2. Low push

sluggish ankle extension

3. Hard landing

low muscle tone

4. Unclear shape, loose toes and knees

unformed “school” of movements, inability to control several elements of technique simultaneously

Errors are prevented and corrected by a clear explanation, execution of imitative forms in slow motion, and control of positions.

One of the basic skills that contributes to learning a single push and an elastic landing can be consideredspring run. N.A. insists on mastering this exercise. Ovchinnikova and E.V. Biryuk (1998): “Unfortunately, gymnasts do not always perform this correctly and effectively , which consists of a powerful elastic push from a short half-squat with one leg, the other straightens vertically down in flight and takes on the body weight from the toe upon landing, after which it occurs; immediate push and next jump. Jumps are performed alternately with the right and left legs. Shoulders are lowered, body is straight, arms are working; They melt as if walking, very restrained; in flight they are straightened, lowered and pressed to the body. The flight height can be very low - when the toes are slightly lifted off the floor, in this case the main load falls on the feet and the maximum - when there is a large hover with straight legs, extended toes, and a raised head. In the main part of the lesson, these jumps are performed in alternation with boards. In the introductory part of the lesson, the exercise, performed with a gradual increase in height, perfectly warms up the feet and contributes to the general revitalization of metabolism, which reduces warm-up time and replaces long running in a circle, which is sometimes abused."

This exercise in itself is a means of increasing both the physical and technical readiness of gymnasts to master jumps. However, this exercise can be given to already sufficiently trained gymnasts. Younger gymnasts cannot cope with it.

Of the profiling exercises, the most widely used and at the same time the most fully studied isstep jump.

IN A step jump with the legs spread much more than 180° is considered perfect. Analysis of the video footage showed that during the depreciation phase (squatting), the gymnast very sharply swings her leg forward and upward to the level of her head, while her torso bends slightly forward. According to R.I. Tarnopolskaya (1986) the highest point of the swing (braking) should coincide with the repulsion phase (separation of the pushing leg from the support). But nowadays, the best gymnasts continue their leg swing after the take-off, when the pushing leg is raised high back, usually above 90° (115°-125°). During this powerful swing of the legs, the gymnast continues to rise upward, straightening her torso. After the highest point of the flight, the fly leg begins to lower, preparing for landing, and the push leg remains for a long time at a level above the horizontal. Thus, due to the high amplitude of the jump, a visual impression is created of the duration of the preservation of the form of the jump in flight. But a jump with such characteristics is available only to high-class gymnasts. It is possible to begin training if you have the most necessary prerequisites for this.

Physical readiness.

Sufficient level of jumping ability.

A sufficient level of passive flexibility - the ability to do the splits.

3. Speed ​​leg strength - performing leg swings to shoulder level.
Technical readiness.

Developed basic skills of pushing off and landing in different ways.

Ability to perform a springy, wide run.

3. Mastery of the take-off run.
Sequence of training.

A run-up, a wide jump over an imaginary obstacle ("puddle", "abyss", etc.) or a real one using landmarks.


"Spreaders" with support on the gymnastic wall.


Split pose with concentration on the positions of the arms, body, head, as well as muscle sensations.


Repeat the touching jump, with an emphasis on keeping the leg back.


Jump with a push of one, a forward swing of the other, landing on a push with an emphasis on swinging the leg and restrained lowering.


Step jump in general.

The stage of in-depth learning and improvement can continue for years as the physical and coordination capabilities of gymnasts increase. As the gymnast improves, she will have the opportunity to master other, more complex jumps in this group of jumping exercises.

Similarly, you can analyze other profiling exercises; opinions and their varieties.

5.5. Acrobatic and ground elements

Acrobatic elements widely used in all types of gymnastics: acrobatics, artistic and rhythmic gymnastics. .. A distinctive feature of acrobatic exercises is their artificiality, that is, abstraction from the natural forms of human movements, such as walking, running, jumping.

Acrobatic elements represent unusual static positions: bridges, splits, stands and various movements associated with partial, complete or repeated overturning.

Main mechanism acrobatic movements is the rotation of the body around all possible axes, but mainly due to rotation around horizontal axes: frontal - movement forward and backward and sagittal - movement to the side.Torque is achieved due to alternate support with different parts of the body or according to the same principle in the unsupported phase.

Individual acrobatic elements are classified as follows: firstly, two groups of elements are distinguished; static and dynamic, secondly, each group is divided into structural groups.

Group I -static positions:

bridges - on two and one legs, arms;


splits - on the right, left leg, transverse;


stops - standing, sitting, lying down;


stands - on the shoulder blades, chest, forearms, arms, etc.

Group II -dynamic movements :

riffles;


somersaults;


coups;


turns;


somersault

Rifles - This consistently touching the support without turning over your head.Types of rifts:

in direction: forward, backward, sideways;


by body position: tucked, bent, bending over.
Somersaults - these are rotational movements of the body with sequential touches
lacking support and turning over your head.

Types of somersaults:

in direction: forward and backward;


by body position: tucked, bent, arched and combined;


by connections: headstand, handstand.
Forward rolls can also be performed with a flight phase.

Coups - these are rotational movements of the body with complete inversion
and intermediate support.

Revolutions are divided into:

slow;


tempo.

Slow flips (they are also called flips) are performed by uniform rotation of the body without a flight phase; tempo flips have one or two short-term flight phases.

Types of coups:

according to the method of support - through touching with two hands, one hand and on the forearms.

Somersault - This is a complete inversion of the body in the unsupported phase (in flight).Types of somersaults:

in direction - forward, backward, to the side;


without and with rotation around the longitudinal axis - “twist”;


single-turn and 2-4-turn.

Training in acrobatic elements is carried out according to general rules, but has some features:

When teaching acrobatic elements, the method of belay and assistance is widely used;


The separate training method is used more often than usual. For example, when learning to flip forward on one leg, handstand and bridge on one leg are taught separately, then the elements are combined;


It is especially important to determine a rational sequence of training (for example, rolls must be studied before revolutions);


It is necessary to have special equipment: carpet, path, mats, exercise equipment.

Parterre elements

Parterre elements - these are various poses and movements in low positions: squats, supports, lying positions. These movements have been known for a long time, but they were separated into a separate structural group only in 1982 due to their increased popularity, and in order to separate them from acrobatic elements, the number of which in one sports combination in rhythmic gymnastics is regulated.

Classification of ground elements:

gray hair: regular, on the heels (e), hip, legs apart, at an angle;


supports: crouching, kneeling, sitting, lying, lying on hips, behind;


lying positions: on the back, stomach, side;


movements: turns, crawling, rolling.

Walking, running and dance elements

Walking and running - This , characterized by peculiar ways of placing the legs on support and positions of the legs in an unsupported position. The differences in walking and running lie in the presence or absence of the flight phase: in walking there is no phase, but in running there is.

Sports types of walking: marching, drill, gymnastic (from the toe), on toes, on heels, on the outer arch of the foot, in a lunge, half-squat, squat, crouching, kneeling, standing behind, etc.

Sports types of running: mincing, knees forward, knees back, throwing legs forward, backward, cross, sideways, alternating, back forward, with a turn.

Specific types of walking and running: soft, rolling, springy, high, sharp, wide.

Dance elements - these are characteristic steps, poses, movements, stylistic positions or movements of the hands and head, borrowed from folk, modern and historical dances. They are used as stylizing and connecting movements when using appropriate dance music and significantly enrich the expressive means of gymnasts.

Walking, running and dance elements are an excellent school of movements, means of developing many important aesthetic qualities.

When teaching these elements, the following order is usually followed:

First, the movements of the legs are studied, then the arms, and finally their coordination;


First, elements are studied, then compounds and then combinations of elements in parts.

