History of the study of injuries to ballet dancers. Improving working conditions for dancers

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 degree of candidate of 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 research 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.V.) . [~P7"~ ~ . Tn-

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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.);

performance psychology artistic creativity(Bochkarev L.L., Wilson G., Groysman A.JI, 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 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 set problems in the dissertation research, a comprehensive methodological toolkit was used, including general scientific methods: complex analysis theoretical aspects the problem being studied, generalization, 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 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 sense), eliminating limiting factors and psychological barriers in the development of creative and acmeological potentials of artists, developing special acmeological invariants 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

strength of personality, anticipatory consistency, high level self-regulation, decision-making ability, creativity, high and adequate achievement motivation), 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, in contrast to the “stars”, have unexpressed acme abilities, autopsychological, cognitive, social-perceptual, creative, empathetic 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 “a subject, an object and an instrument” theatrical arts, therefore, the more complex and significant the artist’s personality, the more multifaceted his abilities, the brighter his individuality and the more interesting his creativity. Great contribution to the study of psychological content acting skills contributed by Drankov B.JI. (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 ability cannot be studied in isolation from the creative process, a deep study of the creative personality itself.

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 recent years, psychological and acmeological studies have appeared related to the study of acmeological aspects of the professional skills of artists. 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 honorary titles and state awards(four people), choreographers-tutors and teachers-tutors of leading ballet theaters (four people), art historians - recognized experts in the field of ballet creativity, author of several monographs (three people), psychologists, recognized experts in the field of psychology of performing artistic and creative activity, having 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, empathetic 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 (V.G. Zazykin): 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 nervous system- mobility of nervous processes of fatigue and typological variants of 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, it plays for ballet dancers main role the temperamental characteristic of neuroticism is the 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 - training in the art of ballet begins in 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 creative subjects ballet activities 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 and the disclosure of their creative potential.

3. Based on the identified characteristics of ballet dancers, it is advisable to implement 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 on 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 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 creative teams Moscow State Academic Children's Musical Theater named after. N.I.Sats, Russian Academy of Theater Arts, choreographic school 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 ideas 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, in contrast to the “stars”, have unexpressed acme abilities, autopsychological, cognitive, social-perceptual, creative, empathetic 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 character accentuations, 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.

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.

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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480 rub. | 150 UAH | $7.5 ", MOUSEOFF, FGCOLOR, "#FFFFCC",BGCOLOR, "#393939");" onMouseOut="return nd();"> Dissertation - 480 RUR, delivery 10 minutes, around the clock, seven days a week and holidays

Osipova, Marina Kazimirovna. Professional training of future ballet dancers to perform jumping movements: dissertation... candidate of pedagogical sciences: 13.00.08 / Osipova Marina Kazimirovna; [Place of protection: Ros. state ped. University named after A.I. Herzen].- St. Petersburg, 2011.- 272 p.: ill. RSL OD, 61 11-13/1342

Introduction

CHAPTER I. Traditions of foreign and domestic schools in preparing future ballet dancers for mastering jumping movements

1.1. The evolution of jumping movements in Western European ballet theater

1.2. History of teaching allegro in the Russian ballet school 24

1.3. The formation of methods for teaching jumping movements in the Russian ballet school

CHAPTER II. A methodological system for preparing future ballet dancers to perform jumping movements in the junior grades of a professional educational institution.

2.1. Identification of the initial level of training of future ballet dancers to perform jumping movements 77

2.2. Designing a model of a methodological system for professional training of future ballet dancers to perform jumping movements 99

2.3. Studying the effectiveness of the methodological system of professional training of future ballet dancers to perform jumping movements 132

Conclusions Conclusion 165

Bibliography

Introduction to the work

Relevance of the research topic.

The system of professional training of future ballet dancers is traditionally based on methods that were developed over decades in the Russian ballet school and passed on from generation to generation. Based on general didactic principles, choreographic pedagogy, as a set of pedagogical experience in the field of training ballet dancers, has developed its own methods and principles that reveal the specifics of classical dance, making it possible to teach it as a living figurative art.

The methodology for teaching Allegro (Allegro is the final part of a classical dance lesson, consisting of jumps), the most important section of classical dance, was developed in the works of N.P. Bazarova, A.Ya. Vaganova, B.C. Kostrovitskaya, A.A. Pisareva, N.I. Tarasova, A.I. Chekrygina. However, the available teaching aids, including the Allegro section, and aimed at the professional training of future ballet dancers, do not reveal the historical background for the emergence and development of jumping movements; insufficient attention is paid to the methodology for developing jump height in primary school students; there is no research into the psychological aspect of jump development in students and the role of the teacher in teaching jumping movements; criteria for assessing the quality of performing jumping movements have not been developed.

Development of modern ballet school imply an increase in the level of execution of jumping movements. The specificity of modern ballet lies in the expansion of the choreographic language. In recent years, many famous Western choreographers have staged their ballets in Russia (W. Forsythe, J. Neumayer, N. Gelber, etc.), and interest in modern choreography(A. Ratmansky, B. Eifman, etc.). In this regard, the dance vocabulary has changed. Thus, in modern ballets, jumps become more powerful, closer to sports, and require a change in the technique of performance, and, consequently, the method of mastering this technique.

The listed features of the development of a ballet school and the recorded problems of professional training in the field of Allegro are updated with the introduction of the federal state standard of higher professional education in the field of training

“Choreographic performance” qualification bachelor (No. 070300), since in this regard there is a question of developing a system of requirements for the professional training of future ballet dancers.

Controversies between the increasing requirements for the training of ballet dancers and the insufficient development of a holistic system for their training in the Allegro section of classical dance, as well as the lack of a comprehensive scientific and theoretical understanding of pedagogical experience in this area, served as the basis for the choice research topics:“Professional training of future ballet dancers to perform jumping movements.”

Purpose of the study- development and testing of a methodological system for the professional training of future ballet dancers to perform jumping movements in the junior classes of a professional educational institution.

Object of study- the process of professional training of future ballet dancers to perform jumping movements.

Subject of study- professional training of future ballet dancers to perform jumping movements in the junior classes of a professional educational institution.

Research hypothesis: training future ballet dancers to perform jumping movements in the junior grades of a professional educational institution will be effective if:

the conceptual provisions for preparing future ballet dancers to perform jumping movements have been determined;

criteria for the quality of jump performance were identified and tools for their assessment were developed;

the content, methodology and organizational and pedagogical conditions for preparing future ballet dancers to perform jumping movements have been developed;

Professional training is carried out in the format of individual educational routes, built on the basis of monitoring the success of training according to selected criteria.

