first 1-2 years of starting work, or it can last for years and be painful;

The work of a ballet dancer is hard work every day. According to A. Ol, ballet should become a “lifestyle” of an artist. There is no time left for anything else. Therefore, first of all, a professional in ballet is a person who gives himself entirely to this art without a trace.”

conclusions

Chapter 2. Analysis of the ways of developing the professionalism of a ballet dancer in the postgraduate period (using the example of ballet dancers of the Krasnoyarsk State Opera and Ballet Theater)

§ higher professional education, confirmed by the assignment to a person who has successfully passed the final certification, qualification (degree) “bachelor” - bachelor’s degree;

§ higher professional education, confirmed by the assignment to a person who has successfully passed the final certification, qualification (degree) “specialist” or qualification (degree) “master” - specialist training or master’s degree.

§ the ability to do something well or effectively;

§ compliance with the requirements for employment;

§ ability to perform special job functions.

Ivanova T.V. competence is considered as “...an independently realized ability based on the student’s acquired knowledge, his educational and life experiences, values ​​and inclinations, which he developed as a result of cognitive activity and educational practice.”

§ is an integrated result;

§ allows you to solve a whole class of problems;

§ exists in the form of activity, not information about it;

§ manifests itself consciously.

Classical dance plays a major role in the preparation of a ballet dancer. “It provides training for the body in movement, which can serve as an aid to any dance decision.”

§ due to the physiological characteristics of the human body, there are strict deadlines for the professional activity of a ballet dancer: the beginning of professional training at 10 years, the beginning of professional activity at 18-19 years, the end of professional activity at 38-40 years;

§ training in a ballet educational institution (choreographic school, ballet academy) is considered as professional training from the first steps, from the age of 10;

§ the student’s special regime and level of workload are comparable to the regime and workload of an adult artist, which corresponds to the physical activity of high-achievement sports;

§ general (school) education and vocational (primary, secondary, higher) education are combined in a single educational process, often it is impossible to make a clear distinction between them;

§ the need for advanced development of humanities and arts disciplines leads to the inclusion of elements of higher education in the program of a secondary vocational educational institution;

§ direct transfer of skills, knowledge, experience from generation to generation (“from hand to hand - from foot to foot”, bypassing material media);

§ functioning of the choreographic school (ballet academy) simultaneously as an educational institution and as a theater group, the unity of the educational process itself and practice;

“The role of the teacher is enormous; the creative growth of artists largely depends on him,” wrote N.M. Dudinskaya.

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Ivanova T.V. competence is considered as “...an independently realized ability based on the student’s acquired knowledge, his educational and life experiences, values and inclinations, which he developed as a result of cognitive activity and educational practice.”