In previous materials, we explained what the score consists of and how it is derived, and also introduced readers to the definition of jump and balance. In the current material we will tell you what a turn is. For advice on the rules, we turned to the 2007 Universiade champion, coach and national category judge, Polina Kondaurova.

We found out that the athlete’s exercise contains from 6 to 9 elements. Of these, at least 2 jumps, 2 balances and 2 turns.

In order for the reader to understand what types of turns there are, we recommend looking at the table. Balances and turns are performed in almost identical forms.

Basic characteristics:

Basic rotation minimum 360

Clear and fixed shape until the end of rotation

Performed on the half toes (Turn), on the full foot or on various parts of the body

Additional spins:

Each additional rotation on a 360 relevé increases the Difficulty level by the base value for isolated and mixed difficulty.

Each additional rotation on the entire foot or other part of the body by 360 increases the Difficulty level by 0.20 points.

Possible change in the level of the gymnast (gradual bending of the supporting leg; lifting - straightening the leg) + 0.10 points for each.

You can add a wave or rotational movement to an element with a change of axis (before or after the element)... + 0.1. Example: turn in attitude and goes into the wheel.

Back Bend Rotation (for back balance turns):

Different starting positions (“standing”, “from the floor”) determine different execution techniques, therefore these Rotations are considered different. In the exercise, one rotation is allowed from a standing position, and one from a floor position, regardless of the selected basic rotations (180/360).

For turns on the floor:

You cannot do two rotations on the floor in a front split;

You cannot do more than two rotations in a back split.

What are the most common mistakes when making turns?

1. Fuzzy shape. The shape of the rotation must be fixed before the rotation begins and cannot change during the execution of the element. If during a turn the free leg “walks”, “twitches”, rises or falls, the element falls into the “fuzzy shape” category and is not counted.
2. Incomplete rotation. Minimum rotation is 360 degrees. If an athlete serves 720 on the card, but performs, say, one and a half revolutions instead of two, one is counted. If 360 is stated and the only turn is under-twisted, the value of the element is 0.000.
3. Lowering onto the heel until the rotation is completed. Similar to point 2 - the number of full revolutions is counted.

Turns also include the former elements of flexibility and waves (compasses, turns on the chest), and other examples.

There are separate mixed turns . These are two or more turns performed without taking support (without lowering onto the heel). The value is determined by the sum of turns + 0.1. Please note that there are mixed difficulties from different groups of body elements. That is, for example, you can make a turn that turns into a jump. We'll talk about this in more detail later.

In order for a turn to be counted, work must be done with the object during its execution. If the work is not completed, as well as in the event of loss (or error in work) of the item, the element is not counted. We have already talked about this, but it is worth focusing on the work of the object, even for a partial understanding of the picture on the carpet.

What does it take to make turns? First of all, developed muscles, good choreographic preparation and developed vestibular apparatus, stretching, flexibility. For turns performed on one leg (most) a strong Achilles tendon is necessary.

The next article will talk about mixed elements.

For examples of successful turns, we will not provide photos, since they need to be observed in motion:

The manual pays great attention to the methodology of teaching choreography elements in initial training groups, since graduates of physical education universities are future coaches and begin working in these groups.

Tasks choreographic preparation:

1) Formation of correct posture.

2) Teaching the positions of the legs and arms.

3) Training in the elements of ground choreography.

4) Development of motor skills and coordination of movements.

5) Teaching the technique of performing elements at a support point by point, at a slow pace.

6) Learning to turn.

7) Training in choreographic jumps.

The use of ground choreography at this stage of preparation allows you to avoid errors when performing elements at the support, makes it possible to instill the skill of “feeling the muscles”, seeing a beautiful line of the legs in a sitting and lying position, and quickly achieving quality performance of the elements being learned.

After preliminary preparation, performing exercises on the ground (on the floor in a sitting or lying position), when the children have formed the concept of “posture”, “straight leg”, “toe pulled”, “lunges”, “stretching”, “swing”, they can be transferred to support training.

All the exercises being studied are performed facing the support, at a slow pace, with the leg or torso fixed in the desired position, so that the trainer-choreographer can see and correct mistakes in the trainees.

Training elements should only be done to the side.

As you master all the elements to the side, you learn how to perform the element forward (standing with your back or facing the support), depending on the location of the support from the wall. Batman tandu perform forward: on a count of 1–2, slide with the entire foot, on a count of 3–4, stretch the foot and bend the phalanges of the toes to a forward position - on the toe. The heel is raised high above the floor and turned forward. The movement in IP begins from the phalanges of the fingers with a sliding movement, maintaining the “turned out” position of the foot for a count of 1–4.

When performing the batman tandu backwards, on a count of 1–2, the slide begins with the entire foot; on a count of 3–4, the foot and phalanges of the toes are extended to a position back on the toe, the heel is lowered down. The movement in IP begins with a sliding movement of the phalanges of the fingers, maintaining the “turned out” position of the foot for a count of 1–4.

In the lesson, it is necessary to alternate and combine elements of ground choreography with elements at the support, elements of IVS (rolls, somersaults, stops, etc.), as well as use elements of the game, simulation exercises and available dance movements.

Perform the exercises alternately with the right, then with the left, or vice versa.

POLKA(m/r 2/4)

Lead-up exercises:

a) side steps forward with the right and left;

b) side steps forward with stepping on half toes (on toes);

c) jump with forward movement on the left, right forward downwards;

d) jump with a step forward on the left, right forward downwards (the same with the right).

GALLOP STEP(m/r 2/4)

Lead-up exercises:

a) additional steps to the right (left);

b) side steps to the right (left) with lifting on half toes (on toes);

c) side steps on half toes;

d) side steps in a jump.

JUMPS(m/r 2/4)

Performed moving forward, backward and turning in place. Lead-up exercises:

a) steps with the leg fixed forward, shin down;

b) the same with lifting on half toes (socks);

c) the same thing in the jump.

PASSE(m/r 2/4)

Lead-up exercises on the ground:

PENGUIN GAIT

"PENGUIN"

"Pinocchio"

"MALVINA"

"PIERROT"

"ROOSTER"

"DUCKING"

"FROG"

Tasks. Improvement:

1) posture; 2) material covered in group NP-1

Teaching method:

1. grand plie (grand plie) – facing the support in positions I, II, V;

2. battement tendu (batman tandu) - cross: forward - with your back or facing the support, to the side and back - facing the support;

3. battement tendu gete (batman tandu gete) - with a cross: forward - with your back to the support, to the side and back - facing the support;

4. rond de jumb par terre (rond de jumb par terre) - facing the support with fixing the position of the leg forward on the toe, to the side on the toe, back on the toe. Perform en dehors (outside), en dedans (inside);

5. relevelent (relevant) - with a cross: forward - with your back to the support, to the side and back - facing the support;

6. grand battement (grand batman) - cross: forward - with your back to the support, to the side and back - facing the support.

Turns by placing your feet. Perform 45, 90, 180° with a turn on one leg (on the entire foot, on the half toes) and attachment? her another.

Turns by stepping. Perform these turns by stepping on half toes. In place with advancement along the diagonal, arc, circle. In a forward turn, the first half-toe step indicates the direction of movement. In the preparatory phase of the turn, the head is held straight, the gaze is directed horizontally; during rotation, the head first lingers in its original position (the gaze is directed as before the turn), then it turns faster and, ahead of the body, returns to the position.

Cross turns. Perform with a cross step of one leg in front or behind the other leg at 180, 360°. Cross turn 180°, step forward or backward, place the right (left) in front (behind) of the supporting leg so that the toes are on the same line. Rising onto your toes, turn in a circle on two legs (distribute the weight of the body evenly on both legs). A 360° cross turn with a step forward; in the final phase, the leg performing the cross step is placed against the supporting leg. In a cross turn, the supporting leg is placed 360° backwards.