Research objectives:

study historical and scientific-pedagogical literature on the problem
research in the aspect of development of techniques for performing jumping
movements in Western European ballet theater and Russian ballet
school;

analyze the results of scientific research in the field of anatomy, psychology, pedagogy, sports in order to study the physical and psychological capabilities of students that influence the performance of jumping movements;

determine criteria for assessing the level of professional training of future ballet dancers to perform jumping movements;

identify tools for assessing the quality of performance of jumps of all difficulty groups;

to develop methodological support for a program for training future ballet dancers to perform jumping movements in the junior classes of a professional educational institution;

to develop a model of a methodological system for the professional training of future ballet dancers to perform jumping movements;

to develop educational routes for students to master the Allegro section of the “Classical Dance” discipline in junior grades;

to experimentally test the effectiveness of the developed methodological system for training future ballet dancers to perform jumping movements.

Theoretical and methodological basis of the study are the works of classical dance teachers, scientific works of Russian and foreign art historians, memoirs and fiction, works of teachers, psychologists, sports trainers, considered within the framework of comparative historical and systemic approaches.

The work uses educational literature on the methods of teaching classical dance by teachers from St. Petersburg and Moscow: works by A.Ya. Vaganova, N.I. Tarasov and A.I. Chekrygina, N.P. Bazarova and V.P. Mei, V.S. Kostrovitskaya and A.A. Pisareva, A.M. Messerer.

The study of teaching jumping movements in the Russian ballet school was facilitated by the work of A.Ya. Vaganova, E.O. Vazem, A.L. Volynsky, T.P. Karsavina, V.M. Krasovskaya, M.F. Kshesinskaya, F.V. Lopukhova, M.I. Petipa, M.M. Fokina, G. Cecchetti, A.Ya. Rustle.

When studying pedagogical techniques and requirements emerging in the 18th - 19th centuries in Western European and Russian ballet schools, the works of L.D. were used. Blok, M.V. Borisoglebsky, V.M. Krasovskaya, Yu.I. Slonimsky, I.I. Sollertinsky, E.Ya. Suritz, J.-J. Noverra, A. Fridericcia, L.V. Jacobson.

In defining and understanding the methodology of teaching Allegro by teachers Soviet period contributed to the work of G.G. Albert, B.Ya. Bregvadze, E.P. Valukina, S.N. Golovkina, Yu.I. Gromova, V.A. Zvezdochkina, S.S. Kashtana, Yu.N. Myachina, A.V. Nikiforova, P.A. Pestova, L.N. Safronova, L.I. Yarmolovich.

When studying psychophysical and biomechanical factors influencing the quality of Allegro performance, the author used the works of V.V. Belous, B.C. Vygotsky, N.E. Vysotskaya, B.A. Vyatkina, A.G. Gretsova, A.L. Groysman, E.G. Kotelnikova, N.V. Sokovnikova, A.N. Chefranova.

The work of I.Yu. contributed to the understanding of pedagogical attitudes of professional pedagogical activity. Aleksashina, VI. Andreeva, T.G. Braje, S.L. Bratchenko, E.V. Bondarevskaya, Yu.N. Kulyutkina, N.A. Morevoy, A.A. Orlova, O.G. Prikota, V.I. Slobodchikova.

The fundamentals of the theory and methodology of vocational education were studied based on the works of: S.G. Vershlovsky, A.M. Kuznetsova, M.M. Levina, A.K. Markova, L.M. Mitina, V.A. Slastenina, N.E. Erganova.

To achieve the goal, solve the assigned tasks and check

hypotheses, a combination of empirical and theoretical research methods, complementary and enriching each other:

theoretical: historical and pedagogical method, which involves a comparative analysis of historical and methodological literature, and scientific works on psychology and pedagogy of the issue under study and their interpretation based on a systematic approach;

empirical methods: collection and accumulation of data (pedagogical observation); data measurement (expert assessment of credit lessons); data processing (quantitative and qualitative analysis); study and generalization of teaching experience; pedagogical experiment.

Experimental research base.

The experimental study is longitudinal in nature and was conducted on the basis of the Academy of Russian Ballet named after. AND I. Vaganova. The experiment involved students of the junior classes of the ARB (28 boys), among whom ten were from experimental class A, and also, as part of a comparative analysis, the learning results in two parallel classes - B and C (18 people) were assessed.

Main stages of the study.

The study was carried out in three stages:

At the first stage (2005 - 2006), an analysis of pedagogical, psychological and methodological literature was carried out with the aim of theoretical understanding of this problem, its relevance and development in scientific research. An assessment of the current state of the problem was carried out, research tools and methods were developed, the problem was clarified and a preliminary research hypothesis was formulated.

At the second stage (2007 - 2008), a study was carried out on the level of professional training of future ballet dancers in performing jumping movements. The following were carried out: identifying the level of training of future ballet dancers to perform jumping movements; experimental testing of a new system for assessing learning outcomes; development of the content of methodological support for the preparation of future ballet dancers to perform jumping movements. Based on experimental studies, individual educational routes were built for each student. In the process of work, the initial research hypothesis was clarified and deepened.

At the third stage (2009 - 2010), the effectiveness of the methodological system for teaching jumping movements in the training of future ballet dancers was checked, the results of the study were analyzed and summarized, the main conclusions were formulated, and prospects for further research were determined.

Provisions for defense:

1. Conceptual provisions for designing a methodological system for professional training of future ballet dancers to perform jumping movements, suggesting:

A focus on expanding the choreographic language of modern ballet in connection with changes in dance vocabulary and an increase in the power (sports) component of the jump, which requires changes in performance technique: changes in approaches to jumps, an increase in the height of the opening of the leg in a jump, changes in the technique of performing jumps;

Reliance on the traditions of Western European and Russian ballet schools,
allowing to identify invariant ways of professional

training future ballet dancers in the field of Allegro: defining the role

exercise of classical dance in the process of teaching Allegro; increasing attention to the execution of рНё and other exercise movements in mastering Allegro; development of exercises for jump development; performing springboard jumps; development of elevation and balloon skills; determining the role of jumps when creating characters and images in ballet;

Implementation of a systematic and holistic process of professional training that meets the requirements for the professional training of future ballet dancers, reflected in the content of the first federal state standard of higher professional education in the history of training future ballet dancers,

2. Methodological system reflecting the requirements for professional
preparing future ballet dancers to perform jumping movements in
junior classes of vocational educational institutions within the section
Allegro discipline "Classical dance", the model of which is presented on
p.17, allowing:

Organize a systematic and holistic process of their professional training, when the content and teaching methods are justified by conceptual and methodological guidelines that reflect the specifics of modern ballet and a system of developed criteria for assessing the performance of jumping movements;

Develop organizational and methodological support for the professional training process, first of all, a description of the holistic methodology for performing jumping movements according to selected criteria;

To carry out professional training of future ballet dancers in the strategy of individual-oriented training, when an individual educational route is developed for each student and the results of educational activities are monitored.