Among the varieties of cross turns, noteworthy is the spiral turn, which is a cross turn step forward with a wave. The turn is performed from a half-squat with advanced movement of the legs relative to the body and with its tilt in the second phase.

IP – 3rd position of legs, hands on waist:

1. Polka step (forward, while turning in place).

2. “Gallop” step to the right, left (8, 4, 2 times).

3. Combination of a polka step with a canter step.

4. Polka step moving backward and turning in place.

5. “Variable” step (3 steps forward with the leg fixed forward downwards).

6. “Variable” step (3 steps forward with the leg fixed back on the toe).

7. “Fall” (from a stand on your toes, step to the side into a half-squat).

"HARMONIC"

"HERINGROOM"

"PA-TARTIER"

"ROPE"

Lead-up exercises:

1. “passe” at the support;

2. “passe” in the middle (steps back with a bent leg fixed - toe at the knee, knee as far as possible to the side);

3. “passe” – with raising on the toe (p/p);

4. “pass” in a jump on the support, etc. (perform in a half-squat, do not jump up).

"APPLE"

DANCE MOVEMENTS IN THE BELARUSIAN STYLE

In the first half of the year of study

1. Improving posture.

2. Improving the acquired knowledge at the support (sideways).

3. Development of coordination through choreography.

4. Development and improvement of motor skills in the middle.

In the second half of the year of study

Methodology for teaching grand plie in the 4th position, double frappe in the toe position, batman hundred, picque, balance, poses attude, terbuchon.

Improvement: Relevant at 90°, Grand Batman in combination with a saute jump, sisson farm, sisson fouette.

Methodology for teaching entreles at the support and execution in the middle.

Exercises in the middle.

Learning pores and bras I–II forms.

Tasks: development of coordination, plastic movements, precise fixation of poses, improvement of posture. Learning the tan lie (temps lie) in the toe position.

Temps lie

Temps lie is an exercise that develops the unity of transition from one pose to another using the pas degage technique. It is divided into three types. In the first, the ground poses are fixed in a position on the toes, in the second - poses at 45° in a downward position, in the third - poses at 90° (i.e. forward and above).

Temps lie par terre. Starting position – V position, right in front, half turn to the right. A demi-plie is performed, then the right leg is moved forward, onto the toe, with a sliding movement, the left leg remains in the demi-plie. Next, a pas degage is performed forward through the passing demi-plie, the left one is pulled back onto the toe and placed in the V position back in the demi-plie.

While moving the right leg forward onto the toe from the preparatory position, the hands rise to the 1st position. When performing pas degage, the left hand is raised to the 3rd position, the right hand is moved to the 2nd position. When the leg returns to the V position back, the left hand lowers from the III to the I position. The center of gravity of the body while moving the right leg forward onto the toe is kept on the left leg; when performing pas degage, the center of gravity of the body is transferred to the right leg.

The movement is accompanied by a turn of the head. When moving the right arm from the 1st position to the 2nd position, the head simultaneously turns in the same direction. When lowering the left hand from the 3rd position to the 1st position, the gaze is directed to the hand of the same hand.

The right one from the demi-plie is moved to the 2nd position with a sliding movement.

After this, a pas degage is performed through a passing demi-plie. The left one is moved to the side on the toe and closed into the V position forward in demi-plie with a simultaneous turn to the right. When the right hand is moved to the side, the left hand moves from the 1st position to the 2nd position. When performing pas degage, the hands remain in the 2nd position and are lowered to the preparatory position while simultaneously placing the left hand in the 5th position.

When performing pas degage, shift the center of gravity of the body from the left leg to the right.

Turning the head when moving the left arm from the first to the second position is performed in the same direction. At the final demi-plie, she maintains the same position.

After this, the entire exercise is repeated on the other leg.

Temps lie par terre back is performed according to the same scheme, but first the pas degage is performed back, then the leg standing behind in the V position is moved to the side on the toe.

The main goal of this exercise is to develop a smooth, continuous and gently flowing connection of all the elements from which it is composed.

In the future, temps lie can be performed for two musical measures in 3/4, that is, fix each pose on the first beat of the musical measure. When performing, it is necessary to practice continuous fusion of demi-plie, pas degage and fixation of the pose.

Improving exercise elements in the middle

Adagio – improvement of poses: terbuchon, attitude, balance, port de bras.

Small allegro group of jumps – improvement of saute, eshap-pe, study of jete, assembly, sisson simple. Middle group of jumps

Study: pas de cha, sisson farm in the first half of the year, fay, sisson fouette, honeycomb basque, revoltade at 45°, cabriole at 45°.

Improving jumps: with changing the position of the legs in front, sisson farm with elements of IVS (flip forward, sideways, backwards, handstand, etc.).

Large group of jumps

Improvement: grand jeté, touching step, bending and straightening the leg.

Studying entreles - crossover with lunge stop.

POLKA(M/R 2/4)

In moving forward, backward and in a turn in place and in a 180° turn in advance and with elements of temporary detention facilities.

Task: teach how to perform elements together and expressively. Connection example

“FLIK-FLYAK” IN GYpsy STYLE

“HAMMERS” – RUSSIAN STYLE

“PICKER” – IN THE TATAR STYLE(M/R – 2/4, 4/4)

“Accordion” – IN TATAR STYLE

“PICKER” – IN THE CAUCASIAN STYLE

“PICKER” – IN RUSSIAN STYLE

DANCE MOVEMENTS IN THE MOLDAVAN STYLE

ELEMENTS OF WALTZ(M/R 3/4) Waltz step moving around the circle

BALANCE (SWING FROM SIDE TO SIDE)(M/R 3/4)

HUNDRED TURN (CROSS TURN RIGHT OR LEFT)(M/R 3/4)

CONNECTION EXAMPLE

Tasks choreographic training in the second-year training group UTG-2.

1. Improving posture.

2. Improving coordination of movements at the support and in the middle.

3. Development of stability “with aplomb” in exercises on half-toes at the support and in the middle in combination with elements of IVS (handstands, flips to the side, forward, backward, balance, jumps).

4. Performing elements of exercise at the support and in the middle with elements of the IVS.

5. Methodology for teaching elements at the support: pointe, petit batman, double batman tandu, double batman fondue, double batman frappe in the first half of the year of training in the toe position, in the second half of the year of training forward downwards, batman hundred, tombe, ronde de jambes en leer.

Teaching method:

Double battement tendu (double batman tandu) – when performing a double batman tandu, the center of gravity of the body is distributed on the supporting leg. From the position of the foot on the toe in any direction (forward, to the side, back), the foot gently lowers with the heel touching the floor, maintaining the inverted position of the leg and not allowing the whole body to move towards the lowering heel, and sliding the foot along the floor returns to the IP.

Piece (picke) – “stabbing” – that is, a quick, clear touch of the toe to the floor, maintaining the everted position of the foot. The center of gravity is on the supporting leg, the muscles of the torso and legs are as tight as possible.

The exercise is performed 2, 4, 8 times in one direction, depending on the combination with other elements.

Pounte (pointe) – a single, soft touch of the toe to the floor, maintaining the “turned out” position of the leg. The center of gravity is on the supporting leg, the muscles of the torso and legs are as tight as possible.

Petit battement (petit batman) - small, small batmans. They are performed in a “cross” 4, 8 times in one direction or in combination with other elements in the I, V positions. It is performed by quickly sliding the leg, managing to pull the phalanges of the fingers to the toe position or to the downward position, maintaining the “turned out” position of the legs.