3. System of criteria for assessing the execution of jumping movements:
methodological (accuracy of jump execution, coordination of the whole body when
performing a jump); performing (performing pHo before and after the jump,
push, landing after a jump, fixing a pose in the air, initial
elevation and balloon skills); emotional and psychological
(psychological attitude to perform jumping combinations,
expressiveness and musicality of performance) on the basis of which
a toolkit has been developed to assess the quality of jumps performed by each
complexity groups - scorecards that allow

monitoring the quality of training of future ballet dancers and determining the trajectory of individual educational routes of future ballet dancers, taking into account the physical data of students, methodological literacy in performing jumps, the development of coordination of movements, the correct psychological attitude: physical, coordination-methodological, emotional-psychological and combined types.

Scientific novelty of the research:

The criteria for assessing the level of students' preparation for performing jumping movements have been determined - methodological, performance, emotional and psychological.

A methodological system for training future ballet dancers to perform jumping movements has been developed, which allows organizing the educational process in the lower grades of a professional educational institution on the basis of certain conceptual and methodological guidelines.

The dependence of the successful development of jumping movements on four interrelated factors has been found and substantiated: the physical data of students; methodological literacy of execution; coordination of movements; the right psychological attitude.

Theoretical significance of the study:

A comprehensive study of the Allegro section in classical dance was carried out, developing knowledge about the principles, content and methods of professional training of future ballet dancers: the history of the development of jumping movements was generalized, new ones were substantiated methodological techniques performance of Allegro, psychological and pedagogical aspects teaching Allegro.

Based on the criteria for assessing the level of professional training in performing jumping movements, a typology of individual educational routes for students has been determined: physical, coordination-methodological, emotional-psychological and combined types.

Practical significance of the study:

A multi-criteria map for assessing the level of training has been developed
performance of jumping movements by future ballet dancers,
containing the most complete requirements for students when performing
program jumps.

A methodology has been developed for preparing future ballet dancers to perform jumping movements in the junior grades of a professional educational institution, which is distinguished by: a comprehensive description of the techniques for performing a jump, indicating possible mistakes of students during performance; description of the jump with decomposition into musical score; development of methodological principles for composing combinations.

Reliability and scientific validity main provisions and
research findings are due to consistent implementation
methodological basis of the study, logically consistent
problem analysis, targeted use

complementary methods of pedagogical research, a combination of quantitative and qualitative analysis, practical confirmation of the main provisions of the study in experimental work.

Approbation of work was held at the department of classical and duet-classical dance of the performing faculty, in the junior classes of the ARB named after. A. Vaganova, where the author has been teaching since 2003, and since 2008 has been teaching a course in classical dance techniques at the department of classical and duet-classical dance of the pedagogical faculty. The main provisions of the dissertation are reflected in publications and presented at international seminar according to the methods of classical dance (2007).

Volume and structure: the dissertation consists of an introduction, two chapters, a conclusion, a list of references and applications. The main content of the dissertation is presented on 168 pages of typewritten text.

History of teaching allegro in the Russian ballet school

Classical dance has absorbed and brought to a perfect form the movements of the human body. This was preceded by a long path of development, searches, observations and selection of the most expressive dance means. At the same time, jumping has always been an integral part of the movements of both humans and animals. Ancient artist, trying to capture his fellow tribesmen, he painted them in swift, sometimes very expressive jumping poses. In the primitive drawings of recorded poses, dance was already seen.

Antiquity, with its cult of a healthy, harmoniously developed human body, provides numerous evidence of various dances and the jumping movements imprinted in them. The purpose of these movements and exercises was: “higher”, “further” and, finally, “more original”.

Lucian of Samosatsky wrote about jumping in his treatise “On Dance”. Some were performed in a circle, others he called leaps, and others were simply big jumps. And again there is uncertainty: what kind of movements were these, what did they look like? Lucian noted that the performers cared about the fitness of the body, strength, flexibility, and stability.

In ancient times, and then later, in the Middle Ages, during the Renaissance, professional shows necessarily included various types of jumps, both small and large.

From the 15th century, treatises on dance began to appear in Italy. Please note that these were ballroom dancing textbooks. It was “in Italy that public dance found its first theoretical development, took conventional, scientific forms, and developed its own terminology.”

Starting from the 15th - 16th centuries, dances performed by the people and dances of the nobility increasingly differed in technical techniques and style of performance. Simple people could freely express feelings and emotions in strong, dynamic, sometimes inventive and complex movements. The professional actors who replaced amateurs at the end of the 15th and beginning of the 16th centuries belonged for the most part to the lower strata of society and were not “fettered” by rules. But due to the nature of their activities, some especially gifted ones could perform by invitation in the castles of the nobility. This gave them the opportunity to see formal, leisurely ballroom dancing and then refine the style and movement in their performances.

From among the best dancers, masters of their craft, people emerged who tried to record dance figures, movements, and determine the technique of performance. Among the first, D. da Ferrara and his essay “On the Art of Dance and Dance” (end XIV-XV) are famous. He is followed by G. Ebreo “Treatise on the Art of Dance” (1463) and A. Cornazano “Book on the Art of Dancing” (1465), F. Caroso’s book “The Dancer” (1581) and C. Negri, his work was called “New Inventions” ballet" (1604). Note that these were treatises on ballroom, and later serious, dance.

Ch. Negri was one of the first to analyze in detail jumps and tours, as the most difficult movements to perform. He divides jumps into four groups:

Note that the term cabriole then implied many types of jumps, but “tours in the air and skids, giving the dance shine, did not include the concept of flight.”

The author of the textbook then describes some difficult jumps and advises practicing them at a table or chair. The same practice, only with a stick, still exists today in the training of dancers. The technique of each jumping movement, according to Negri, includes the work of both legs and arms. Sometimes he pays attention to the body and head. For the first time, a choreographer comprehends the work and coordination of the dancer’s entire body in dance. And it was up to another emerging dance school to put the performance technique into practice, combining it with nobility and grace.

Pierre Beauchamp, the legendary French dancer and choreographer of the 17th century, contributed greatly to the establishment and development of serious dance. He was a contemporary of J. Lully and a choreographer in his operas. In 1661, Beauchamp headed the newly founded Royal Academy of Dance. By that time, interest in dance entertainment was extremely great. The development of the art of dance in France was facilitated by a large number of touring Italian troupes. It is natural that reigning persons and their entourage become interested in dance. Beauchamp taught to King Louis XIV, danced and choreographed at his court. Ballet historian B1. Krasovskaya notes “that Beauchamp introduced the jump pas de ciseaux en tournant or revoltade en tournant into men’s dance.” It was Beauchamp who fixed and legitimized the five leg positions in serious dance;

He was the first to be awarded the title of maitre de ballet (1671) at the Royal Academy of Music. Beauchamp was the first to respond to the new forms of dance music proposed by the composer, and began to compose “a conventional dance for Lully’s “arias”, which tended towards virtuoso instrumentalism.” And further: “The solo dance lined the stage in different directions with sliding horizontals pas glissade and pas chasses. Plies deepened the plane in curtsies. Splashes and splashes of skids, on the contrary, asserted the vertical, interrupted the smooth line of the dance with a break, ... the tempos of the allegro developed and improved the vertical. New techniques were honed with strict adherence to positions en dehors...". From now on, dancers and choreographers will begin to study and improve the outlines of movement in space. It was Beauchamp’s generation that “directed dance to conquer space. The scope and height of movements have increased." It can be assumed that, starting from the second half XVII century, in the sequence of the classical lesson, the section - “jumping” - finds its specific place.

L. Blok quotes the statement of the dancer Depreo: “Beauchamp was the first to separate the tempos.” Then, she explains: “This is the division of dance steps into tempos...”. Let us clarify that the concept of tempo in ballet at that time (XVII century) and up to the beginning of the XX century was a combination of several movements, for example, the still known temps leve, temps lie, temps lie saute, etc.

Thus, the forms and style of dance, brought from Italy by numerous small touring troupes, fell on prepared and fertile soil in France. And the development of dance continued in accordance with the characteristics of this country.

By the beginning of the 18th century, there was a clear separation of the professional dance styles of Italy and France. Italian performers are technical to the point of virtuosity, they boldly use elements of acrobatics, but they are harsh, often to the point of rudeness and grotesquely comic. Their performing style originates from the public square theater of commedia dell arte.

By the beginning of the 18th century, French professionals allowed virtuosity, but to certain limits. They are mannered and cutesy. There is more lightness, grace and nobility in their performance. Serious dance in France at that time was technical and not as easy as it might seem to the modern eye.

The technique of women's dance was not visible due to the fluffy long skirts in accordance with the fashion of those years, which is partly why jumping in women's dance was not fully used.

Marie Camargo (1710-1770), the most famous French dancer of her time, was a temperamental Spanish nationality. She was the first to shorten skirts to the ankle, introduced jumping into the arsenal of a professional dancer and began to do entrechat-quatre. Noverre saw Camargo dance. He noticed that “all those steps ... attractive and brilliant, all these jetes, battus, royales, entrechats, done without “daub,” Camargo performed with extraordinary ease.” These movements have long been part of men's dance; the artist borrowed them for herself. “Madame Camargo was the first to dance like a man,” noted Voltaire. The dancer's followers began to use the achievements of male dance even more boldly.

The formation of methods for teaching jumping movements in the Russian ballet school

That is why the development of a base of research criteria was focused in the areas of development of activity (performing skills, physical development), cognitive (mastering the technique of jumping movements) and emotional-psychological spheres of personality.

Let us consider aspects of the formation of criteria for assessing the professional skills of future ballet dancers using the example of the Allegro section of the discipline “Classical Dance”.

The discipline “Classical dance” is a fundamental autonomous system in the professional education of a dancer, which is aimed at developing physical abilities and creative aspects of the individual. It is this discipline that contributes to the development of professional skills of future ballet dancers in performing jumping movements.

The classical dance teaching system is based on methods that have been developed for decades in the Russian ballet school and passed on from generation to generation. All different methods of teaching dance are focused on the student, on his individual characteristics (physiological, psychological). In this regard, it is important how the relationship between the teacher and the student will develop, since the characteristics of their relationship will influence the success of the educational process as a whole.

Classical dance has a huge developmental and educational impact on the activity, cognitive, emotional and psychological spheres of the individual. Mastering any type of art requires special volitional efforts. And the art of dance is also based on great physical effort.

As pedagogical observation shows, it is at the beginning of classical dance training that the activity sphere of the personality is more intensively involved, and only later, in the process of regular lessons, the cognitive and emotional-psychological spheres of the personality begin to develop.

It is important to note that the main attention at the stage of admission to the ARB when assessing the physical data of children for performing jumps is on the elasticity of the Achilles tendon (the child is asked to do a demi plie, while the possibility of stretching the elasticity of the Achilles tendon is assessed); then the strength of the natural push is assessed (the child performs 16 springboard jumps) and coordination - selection committee looks at the positions of the arms and body when performing springboard jumps. The hands should be on the belt tightly pressed to the body and not “twitch” during the jump. In this case, the body during the jump should go vertically upward.

Throughout educational process children work to strengthen the joint-muscular system of the body, to develop physical abilities, to develop plasticity and expressiveness of movements. Accuracy and technical performance, freedom, coordination and expressiveness of movement - achieving these qualities is the main goal of teaching classical dance. They determine the level of professional skills of students.

Teaching children classical dance is a dynamic process. At each of its stages, the main goal should be highlighted, which determines the integrity and effectiveness of teaching. First things first initial stage training (junior grades - 1-3) such a goal is: positioning the body, legs, arms, head in exercise at the stick No. in the middle of the hall, initial mastery of jumping, positioning the feet on the fingers, development of basic coordination skills, that is. formation of initial professional skills of future artists. ballet

Mastering movements during a classical dance lesson is the main indicator of a student’s professional readiness to participate in the ballet theater repertoire. Jumping movements are the final part of a classical dance lesson. The level of a student’s performance in the jumping movements section is also an indicator of his professional skill and readiness for further dance practice at all stages of classical dance training.

Thus, jumping movements are one of the main components of the professional skills of a future ballet dancer as the most important part of a classical dance lesson.

Readiness to perform jumps in the lower grades is determined by the physical characteristics and psychological characteristics of the student. In addition, the technique of performing jumps in classical dance has its own performance techniques. Elevation and balloon, the initial skills of which are laid in the elementary grades, are the most difficult to achieve techniques. execution of the jump. At the same time, the presence of elevation and a balloon in the performer characterizes the artist’s level of skill in performing jumps. It is with their help that the “image of flight” is achieved.

As noted at the beginning of the chapter, to develop criteria for assessing the level of professional skill of students in performing jumping movements in classical dance lessons, the method expert assessments. Based on the results of the work of the expert group, three groups of criteria were established: methodological, performance and emotional-psychological.

Methodological criteria for assessing the execution of jumping movements provide for compliance of the performed jump with the requirements; developed by teachers of the Russian ballet school and preserved and approved by currently methodological office of the ARB. TO methodological criteria Jump execution scores include:

Methodological accuracy (correctness) of performing a jump in accordance with modern requirements of classical dance implies compliance with and implementation of the basic rules of each specific jump - musical alignment, maintaining turnout in all phases of the jump, maintaining the positions of the legs and arms, a stable landing after the jump, reaching the legs in the air, maintaining the nature of each jump (aerial, ground, standing, flying, landing on one or two legs, on one leg, etc.).

Coordination of the whole body when performing a jump (coordinated movements of the legs, arms, body and head during the execution of a jump) implies precise work of the legs, smooth movement of the arms and at the same time their assistance in performing the jumps, precise turns of the head, correct work of the body. The student’s coordination is determined by natural abilities, and it can also develop in the process of learning classical dance.