Balance (balance) - performed in the first position, sliding the entire foot into a position forward downwards - backwards downwards or vice versa, maintaining the inverted position of the legs. Performing a forward movement with a half-tilt back and turning your head in the direction of movement. Performing a backward movement with a half-tilt forward, turning your head in the direction of movement.

Tombee (tombe) – performed in the V position “cross” one at a time, from a stand on the toes, sliding the toe of a bent leg along the supporting leg to the level of the knee and extension in one of the directions (forward, sideways, backwards) with the center of gravity distributed on the extending leg into a lunge.

Return to the IP with a sliding movement, placing it against the support. As you master the element, begin performing the exercise in a jump and in combination with other elements.

Double battement fondue (double batman fondue) - performed from the fifth position or from the preparatory position to the side on the toe, or to the side downwards with a double half-squat on the supporting leg, the working leg in the position sur le cou de pied in front or behind, maintaining the “turned out” position of the legs. It is performed with a “cross” one, two, four at a time, depending on the combination with other elements. Perform softly and smoothly, simultaneously bending and unbending both legs.

Double battementfrappe (double batman frappe) - performed from the preparatory position to the side on the toe or downwards. Carrying out a fixed kick with the foot of the bent leg, first in front in the position sur le cou de pied, then from behind or vice versa, and then extension in one of the directions (forward, to the side, back). First, the element is trained in the toe position, then in the downward position, maintaining the “turned out” position of the legs. The center of gravity of the body is on the supporting leg.

Rond de jamb en l"air (rond de jambes en leer) - a circular movement of the shin in the air. Learned after mastering the element relevelent, passe and developpe. Performed from fifth position.

Lead-up exercises:

1. IP – V-th position of the legs, standing facing or sideways to the support, holding the leg to the side (at least eight counts).

2. IP – V-th position of the legs, standing facing or sideways to the support:

1–4 – relevelent to the side

1-4 – hold

1-2 – bend the right one to the side (toe at the knee)

3-4 – right to the side

1-4 – right in IP First performed at a slow pace, then at a faster pace. As you master it, perform a “priporation” from the I or V position (open the right one to the side or swing to the side). When performing a movement en dehors(outward), the working leg bends to the position of the toes at the knee, the lower leg describes an elliptical movement, maintaining the “turned out” position of the foot, starting to move forward, then extending to the side. Performed at least 4 times.

When performing a movement en dedans(inward) the working leg is bent until the toes are at the knee, then the lower leg describes an elliptical movement, first backwards, then extends to the side.

While performing the exercise, make sure that the hip joint is stationary. The center of gravity of the body is on the supporting leg, maintaining a “turned out” position in the hip joint, including only the lower leg in the work, leaving the knee joint motionless.

After mastering the element at a slow pace, it is performed at a fast pace two or four times in both directions and in combination with other exercise elements and IVS elements. For example:

IP – V position of the legs, standing with the left side to the support, the right hand in the preparatory position

1 – “priporasion” (right forward, right hand in first position)

2 – right to the side, right hand to second position

1–4 – Rond de jambes en leer (en dehors – out)

5-8 – Rond de jambes en leer (en dedans – inside)

1–2 – turn to the right (wheel)

3–4 – flip to the left (wheel)

5 – bend the right one to the side (toe at the knee)

6 – half squat on the left, right forward

7–8 – turn en dehors (outward)

Exercises in the middle

All exercise elements learned from the support are improved in the middle, both individually and in combination with other elements.

Objectives: improve posture, consolidate knowledge and skills, develop stability (aplomb).

Adagio (adajio) – includes elements: development, levelelant, poses: attitude, terbuchon 45° and above, por de bras, elements of small acrobatics, balance, tanlie 45° forward downwards.

Allegro – study and improvement of choreographic jumps.

Small group of jumps - saute, chazhman de pied, jete, glissade, assembly, ambuate, sisson simple.

The middle group of jumps is sotbask, 90° revoltad, sisson farm, sisson fouette, jump with a change in the position of the legs in front, fai, 90° cabriole.

A large group of jumps - grand jete (step jump), touching step, pas de cha (backwards), entreles (crossover, in balance), bending jump, bending the left, arms up, bending jump and jump bending legs apart, bending jump, bending one, hands up.

ELEMENTS OF ITALIAN FOLK DANCE “TARANTELLA” (AT THE SUPPORT)

EXERCISE 1(M/R 2/4)

EXERCISE 2. EMBOITTE

Jumping with changing the position of bent legs in the position on the ankles, cou de pied. When learning, perform facing the support, fixing the position of the legs on the ankles. As you master it, perform it in a turn along the support with your hands intercepting the support, then in the middle, hands on the belt or in the preparatory position, or the left hand in the preparatory position, the right hand in the third position. As you master it, the same thing happens with the position of the legs bent forward downwards.

EXERCISE 3.

EXERCISE 4.

EXERCISE 5.

Combine exercises 4 and 5 with a choreographic pas de chat (cat jump) forward and backward.

“SHELOKHO” – IN ARMENIAN STYLE

“WINDER” IN RUSSIAN STYLE

"PADDING" IN RUSSIAN STYLE

“SITTING” IN RUSSIAN STYLE

"ROND" IN EASTERN STYLE

"MAMBO" IN LATIN AMERICAN STYLE

"CATS"

All the exercises proposed below can be combined with each other, as well as with pas de cha jumps forward and backward (“cat jump”).

Tasks third year of study:

1. Improving what has been learned in the UTG-2 group.

2. Improving sustainability, “aplomb”.

3. Improving the elements of exercise: double Batman tandu, double Batman fondue, double Batman frappe, ronde de jambe en leer.

4. Methodology for teaching preparatory exercises for performing a pirouette. From the II, IV, V positions in the first half of the training year, performing at the support in the second half of the training year is in the middle.

5. Exercises in the middle: adagio - improvement of elements, grand plié, tombe, port de bras with stretching, poses attude, terbuchon. Studying tan lie 45° with preparation for pirouette in the first half of the year of study, with pirouette in the second half of the year of study.

6. Improvement and methods of teaching allegro:

· Small group of jumps: glide path, jeté, assembly; performing jumps with a turn of 90° and 180° sot, shazhman de pied, esha-pe (in the second half of the training year).

· Middle group of jumps: teaching methods of sisson over, fai, sisson tombe, subriso.

· Large group of jumps: Grand Jeté, Grand Pas de Chat, Entreles Jetée Ranverse.

Methodology for teaching turns (pirouettes):

To perform a high-quality pirouette, the following requirements must be met:

· Control of the trunk muscles (maintain correct posture and head position).

· When making a turn, you must “keep your point,” that is, be able to keep your gaze on a landmark in the direction of movement, turning first your head, then your torso.

When performing a pirouette, the following errors are possible:

1. When tilting the head forward, the student will feel a loss of balance and fall forward;

2. When tilting the head back, the practitioner will feel a loss of balance and fall backward.

To eliminate these errors, you need to learn to “keep your point.”

Before performing the exercises, you need to strengthen your torso muscles, keep your head straight, and select a landmark for turning with your eyes at eye level. While turning every 90°, keep your gaze on the landmark. When completing a turn, first turn your head towards the landmark and only then your torso.

After mastering this exercise, perform a 180° turn, observing all the requirements for “holding the point.”

Lead-up exercises:

1. Stand on your toes at the barre or gymnastic wall (with or without support).

2. Standing facing the support: stand on the left, right bent to the side (toe at the knee). Learn to maintain a stable body position without support from your hands.

3. Standing with your right side to the support in a stance on your right, your left is bent to the side (toe at the knee), maintain a stable body position without support from your hand.

4. Standing with your left side to the support in the fifth position of your legs in a half-squat, your right hand in a preparatory position. Push with two with a wave of the right hand into the first position, stand on the left, the right is bent to the side (toe at the knee), stand for eight counts, maintaining balance, for which you balance, exercising control over the muscles of the torso.

As you master the previous exercises, perform them at the barre without support (if necessary, supporting them with your hand), then without support in the middle. Then perform exercise No. 4 in a turn, pushing off the support with your hand and joining your hands in the first position. I alternate preparing for the pirouette with performing the pirouette, then in the middle. Training is carried out from both the right and left legs en dehors (outward) and en dedans (inward).

Turns

Three main groups of turns can be distinguished: in mixed supports, squats, kneeling, etc.; on two legs; on one leg. The most commonly used turns are described below.

One-legged turns

Turns on one leg can be of the same name, when the direction of rotation coincides with the supporting leg (on the left - to the left, on the right - to the right), and opposite. In choreography, turns on the floor are usually divided into small and large. In small turns, the free leg is bent at the ankle or knee, in large turns it is abducted 90°. Depending on the position from which small and large turns are performed, they can be divided into the following groups: 1) turns from the 2nd position; 2) from the IV position; 3) from the V position; 4) from balance on one or two legs; 5) after a turn (flow turns - shene).

Small turns (UTG-3, first half of the year of study). All small turns (of the same name and opposite names) regardless of which i.p. They are performed most often starting with a half squat, which makes it easier to switch to the supporting leg. When turning with two legs, the rotational movement is performed simultaneously by pushing with both legs. The supporting leg elastically moves to the half-toes (high). At the end of the turn, the supporting leg goes into a half-squat elastically, without relaxing and not before its heel touches the floor, the other leg from a bent position simultaneously lowers into the II, IV position from the toes to the entire foot. The transition is carried out smoothly, excluding jumping and stepping. Hands from IP one in the 1st position, the other from the 2nd are closed in the 1st position. The muscles of the torso are tightened, the shoulders are lowered. The turn of the head is the same as when performing turns on two legs (see “Turns by stepping” group NP-2). In general, the action of the legs, arms, torso and head should be clear and coordinated.

Big turns (UTG-3, II half of the year of study) are performed on the basis of vertical, front, side and rear balances at 180, 360° and more. They, just like small turns, can be of the same name or different names and performed from different approaches. It is possible to perform a continuous turn in any position or transition to a small turn (a combination of large and small turns in one rotational movement due to the bending of the free leg).

All approaches to large turns should be performed clearly and confidently, without first turning the shoulders in the opposite direction

upcoming rotation. The push is made precisely with the center of gravity of the body transferred to the supporting leg, with a commensurate movement of the free leg. The big turn should be completed by firmly and elasticly lowering the heel of the supporting leg to the floor.

Turns in a circle with legs swinging forward and backward represent a transition from vertical balance (behind) to vertical balance with the leg behind (in front). A distinctive feature of the turn is the swinging movement of the leg. The turn is performed on high half-toes by accurately swinging forward or backward, and a clear rotation of the torso is carried out with a fixed position of the leg, which is not moved to the side, but only rotates at the hip joint. The torso remains vertical, shoulders down, head straight.

Choreography lesson in long-term training of athletes 104

Note: Some elements of the exercise must be started with a combination, for example, batman fondue in combination with batman hundred: 1–4 – batman hundred forward, 5–8 – double batman fondue.

VARIETIES OF “ROPE” IN THE RUSSIAN STYLE

DANCE MOVES IN THE HUNGARIAN STYLE

Choreography lesson in long-term training of athletes

Tasks of choreographic training in the fourth-year training group UTG-4:

1. Improving what has been learned in the UTG-3 group.

2. Methodology for teaching pirouettes at 540°, 720° at the support and in the middle.

3. Methodology for teaching elements of half-finger exercise (p/p).

4. Improving plasticity and coordination of movements in combination with elements of IVS.

5. Methodology for teaching tan lie 90° in the first half of the training year, with pirouette at 540°, 720° in the second half of the training year.

6. Methodology for learning to perform exercise elements in the middle in a turn of 90°, 180°, 360° - Turlyan. Elements: batman tandu, batman jeté, ronde de jambe par terre, batman fondue, batman frappe, grand batman, terbouchon poses, attitude, balance with and without grip. Turlyan - performing exercise elements in a turn on the toe of the supporting leg with fixation of the heel after the turn.

7. Methodology for teaching choreographic jumps in a 360° turn (en tournant): saute, chazhman de pied, échape, sisson ouver, sisson tombe.

8. Compilation of etudes (parts of floor exercises and compositions).

Exercises in the middle

Methodology for teaching tan lie 90° in the first half of the training year, with pirouette at 540°, 720° in the second half of the training year

Methodology for teaching exercise elements - Turlyans with a 180° rotation. Methodology for teaching choreographic jumps of the middle group in a 360° turn (en tournant): saute, chazhman de pied, échape, sisson ouver, sisson tombe.

Temps lie at 90°

This type of exercise differs from the one discussed above in that instead of sliding leg abduction, battement developpe with demi-plie is performed.

Starting position – V position, right leg in front, half turn to the right. First, the right one performs a battement developpe forward with a simultaneous demi-plie on the left.

Then pas degage is performed with a wide forward movement along the entire foot through outstretched half-toes and the attitude croisee is fixed back. Unbending the left one (through the batman tandu), put it back in the V position with a turn to the right (en face).

When performing battement developpe, the hands rise to the 1st position. During pas degage, the right hand is moved to the 2nd position, the left hand to the 3rd position; while returning the left leg to the V position, the right hand remains in the II position, the left one lowers to the I position.

The turn of the head accompanies the movement of the hands.

Battement developpe right to the side in demi-plie on the left. Then pas degage with a wide forward movement to the side over the entire foot through outstretched toes, and fixing the position of the leg at 90°. The left leg bends to the “knee” position with a turn to the right. After this, the entire exercise is performed on the other leg.

This exercise is performed backwards according to the same pattern.

Temps lie is studied 90° slowly, for two musical measures in 4/4: 1/4 – bending the leg to the position “at the knee”, 1/4 – battement developpe, 1/4 – pas degage, 1/4 – fixation of the pose . Then: 1/4 – lowering the left leg into the V position and bending the right leg to the position “at the knee”, 1/4 – battement developpe, 1/4 – pas degage, 1/4 – fixing the pose, etc.

When the temps lie at 90° is well mastered at a slow pace, you can begin to perform it at a faster pace.

When studying temps lie at 90°, it is necessary to achieve extreme unity, accuracy and aplomb of movement, which instills in students a sense of plasticity and completeness of form, which will then be necessary in more complex and difficult forms of movement. This is the purpose and value of this educational material.

In the future, in groups SS and VSM, perform temps lie at 90° on half fingers. In this case, everything except the demi-plie and battement developpe is performed on high half-toes.

SPANISH STYLE DANCE MOVES

Tasks choreographic preparation:

1. Improving exercise on half-toes at the support, in the middle and with elements of IVS.

2. Improving the technique of turns and turns (pirouettes) at 720°, 1080° (at the support and in the middle with elements of the IVS).

3. Tan lie 90° and higher, on half toes, with a pirouette at 720°, 1080°.

4. Improving the technique of performing choreographic jumps; compilation of jumping sequences with elements of IVS.

5. Improving choreographic preparation, coordination, plasticity, expressiveness and emotionality in performing movements. Study of modern styles: modern, jazz, hip-hop, rap, rock and roll, break.

6. Compilation of etudes (parts of floor exercises and compositions).

Elements acrobatics combined with elements of choreography at the barre, gymnastic wall or in the middle, including elements of individual work: static (balances, splits, stops, stands) and dynamic (rolls, somersaults, flips, wheels, curbets, half-flips, flips, somersaults).