Designing a model of a methodological system for professional training of future ballet dancers to perform jumping movements

Upon admission, the student had favorable physical characteristics for learning. Rating 3+. During the first four months of studying at ARB, Artem V. mastered the basics of classical dance quite freely. At the same time, psychological difficulties emerged. By temperament type, student Artem V. is a pronounced phlegmatic person, so his psychological mood was extremely low. In the first months of his studies, he lacked motivation, so the expressiveness of his performance remained at an extremely low level.

The educational route type for the student was chosen No. 3 (emotional and psychological). When working in the classroom, special attention was paid to increasing psychological motivation.

The methodological instructions were perceived by Artem V. carefully, but extremely unemotionally, even infantilely. By the end of the 1st year of study, the student’s grade was Artem V.’s good physical data attracted attention. We especially note that according to

In terms of psychological criteria (motivation, expressiveness), the student received an unsatisfactory grade (2).

Over the next two years of study (2nd, 3rd grades), a clear increase in all professional criteria is visible. During the learning process, successful mastery of program movements significantly influenced the emergence of a positive psychological attitude and expressiveness of performance.

In this case, a direct relationship is visible between successful mastery of the program and the emergence of psychological motivation. As a result, educational route No. 3 chosen for the student was correct. Table 2.3.6. Results of the jumps performed by Roman B. methodical accuracy (correctness) of the jump coordination plie push soft landing after the jump Fixation of the posture in the air Achievement of the balloon and balloon elevation effect in the jump Psychological attitude to perform jumping combinations Expressiveness and musicality of performance Upon admission, the student had good physical data for training (grade 3+).

During the first four months of studying at ARB, Roman B. successfully mastered program movements. At the same time, the student showed a high level of perception of methodological requirements, good coordination and natural elevation (rarely encountered at the initial stage of training).

The student's psychological mood was very high. At the end of the 1st year, Roman B. showed good results in all criteria for performing jumps. At the same time, against the backdrop of success, the student began to exhibit psychological qualities, interfering with the learning process: self-confidence, disrespectful attitude towards friends, etc. The student felt superior in terms of physical characteristics and did not always behave correctly in lessons.

The educational route type for the student was adopted No. 3 (emotional and psychological). Much attention was paid to the correction of Roman B.’s personal qualities. Revealing the student’s individuality, the teacher led. work on further; development of such important natural data as artistry and expressiveness.

Educational route No. 3 was chosen correctly; Proof! This is due to the growth of all indicators. performance! jumping.. The student’s behavior in lessons has become more even? and purposeful.

At the end of the 2nd year of study; The student's grade was 4 (the highest in the class). Roman" B; stood out not only due to excellent physical abilities, but also artistic abilities - All jumping combinations were performed by the student not formally, but on a high emotional level.

In the 3rd grade, work continued on the further development of the student’s abilities. There was an obvious increase in all the main indicators: push strength, soft landing and elevation. According to the results of the 3rd grade exam, Roman B. received a mark of 4 (the highest among third-grade students).

In this case, a direct relationship is visible between psychological correction and an increase in the level of jumping performance.

As a result, educational route No. 3 chosen for the student was correct.

A comparison of the results of the experimental data of Artem: V: and Roman B. shows that the choice of an emotional and psychological educational route is effective for students with a low level of motivation; to learning (Artem V.), as well as with high self-esteem (Roman B.). With such an almost polar emotional and psychological mood, both students successfully completed their studies in primary school, because a necessary factor for the effectiveness of this educational route was the good physical data of the students, corresponding to the performance and methodological criteria.

A combined type of individual route in different combinations was proposed to Ilya V. (No. 2, 3), Stanislav G. (No. 1, 3), Vikenty Y. (No. 1,3), Yuri B. (No. 1,3).

A combined educational route is a combination of no more than two educational directions for students with specific problems of a physiological (lack of coordination, high (low) stature, obesity) and psychological (lack of self-confidence, anxiety, distracted attention, laziness) nature.

As practice has shown, there are more students studying on a combined educational route than those studying on any one fixed educational route.

An emotional-psychological (No. 3) route was applied to all students who studied along the combined educational route, and simultaneously with this direction, three students underwent a physical (No. 1) training route and one student took a coordination-methodological educational route.

Studying the effectiveness of the methodological system of professional training of future ballet dancers to perform jumping movements

Grand changemant de pieds en toumant no 1/4 turn is studied in second grade after grand changemant de pieds has been taught. This jump prepares students to perform jumps en tournant (boys to perform tours en Haig). First, each jump must be learned for 1 beat of 4/4. Starting position V position en face.

When performing this jump, you should push off strongly and jump straight up with your body straight. When jumping, you need to turn and change legs, just like when performing petit changement de pied. You don’t need to turn right away: jump to point 1 and in the air your shoulders help you perform 1/4 of the turn. The next jump is from point 3 to point 5, then from point 5 to point 7, and the last jump is from point 7 to point 1.

At the end of the year, you can do several grand changemant de pieds en toumant in a row. Each jump is performed at 1/4. Hands are in a preparatory position. Grand changemant de pieds en toumant no 1/2 turn is studied in third grade. First, each jump must be learned for 1 beat of 4/4, then for 1/4. Changemant de pieds with advancement to the side, forward and backward

The jump is taught in third grade after temps saute with promotion and grand changemant de pieds have been taught. Changemant de pieds with advancement produces leg strength and a strong push. This jump is performed according to the rules of execution changemant de pieds en face - tight legs in the V position must be shown in the air and changed upon landing.

First, changemant de pieds with advancement should be learned in 4/4 with a stop after each jump, then this jump is performed in a row in 1/4. Forward and backward this jump must be performed en face and eppaulemant croise. Hands in the preparatory position or in the third position.

Changemant de pieds with lateral advancement is usually performed in the en face position. Hands can be in III position or one hand in I position, the other hand in III position. Petit changemant de pied Petit changemant de pied is studied in third grade. Petit changemant de pied is a ground jump, that is, without lifting your fingers off the floor. At the same time, during the jump, the fingers must be extended. During the jump, the legs change, as in a regular changemant de pied. When initially studying the hand in the preparatory position, the head is straight. First, you need to perform two, three jumps, then increase the number of jumps to seven, eight. The push should not be strong. You need to jump up that far; so that the fingers stretch out in the air, but at the same time remain on the floor.

Petit changemant de pied is a jump in which the landing must; be restrained, due to the strength of the feet. Therefore, petit changemant de pied strengthens the feet. At first, each jump must be performed at -1/4, later at 1/8.

It is necessary to ensure that the pH is very soft and restrained, the knees should open with each demi-plie. The hips should rise in the jump - without a sharp push, as if squeezing out on the legs.