As you master the elements of choreography at the support and in the middle, in order to develop the skill of performing several elements together, it is recommended to combine what you have learned with the elements of IVS. When composing links or educational sketches, it is necessary to correctly select the lightweight elements of the classification program, taking into account the corresponding year of study.

Equilibrium:

1. Balance with twine.

2. Balance with a twine with a grip (tightening) by the knee, by the shin with one or two hands.

3. Ring balance.

4. Frontal.

5. Balance with a split bending forward.

6. Posterior balance.

Methods for performing splits:

1. Sliding.

2. Overstep from a prone position.

3. From the rack with a jump.

4. Jump.

5. Flip to the side into a split using one arm.

6. Curbet into a split - overshoot.

7. Throwing back into a split (split by jumping or curling).

8. Flap in the splits.

9. Split flip.

Bridges for girls:

1. Bridge on the forearms.

2. Bridge on one leg (supporting on arms and leg, free leg bent

and raised forward).

3. One-arm bridge with support on one arm and both legs.

4. Ring bridge – the free leg is bent back towards the head.

5. Split bridge – the free leg is raised to a vertical position.

6. Bridge with hands grabbing the shin (bridge-fold).

Stops:

1. Support with an outward angle (legs together and legs apart).

2. High angle - legs close to the chest.

3. Support on the elbows (with the stomach and hips resting on the elbows of bent arms).

4. Support on the elbow (with support with your free hand).

5. Support on the elbow (but the free arm is moved to the side or up), you can have your legs apart.

6. Horizontal emphasis (on half-bent arms without support on the elbows).

7. Horizontal emphasis on straight arms (arms straightened).

Rifles:

1. In a squat, legs bent, legs apart, bent 1, 2.

2. With a twist into a split.

3. Roll, bending from the support while lying down, from your knees without support.

4. Roll into a headstand, into a handstand.

5. Roll from the splits, from the squat, from the squat on 1.

6. Roll to the side in a split.

7. Roll over the back with and without opening the legs apart.

Somersaults:

1. Somersault in a tuck position.

2. Long somersault.

3. From a wide stance, legs apart.

4. From a headstand - roll.

5. From a handstand.

6. Somersault back from a crouching position, into a half-split position, on 1 or 2 knees; into a straight split.

7. Back somersault, bent over.

8. Somersault back over the counter.

9. Somersault with a jump (running, pushing, bending over).

10. Somersault flight.

11. Twist somersault (from a standstill, jump up, back with a 180° turn, twist somersault, bent over, round-the-twist somersault, flop-twist somersault).

12. Somersault pirouette (360°).

13. One and a half somersault pirouette (with a 540° turn).

Transfers:

1. Swing one, push the other.

2. Throw one over the rack with twine.

3. Throw back (swing one, push the other).

4. Transfer back into splits.

5. Transfer over the rack onto your forearms.

6. Push with two through the rack.

7. Transfer with shift.

8. Throw back into balance.

9. Throw back into splits (swing).

10. Transfer back and forth through 1 hand.

11. Transfer over the rack onto your forearms.

Wheel turns:

1. Turns right, left.

2. Jump wheel.

3. Wheel through 1 hand.

4. Rondat.

5. Wheel forward (Arabic).

6. Wheel forward with a jump (Arabic jump).

7. Kolpino wheel.

8. Wheel back.

9. Wheel back from sed (Arabic).

Kurbets:

1. Courbet in splits.

2. Courbet in balance.

3. Curbette on the back.

4. Courbet in a headstand.

5. Courbet in a standing position with a roll.

6. 2 curbets in a rack.

7. Curbette with a 180° turn.

8. Courbet with 360° pirouette.

Racks:

1. Stand on your shoulder blades with your hands supporting your back.

2. Shoulder stand (hands on the floor).

3. Stand on the shoulder blades (arms along the body).

4. Stand on your shoulder blades at an angle of 45° with your legs bent.

5. Headstand.

6. Forearm stand.

7. Half-split stand.

8. Half-split handstand, split.

9. Cheststand.

10. Split forearm stand.

11. Stand on the forearms with a ring of one.

12. Stand on the forearms with two rings.

13. Handstand with a split, one or two rings.

14. Stand with deflection (Mexican) (with and without shoulder abduction).

15. Stand at an angle with a bend in the chest (chair or in a horizontal position).

16. Handstand (legs together), free hand to the side.

17. Handstand, legs apart.

18. Handstand with hand pressed.

19. Handstand with flag.

20. Handstand with legs apart.

21. Somersault, roll, wheel, push, force from a headstand.

22. Rotations in the stance by 180, 360, 540, 720°.

1. Flexibility and waves.

2. Turns.

3. Equilibrium.

4. Jumping.

From each group, those elements are used that correspond to the year of study according to the rules of the classification program, namely difficulty groups A, B, C, D, E.

Choreography: Classical dance

Classical dance is the basis of choreography. Classics allow you to learn all the subtleties of ballet art, feel the harmony of movements and music. Many will think, why bother with the “old” when there are many new modern trends. But you need to understand that everything new originates from the dances of past centuries. Thus, the classics absorbed all the most elegant movements from folk and everyday dances of several centuries, gradually improving the positions of the arms and legs, the positions of the head and body. All dance movements in classical dance have names in French, so dancers from different countries can easily understand each other. Classical dance classes allow you to develop flexibility, coordination of movements, strengthen the musculoskeletal system, contribute to the development of endurance, physical and intellectual development, and also teach control your body. Various combinations allow you to dance beautifully and elegantly, even if it is simple movements of the hand, foot or head. In children engaged in classics, correct posture is corrected and established, and some cases of spinal curvature are corrected. Often, even experienced dancers of various dance styles continue to practice classical dance, because its fundamentals are universal.. In classical dance classes, they teach the basic positions of the arms and legs, correct body positioning, introduce professional terminology and the history of the development of ballet, cultivate musicality, develop stability and coordination, and They also prepare small classical performances in the form of etudes, adagios or various variations. All movements in classical dance are based on turnout - one of the most important qualities in classical dance, which is simply necessary for any stage dance. Turnout and development of the step are necessary regardless of the height to which the leg is raised; turnout seems to hold the leg, leading it to the desired position, promoting the purity of plastic movements and smoothing out the angles formed by the heels when lifting the legs. Insufficiently flexible knee, ankle and instep restrict the free movement of the legs, making them cramped and unexpressive. Based on turnout, there are five foot positions in classical dance. Moreover, in all these positions, not only the feet are turned out, but the entire legs, starting from the hip joint. Regular long-term flexibility and endurance training allows you to take the necessary positions without much effort.

When starting to practice, you need to remember about the stance, because nothing will work if you do not stretch your body vertically, avoiding a bent or arched spine, and do not distribute the weight between your legs. Developing correct posture requires a lot of patience and time. You should never forget about your posture - neither during classical classes, nor during independent training, nor on any other day. Classical dance, like many others, is not only a set of movements, it needs to be revived, emotions and feelings must be put into it. And as soon as strong feelings are revealed in the dance, the impression of it changes significantly; it fascinates with its plastic expressiveness, leaving complete aesthetic pleasure.
In the 17th century (1701), the Frenchman Raoul Feuillet created a system for recording elements of classical dance. These terms are recognized by experts in the field of world choreography even today. Knowledge of special terms speeds up the learning process. This is the international language of dance, the opportunity to communicate with choreographers, understanding of specialized literature, the ability to briefly record training combinations, lessons, etudes, floor exercises, compositions.