Subsequently, petit changemant de pied en tournant is studied. You should perform seven or eight jumps in a row at a faster pace. Each jump is performed at 1/8. The body tilts down and forward before moving. The head and gaze “remain” in the mirror, then the head is the first to “return” - back. During the movement, the body gradually rises, the shoulders should be very open. Hands, as instructed by the teacher, can smoothly rise to the LI position and lower through the II position to the preparatory position.

Pas echappe is learned in the first year, first facing the stick. We begin to study this jump when students have not yet made two jumps in a row, therefore, for the purity of execution, the pas echappe can be divided into two. halves: first half - jump from V position to II position, after which the knees are extended; and the second half is a jump from 2nd position to 5th position. Pas echappe is studied in 2 measures of 4/4. First measure: On the count of “one” - demi-plie in V position.

With the same score, the movement is studied in the middle of the hall. During the initial study, the hands are in a preparatory position. When jumping, the arms maintain the correct shape and do not “twitch”. En face head position.

Pas echappe is a small jump, but during initial study there is no need to deliberately lower the height of the jump. In the air, you need to show extended legs in the V position. From position II, the legs are extended and collected in position V. There is no need to hold your legs in the P position. It is necessary to monitor the accuracy of positions in the air and when landing. The lower back on the plie should be tight before and after the jump. After each jump you need to extend the plie.

Simultaneously with the jump in the V position, the arms rise to the I position, then, simultaneously with the opening of the legs to the II position, the arms open to the II position (for girls, the low II position), while the head turns towards the leg that stood in front in the V position, and leans a little; brush look.

Simultaneously with the jump in the CO II position, the hands turn, open, and simultaneously with the arrival in the V position, the hands are lowered to the preparatory position. The head changes upon landing, turning towards the leg that comes forward into the V position.

First, for accuracy of execution, pas echappe in IV position can be taught en face, then this jump is performed epaulemant croise. During the jump, the arms are raised to the first position and upon landing they are opened into the position of a small croise pose; during the second jump from position IV to position V, the hands are lengthened, rotated and lowered to the preparatory position. This jump can also be performed epaulement efface. At the beginning of the study, before jumping, you can stand epaulement efface, and later, pas echappe on efface must be performed from the epaulement croise position. In this case, you need to keep your heels firmly on the floor before jumping and perform the jump upward and with a slight turn of the epaulement efface. The hands open through the first position into a small efface pose. When performing pas echappe IV in a row, the head should drop down (look at the hand) and turn away slightly, simultaneously with lowering the hands into the preparatory position

E.V. Leibov in 1904. studied injuries among ballet dancers of the Leningrad Opera and Ballet Theater named after S. M. Kirov and partially among ballet dancers of the Bolshoi Theater of the USSR. He took 100 accident reports from ballet dancers and conducted an injury analysis. The results of this method are unreliable, because accident reports are compiled by safety engineers who do not have a sufficient understanding of the specifics of the artists’ work; in the column about the cause of injuries, they most often write “but the artist’s fault.”

However, some provisions of E. B. Leibov deserve attention and study. This is the creation of a medical ballet clinic, uneven distribution of workload among artists, sanitary and hygienic control over their work, diet and rest.

To identify the true causes of injuries and illnesses musculoskeletal system requires long-term observation of ballet dancers, the presence of a doctor in the classroom, study of the movements of the artists, teaching methods of a particular teacher, presence at rehearsals, behind the scenes during the performance. The doctor must work in collaboration with teachers and tutors, treat ballet dancers in the clinic and in the hospital.

In February 1965. a resolution was issued by the Presidium of the Central Committee of trade unions of cultural workers “On the status and measures to improve the working conditions of ballet dancers.” After this, with the participation of professors M.V. Volkov (CITO)), S.P. Letunov (Research Institute of Physical Education) and the chief physician of the clinic of the Bolshoi Theater of the USSR and WTO, Honored Doctor of the RSFSR M.I. Gorlovin, with Bolshoi Theater A clinic was organized with a staff of doctors, nurses and massage therapists. Work on the study and prevention of injuries among ballet dancers began at this dispensary in 1967, which made it possible to reduce the number of injuries and diseases by more than 2.5 times compared to 1965.

In order to correctly interpret mechanism of injury and disease musculoskeletal system in ballet dancers, to correctly provide medical assistance in order to quickly return the artist to the stage due to loss of ballet form, it is necessary to know some elements of choreography, both classical and parody.

The main means of traction expressiveness in modern ballet is a dance that has a number of branches: classical, characteristic, folk, modern dance. Ancillary affinity is pantomime, that is, the art of expressing feelings and thoughts through facial expressions and gestures.

Every kind of dance imposes imprint on the nature of the injury and the type of disease of a particular part of the musculoskeletal system; The dancer's shoes and clothing are also important.

Knowledge of all types loads necessary for doctors who treat artists. Depending on the type of injury or disease and the duration of treatment, issues of general and professional rehabilitation are resolved.

3.5. Analysis and transformation of criteria for classification of abilities (mental processes)

Refined scheme of the basis for classification of types of mental processes

Basis of classifications of types of mental processes

3.6. Analysis of the properties of mental processes, attention and psychomotor skills

Properties of productivity of mental processes

3.7. Structure of cognitive abilities

3.8. Psychology of special abilities

Feeling

4. Psychology of general abilities

4.1. About the scientist-poet

4.2. Creative personality and her life path

4.3. Approach V.N. Druzhinin and N.V. Khazratova

4.4. Psychogenetics of creativity and learning ability

4.5. Learning, creativity and intelligence

5. Metasystem approach to developing the problem of abilities (A.V. Karpov)

5.1. Research objectives and hypotheses

5.2. On the concept of integral abilities of the individual

5.3. Reflexivity in the structure of general abilities

Rank correlation coefficients between the level of development of general abilities

Results of "oblique" factorization

Values of structural “weights” of variables included in the first factor1

Results of factorization using the principal components method

Linear correlation coefficients between the level of reflexivity and scores on subtests of the Mental Abilities Test

Indicators of the significance of differences between high- and low-reflective subjects when performing subtests of the “Mental Abilities Test”

5.4. Level status of metacognitive abilities

6. Psychology of multilateral and special abilities

6.3. About the psychology of musical abilities

Analysis of some components of musical abilities Sensation

Average frequencies of vowel formants (in Hz)

6.5. Genesis of musical perception

Perception of musical rhythm

6.7. Musical memory

6.8. The main reasons for failure in musical activity (E.F. Yashchenko)

6.9. Psychology of literary abilities

Personality

6.11. A Brief Review of Research on Mathematical Abilities

6.12. Teaching abilities

6.13. Meta-individual characteristics of a teacher

Resistance to mental stress

6.14. Artistic and creative abilities

Basic professional requirements for the individual characteristics of a ballet dancer

7. Study of self-actualization as an ability in students of different professional backgrounds

7.1. Opportunities for creative self-development of students’ personality (based on the study of personality type, character accentuations and their connections)