Choreographic terminology is a system of special names intended to designate exercises or concepts that are difficult to briefly explain or describe.
Exercise at the support or in the middle - This is a set of training exercises in ballet that promote the development of muscles, ligaments, and the development of coordination of movements in the dancer. Exercises are performed at the “bench” (attached with brackets to the wall) and in the middle of the training room every day. Exercises consist of the same elements.
1.demi plie - (demi plie) - incomplete “squat”.
2.grand plie - (grand plie) - deep, large “squat”.
3.relevé- (relevé) - “lifting”, lifting into a toe-stand with lowering into the IP in any position of the legs.
4.battement tendu - (batman tandu) - “extended” sliding movement of the foot into the position of the leg on the toe forward, to the side, back with a sliding movement returning to the IP.
5.battement tendu jeté - (batman tandu jeté) “throw”, swing to a downward position (25°, 45°) with a cross.
6.demi rond - (demi rond) - incomplete circle, semicircle (toe on the floor, at 45ana 90° and above).
7.rond dejamb parterre - (rond de jamb par ter) - circle with the toe on the floor; circular movement of the toe on the floor.
8.rond de jamb en l "air - (rond de jamb en leer) - circle with the leg in the air, stand on the left to the right to the side, circular movement of the shin outward or inward.
9.en dehors - (andeor) - circular movement away from oneself, circular movement outward in the hip or knee joint, as well as turns. 10.en dedans - (andedan) - circular movement towards oneself, circular movement inward.
11.sur le cou de pied - (sur le cou de pied) - the position of the foot on the ankle (in the narrowest place of the leg), the position of the bent leg on the ankle joint in front or behind.
12.battement fondu - (batman fondue) - “soft”, “melting”, simultaneous flexion and extension of the legs at the hip and knee joints.
13.battement frappe - (batman frappe) - “kick” - a short blow with the foot on the ankle joint of the supporting leg, and rapid extension of the knee joint (25°, 45°) to the toe or downward position.
14.petit battement - (petit batman) - “small kick” - alternately small, short kicks with the foot in the cou-de-pied position in front and behind the supporting leg.
15.battu- (botyu) - “hit” continuously, small, short blows to the ankle joint only in front or behind the supporting leg.
16.double- (double) - “double”, battement tendu - double heel press battement fondu - double half-squat battement frapper - double blow.
17.passe-(passe) - “to carry out”, “to pass”, the position of a bent leg, toe at the knee: in front, to the side, behind.
18.relevelent- (relevant) - “raise” slowly, smoothly slowly on a count of 1-4 1-8 raising the leg forward, to the side or back and higher.
19.battement soutenu-(batman with a hundred) - “fused” - from stoics on toes with a half squat on the left, sliding the right one forward onto the toe (back or to the side) and sliding back to IP.
20.développe-(develop) - “opening”, “unfolded”, from a stoic position to the left and right with a sliding movement to a bent position (toe at the knee) and straightening it in any direction (forward, sideways, backward) or higher.
21.adajio - (adagio) - slowly, smoothly includes grand plie, development, leveller, all types of balances, pirouettes, turns. Joint bundle for 32, 64 counts.
22.attitude - (attitude) - pose with the leg bent at the back, stand on the left, right to the side - back, shin to the left.
23.terboushon- (terbushon) - a pose with a bent leg in front (attitude in front) of a stoic on the left, right forward, shin down to the left.
24.degaje-(degazhe) - “transition” from the stand on the left to the right forward on the toe, step forward through a half-squat in the 4th position, straightening up, stand on the right, left back, on the toe. From the stand on the left, right to the side on the toe, step to the side through a half-squat in the 2nd position, stand on the right, left to the side on the toe.
25.grand battement-(grand batman) - “big throw, swing” 90° and higher through the position of the foot on the toe.
26.tombée-(tombe) - “fall” from a stand on the toes in the fifth position, lunge forward (to the side, back) with a sliding movement returning to IP.
27.picce-(picke) - “stabbing”, stand on the left right forward to the bottom, quickly touch the floor with the toe repeatedly.
28.pounte-(pointe) - “on the toe”, “touching with the toe” from a stoic position on the left, right forward, to the side or back on the toe swing in any direction with a return to IP.
29.balance - “swinging”, pendulum movement of the legs forward up - back down, forward - back, forward - back up.
30.allongée-(allange) - “reaching out”, completing the movement with the arm, leg, torso.
31.pordebras - (por de bras) - “bends of the body”, bending forward, backward, to the side. The same goes for stretching.
32.temps lie-(tan lie) - small adagio, 1 - half squat on the left, 2 - right forward on the toe, 3 - shift the center of gravity to the right, left back on the toe, 4-IP 5. the same to the side and back.
33.failli-(fay) - “flying”, IP - 5th position right in front. Push 2 jump up, lowering into a cross lunge with the left to the side, left hand up, right hand back - push with the left and swing the right back downwards jump up 2 hands down. 34.allegro-(allegro) - “cheerful”, “joyful”, part of the lesson consisting of jumps, performed at a fast pace.