Value orientations of temperament types

7.2. Models of perceptual and social orientation of the personality of students of different professional backgrounds

7.3. Professional and personal qualities and value orientations of students of the Faculty of Service and Light Industry

Research methodology

Research results and discussion

Ranks of professional careers according to J. Holland

7. 4. Features of self-actualization of students of economics and technical faculties

Material and methods

Results and its discussion

7.5. Differences between symptom complexes of personality traits among students of economics and technical faculties with high and low levels of self-actualization development

Factor mapping of the personality structure of students of economics and technical faculties with high and low levels of self-actualization development, after varimax rotation

7.6. Gender and occupational differences in self-actualization

Methodology

results

Average values of test indicators p. Cattell and sat among students of economics and technical faculties (analysis of variance)

Data used for analysis of variance of a sample of students of economics and technical faculties of different gender and level of self-actualization

Data from analysis of variance and significance levels of differences in individual psychological properties of students of economics and technical faculties of different genders and levels of self-actualization

The discussion of the results

7.7. The value-semantic concept of self-actualization

Symptom complexes of differences in personality traits and life-meaning orientations of students from different faculties

Symptom complexes of differences in personality traits and life-meaning orientations of students from different faculties with high and low levels of self-actualization (sa)

Stage 3. Comparative analysis of the relationships between personality traits and life-meaning orientations in students with high and low levels of sa.

Conclusion and conclusions

Conclusion

General list of references

Basic professional requirements to the individual characteristics of a ballet dancer

	Professional requirements activities	Professionally important qualities	Adequate techniques research
Makings (morphological and psychological)	Special body requirements	Height to weight ratio of a ballet dancer	Height and weight index
	"Dancer's Foot" The musculoskeletal system of a ballet dancer bears an important and targeted load	Foot load index. Lateral foot orientation	Methodology of M. Sulkhanishvili
	Among the numerous manifestations of temperament, manifestations of those properties on which the dynamics of a ballet dancer’s activity and his performance primarily depend are of specific importance for choreography.	Emotional excitability, emotional stability, plasticity, impulsivity, extraversion	1. Jung's association experiment. 2. “Fixed installation in the haptic sphere” by Uznadze. 3. "Cattell's Unstructured Drawings"
General Abilities (emotional-volitional and intellectual sphere)	Regular intense and maximum physical and mental stress, requiring significant volitional efforts	High emotional-volitional regulation of purposeful activity	"Finding numbers with switching"
	Ballet is the integration of thought and movement, therefore creative talent in ballet is based not only on muscle activity, but also on creative thinking	Fluency, flexibility, originality and elaboration of thinking	“Studies in Creative Thinking” E. Torrence
Special choreographic abilities	Artistry, the ability to convey the emotions of the hero and music with movements	Danceability is a complex indicator that combines musicality and emotional expressiveness of movements.	Methodology of expert and point assessments
	Goal orientation - constant improvement of professional skills	Motivation, need to master a profession
	The object of the will and consciousness of a ballet dancer in professional activity is his own body, his motor skills. To master a complex dance technique, a subtle differentiation of the spatial and power characteristics of movement is necessary.	Highly developed ability to regulate movements in speed, strength, amplitude	Kinematometry, maximum tapping test in 1 minute, coordination of movements
Special choreographic abilities	A ballet dancer should receive satisfaction from monotonous work, feel muscular joy from performing complex movements during rehearsals, and from practicing choreography	The emotional appeal of choreographic movements	Modified technique T. V. Dembo, S. Ya. Rubinshtein

The first group (30 people), which included subjects who were laureates, prize-winners and diploma winners of international ballet competitions, as well as those who graduated from college with “excellent” marks, was designated as “highly capable”, the other (52 people) – “capable”.

It was assumed that dance abilities at different levels of their development would differ: firstly, in the greater or lesser severity of individual components; secondly, the uniqueness of the correlations between their indicators.

Comparison of the average values of the components of choreographic abilities of these groups using the Student’s t-test showed that there are a number of significant differences:

– “highly capable” students have an optimal height-to-weight ratio for ballet (p<0,01), меньшим индексом нагруженности стопы (р<0,05), меньшей импульсивностью (р<0,05), меньшей эмоциональной возбудимостью (р<0,01), более высокой активностью волевой регуляции (р<0,05), более высокими показателями беглости и оригинальности мышления (р<0,01), более высокими показателями максимального теппинг-теста и танцевальности (р<0,001);

– “capable” students are distinguished by higher levels of indicators of emotional attractiveness of movements (p<0,05).

To identify the structural features of choreographic abilities in the “highly capable” and “capable” groups, correlation and factor analyzes were performed for each group separately. As a result, it was revealed that the structure of choreographic abilities in the “capable” group consists of four factors, and in the “highly capable” group – of five. At the group "capable":I factor absorbed with the greatest weights all four indicators of creative thinking, an indicator of the activity of volitional regulation, indicators of psychodynamic properties (emotional excitability and plasticity), indicators of the structure of the foot and coordination of movements, which indicates the severity of inclinations and general abilities, this factor was designated as “inclinations and general abilities”; in factor II with the highest factor weights included indicators of the emotional attractiveness of movements and danceability, which indicates the severity of special choreographic abilities, this factor was designated as "special abilities"; in factor III with the highest factor weights included indicators of accuracy of movements at medium and large amplitudes, accuracy of measuring efforts, maximum tapping test in 1 minute, impulsivity and the need to master a profession, this factor was named "psychomotor", it indicates the expression of special choreographic abilities; IV factor, combining indicators of extraversion and emotional instability, designated as "psychodynamic" which indicates the severity of these inclinations. At the group "highly capable":in factor I those with the highest factor weights included indicators of the accuracy of measuring efforts and movements at small amplitudes, emotional attractiveness of movements (level of special abilities), an indicator of impulsiveness, an index of foot load (level of inclinations) and an indicator of the development of thinking (level of general abilities); in factor II those with the highest factor weights included indicators of dance ability and the need to master a profession (level of special abilities) and an indicator of fluency in thinking (level of general abilities); in factor III the indicators with the highest factor weights included: introversion, emotional inexcitability, emotional stability (level of inclinations), activity of volitional regulation and originality of thinking (level of general abilities), accuracy of movements over a large amplitude (level of special abilities); IV factor absorbed indicators of coordination and accuracy of movements at medium amplitudes (level of special abilities) and an indicator of the structure of the foot (level of inclinations); V V factor with the highest factor weight included the indicator of the maximum tapping test for 1 minute. (level of special abilities), indicators of plasticity and height-weight index (level of inclinations), as well as an indicator of flexibility of thinking (general abilities).

A comparative analysis of the structure of choreographic abilities of groups with different levels of development showed that for the “capable” group, two factors include indicators of components of the level of special choreographic abilities, one factor is inclinations, and one factor combines indicators of the level of inclinations and general abilities, while in In the “highly capable” group, each of the five factors combines indicators of all three levels of choreographic abilities: inclinations, general abilities and special choreographic abilities. Consequently, the higher the level of development of a ballet dancer’s special abilities, the closer the relationship between indicators of general abilities, special choreographic abilities and inclinations. Thus, it has been established that the structure of choreographic abilities is largely determined by the level of their development.

Next, we investigated how the structural features of the choreographic abilities of “highly capable” and “capable” people manifest themselves in the nature of the relationship between indicators of inclinations, general abilities and special choreographic abilities, i.e. with indicators of multi-level properties of integral individuality.

It was found that the higher the level of development of choreographic abilities, the greater the number of indicators of individuality properties their indicators are associated with. Moreover, it should be noted that in the “capable” group, close connections were found between indicators of special and general abilities (mainly with indicators of will and thinking), and in the “highly capable” group, morphological indicators, as well as indicators of accuracy, speed and coordination of movements, dance ability, emotional appeal of movements and motivation to master a profession, in the group of “highly capable” there are more connections with the level of inclinations than in the “capable”. Based on these data, the author concludes that general abilities ensure the success of the activities of persons with an average level of development of choreographic abilities, and a high level of development of choreographic abilities depends to a greater extent on inclinations than on general abilities, i.e. the basis for highly successful activities in ballet is significantly determined by natural inclinations. Something else is important for us: The higher the level of development of abilities, the greater the number of multi-level properties they are interconnected with. Consequently, the idea that a certain combination of different-level individual properties acts as a prerequisite for the development of abilities is to some extent confirmed.

So, the results of I.G. Sosnina’s research indicate the following.

1. Artistic and creative abilities, in particular the special abilities of a ballet dancer, are determined by the specific and very stringent requirements of professional activity imposed on the artist’s body, psyche and personality.

2. The special abilities of a ballet dancer represent an integral multi-level and multi-component system, which has a complex structure and includes: inclinations, general abilities and choreographic abilities themselves, which determine the success of professional activity.

3. The special abilities of a ballet dancer are determined by a symptom complex of multi-level properties of integral individuality, starting from the characteristics of the body (structure of the body and its parts) and ending with personality characteristics (motivation, interest, etc.).

4. The structure of a ballet dancer’s special abilities is largely determined by the level of their development. The peculiarity of the structure of special abilities of ballet dancers at a high level of their development is that the indicators of inclinations, general abilities and special choreographic abilities are interrelated, and at an average level of development such interrelation is practically absent.

5. The high level of development of dance abilities is determined mainly by the components of special choreographic abilities, the average level of development - by the components of general abilities.

6. The level of development of choreographic abilities plays a system-forming role in the integral individuality of a ballet dancer. The nature of the relationship between the levels of integral individuality acts as an indicator of special choreographic abilities.

Review questions

1. What is unique about V.S.’s approach? Merlin to the problem of abilities?

2. Name the criteria for V.S.’s abilities. Merlin?

3. What is the novelty of T.I.’s research? Poroshina?

4. What is musicality?

5. Name the components of musical ability.

6. What is modal feeling?

7. Define musical-auditory perceptions and musical-rhythmic sense.

8. What is inner hearing?

9. How is the interaction of sensations carried out?

10. What types of musical hearing can you name?

11. What can cause irregular performance?

12. What is the main approach to the formation of correct motor sensations?

13. What is the difference between sensation and perception?

14. How does the perception of music depend on the socio-demographic parameters of the listener?

15. What are the main differences in the perception of serious and light music?

16. Give examples of the influence of personal meanings on the perception of a piece of music.

17. How can the process of development of perception proceed?

18. What types of memory are the most important for a musician?

19. What are logical techniques for memorizing a piece of music?

21. What should be taken into account when repeating a piece of music for the best memorization?

22. What is the structure of literary, pedagogical, visual, acting and choreographic abilities?

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N. E. Vysotskaya (1979) found that all characteristics of success in mastering the art of choreography are more pronounced among those students of a choreographic school who have high emotional reactivity (Table 10.2).

Table 10.2

Intensity of professional characteristics among choreographic school students with different emotional reactivity (points)

In the educational process (when becoming a ballet dancer), many psychological difficulties arise: 1. Inconsistency of expectations (the idea of ballet in general and the real educational process), which often leads to disappointment and decreased motivation. Two aspects of “deception of expectations” can be distinguished: a) between children’s typical ideas about ballet as a “holiday” (gathered from watching television) and real “dirty work”; b) between the habit of children (especially younger schoolchildren) to be guided in motor activity by the “principle of pleasure” and the real requirement to work through “I can’t” and “I don’t want.” 2. The need to positively prove yourself from the first lessons in the complete absence of professional training. 3. For a significant part of students, the problem of overcoming fears is relevant, the most typical of which are: “fear of a teacher,” “fear of professional exams,” “fear of being considered unpromising.” Sosnina I.G., 2004. pp. 499-500.

E. V. Fetisova (1994) found high neuroticism in 84.4% of ballet dancers. High anxiety was also characteristic of them. Obviously, this is no coincidence. N.V. Rozhdestvenskaya (1980) showed that low anxiety can interfere with creativity. And the artists themselves pointed out the need for emotional uplift and anxiety. This was confirmed in the work of N. E. Vysotskaya: only students with poor emotional expressiveness had low neuroticism. Those with high emotional expressiveness were more likely to have average neuroticism.

A. Kh. Pashina (1991) identified 2 groups: competent soloists” and “ordinary artists”. The so-called “ordinary” artists were characterized by high anxiety and emotional instability. These features of the emotional sphere correlated with excessive mental tension, which causes difficulties in self-expression and creative transformation on stage. The emotional hearing of “ordinary” artists corresponded to the norm. Some emotional inhibition and excessive limitation of feelings were also revealed in them.

Among the “leading soloists”, anxiety was at the upper level of the norm or slightly higher, and emotional hearing was highly developed.

In both groups, the emotion of joy and the neutral state was better determined by hearing, and anger and sadness were worse. This was specific for ballet dancers in comparison with doctors and engineers, who also best identify the neutral state, but the second most definable state for them is fear, then sadness and anger, and joy comes in last place in terms of the number of correct identifications (Pashina, 1991 ).

L.N. Kuleshova and T.Yu. Gorbushina (2003) revealed that ballet dancers have high internality.

According to L. Ya. Dorfman (1988), extroverted dancers choose parts that encourage the experience of anger, and introverted dancers - to experience sadness and fear.

The study of the connection between the properties of the nervous system and the expression of professionally important qualities in choreographic school students showed that emotionality, artistry, and “danceability” are most pronounced in individuals with the mobility of nervous processes and with a predominance of excitation according to the “external” balance. Coordination of movements, vestibular stability, and jumping ability are largely associated with the inertia of nervous processes and the predominance of inhibition by “external” balance. Weakness of the nervous system was found primarily in students with good “dancing”, coordination, and good rotation.