Addition: A LA SECONDE [a la segond] - a position in which the performer is positioned en face, and the “working” leg is open to the side at 90°.
ALLONGE, ARRONDIE [alonge, arondi] - the position of a rounded or elongated arm.
ARABESQUE [arabesque] - a classical dance pose in which the leg is pulled back “toe to the floor” by 45°, 60° or 90°, the position of the torso, arms and head depends on the shape of the arabesque.
ARCH [atch] - arch, bending of the torso back.
ASSEMBLE [assemble] - a jump from one leg to two is performed with abduction of the leg in a given direction and gathering the legs together during the jump.
ATTITUDE [attitude] - the position of the leg, lifted off the floor and slightly bent at the knee.
BATTEMENT AVELOPPE [batman avloppe] - the opposite movement to battement developpe, the “working” leg from the open position through passe is lowered to a given position.
BATTEMENT DE VELOPPE [batman devloppe] - taking the leg forward, backward or to the side by sliding the “working” leg along the supporting leg.
BATTEMENT FONDU [batman fondue] - a movement consisting of simultaneous bending of the knees, at the end of which the “working” leg comes into a position sur le cou-de-pied in front or behind the supporting leg, followed by a simultaneous extension of the knees and the “working” leg opens forward, sideways or backward. Modern jazz dance also uses the fondu form from the folk stage dance lesson.
BATTEMENT FRAPPE [batman frappe] - a movement consisting of a quick, energetic flexion and extension of the leg, the foot is brought to the sur le cou-de-pied position at the moment of flexion and opens with the toe to the floor or to a height of 45 ° at the moment of extension forward, to the side or back.
BATTEMENT RELEVE LENT [batman releve lan] - a smooth lift of the leg through sliding along the floor 90° forward, sideways or backward.
1 When learning vocabulary, it is necessary to remember that the movements of classical dance, borrowed from modern jazz dance, are very often modified. This is especially true for the inverted and parallel positions. In this regard, the dictionary gives the terminology of classical ballet without changes (see All about ballet // With the author E.Ya. Surits. M., 1966, Encyclopedia "Ballet". M., 1981, etc.), and the change in provisions depends on the context of the lesson. There is often a terminological overlap between English and French terminology, for example, temps leve is similar to hop, battement tendu is similar to brack, kick corresponds to grand battement developpe, etc. In this case, it is necessary to use a movement depending on the specific exercise.
BATTEMENTRETIRE [batman retire] - transfer through sliding of the “working” leg, through passe from the V position in front to the V position behind.
BATTEMENT TENDU [batman tandu] - movement of the leg, which is moved forward, backward or to the side with a sliding movement. In modern jazz dance it is also performed in parallel positions.
BATTEMENT TENDU JETE [batman tandu jete] - differs from battement tendu by actively throwing the leg into the air at a height.
BODY ROLL [body roll] - a group of torso tilts associated with alternate movement of the center of the body in the lateral or frontal plane (synonymous with “wave”).
BOUNCE [bounce] - springboard rocking up and down, mainly occurs either due to bending and straightening of the knees, or pulsating tilts of the torso.
BRUCH [brush] - sliding or brushing the entire foot across the floor before opening the leg into the air or when closing into a position.
CONTRACTION [contract] - compression, reduction of the volume of the body and rounding of the spine, begins in the center of the pelvis, gradually capturing the entire spine, performed while exhaling.
CORKSCREW TURN [corkscrew turns] - “corkscrew” turns in which the performer increases or decreases the level of rotation.
COUPE [coupe] - a quick substitution of one leg for another, serving as an impetus for a jump or other movement.
CURVE [curf] - bending the upper part of the spine (to the “solar plexus”) forward or to the side.
DEEP BODY BEND [deep body bend] - bending the torso forward below 90°, maintaining a straight line of the torso and arms.
DEEP CONTRACTION [deep contraction] - strong compression into the center of the body, in which all joints participate, i.e. This movement includes the arms, legs and head.
DE GAGE ​​[degage] - transferring the weight of the body from one leg to another in the second position (right, left) and in the fourth position of the legs (forward, backward), can be performed both with demi-plie and with outstretched legs.
DEMI-RYO [demi-plie] - a half squat in which the heels do not come off the floor.
DEMIROND [demi rond] - a semicircle with the toe of the foot on the floor forward and to the side, or back and to the side.
DROP [drop] - falling of the relaxed torso forward or to the side.
ECARTE [ecarte] - a classical dance pose (a la seconde), deployed diagonally forward or backward, the body is slightly tilted away from the raised leg.
EMBO1TO [ambuate] - successive transitions from foot to foot on half-toes, fingers and with a jump. Emboite jumps - alternately throwing your legs bent at the knees forward or 45°.
EN DEDANS [an dedan] - the direction of movement or turning towards oneself, inward.
EN DEHORS [an deor] - the direction of movement or rotation away from oneself or outward.
EPAULMENT [epolman] - the position of the dancer turned 3/4 in t. 8 or t. 2; distinguishes between epaulement croise (closed) and epaulement efface (erased, open),
FLAT BACK [flat back] - tilting the torso forward, to the side (90°), back with a straight back, without bending the torso.
FLAT STEP [flat step] - a step in which the entire foot is simultaneously placed on the floor.
FLEX [flex] - shortened foot, hand or knees.
FLIK [flick] - a stroke of the foot along the floor towards the supporting leg.
FOUETTE [fuette] - a turning technique in which the performer’s body turns towards a leg fixed in a certain position (on the floor or in the air).
FROG-POSITION [frog-position] - a sitting position in which the legs bent at the knees touch each other with the feet, the knees should be maximally open to the sides,
GLISSADE [glissade] - ground sliding jump without lifting off the floor with movement to the right-left or back and forth.
GRAND BATTEMENT [grand batman] - throw a leg 90° or higher forward, backward or to the side.
GRAND JETE [grand jete] - a jump from one leg to the other moving forward, backward or to the side. The legs open as much as possible and take a “split” position in the air.
GRAND PLIE [grand plie] - full squat.
HIGH RELEASE [high release] - high expansion, a movement consisting of lifting the chest with a slight bend back.
HINGE [hinch] - a dancer’s position in which the straight, without bending, torso leans back to the maximum distance, knees bent, feet on half toes,
HIP LIFT [hip lift] - lifting the hip up.
NOR [hop] - step-hop, the “working” leg is usually in the “near the knee” position.
JACK KNIFE [Jack Knife] - the position of the body in which the torso leans forward, the back is straight, support is on the hands, the knees are extended, the legs are in the second parallel position, the heels do not come off the floor.
JAZZ HAND [jazz hand] - a position of the hand in which the fingers are tense and spread apart.
JELLY ROLL [jelly roll] - movement of the pelvis, consisting of a small muscle contraction with a simultaneous slight rotation of the pelvis to the right and left (synonym - pelvis neck.)
JERK-POSITION [jerk position] - a position of the arms in which the elbows are bent and slightly pulled back behind the chest, the forearms are parallel to the floor.
JUMP [jump] - jump on two legs.
KICK [kick] - throw of the leg forward or to the side at 45° or 90° through removal using the developpe technique,
LAY OUT - a position in which the leg, open 90° to the side or back, and the torso form one straight line.
LEAP [liip] - jump from one leg to the other moving forward or to the side.
WCOMOTOR [locomotor] - circular movement of arms bent at the elbows along the torso.
LOW BACK [low back] - rounding of the spine in the lumbar-thoracic region.
PAS BALANCE [on balance] - pa, consisting of a combination of tombe and times de Ъоуггее. It is performed moving from side to side, less often - back and forth.
PAS CHASSE [pa chasse] - an auxiliary jump with advancement in all directions, during which one leg “catches up” with the other at the highest point of the jump.
PAS DE BOURREE [pas de bourre] - a dance auxiliary step consisting of alternating steps from one foot to the other ending on demi-plle. Synonymous with step pas de bourree. In modern jazz dance, during pas de bourgeois, the position sur le cou-de-pied is not fixed.
PAS DE CHAT [pas de sha] - a cat's limiting jump. The legs bent at the knees are thrown back.
PAS FAILLJ [pa faille] - a connecting step consisting of passing the free leg through the passing demlplie in the first position forward or backward, then the weight of the body is transferred to the leg with some deviation from the vertical axis.
PASSE [passe] - a passing movement, which is a connecting movement when moving the leg from one position to another, can be performed in the first position on the floor (passepar terre), or at 45° or 90°.
PIQUE [pique] - a light prick with the tips of the toes of the “working” leg on the floor and raising the leg to a given height.
PIROUTTE [pirouette] - rotation of the performer on one leg en dehors or en dedans, the second leg in the position sur le cou-de-pied.
PLIE RELEVE [plie releve] - position of the legs on half toes with bent knees.
POINT [point] - extended position of the foot.
PRANCE [price] - a movement for developing foot mobility, consisting of a quick change of position “on the half-toes” and point.
PREPARATION [preparation] - a preparatory movement performed before the start of an exercise.
PRESS-POSITION [press position] - a position of the arms in which the arms bent at the elbows and the palms touch the hips in front or on the sides.
RELEASE [release] - expansion of body volume that occurs during inhalation.
RELEVE [releve] - lifting onto half toes.
RENVERSE [ranverse] - a sharp bending of the body, mainly from an atitude croise pose, accompanied by a pas de bouree en tournant.
ROLL DOWN [roll down] - a spiral tilt down and forward, starting from the head.
ROLL UP [roll an] - reverse movement associated with the gradual unwinding and straightening of the torso to the starting position.
ROND DE JAM BE PAR TERRE [ron de jambe par terre] - circle with an outstretched leg, touching the floor with your toes.
ROVD DE JAM BE EN L "AIR [ron de jambe enler] - circular movement of the lower leg (ankle) with a fixed hip, abducted to the side to a height of 45° or 90°.
SAUTE [saute] - a classical dance jump from two legs to two legs in I, II, IV and V positions.
SHIMMI [shimmy] - spiral, twisting movement of the pelvis to the right and left,
SIDE STRETCH [side stretch] - lateral stretching of the torso, tilting the torso to the right or left.
SISSON OUVERTE [sisson overt] - a jump with flying forward, backward or to the side; upon landing, one leg remains open in the air at a given height or in a given position.
SOUTENU EN TQURNANT [soutenu en turnan] - a turn on two legs, starting with retracting the “working* leg into the fifth position.
SQUARE [square] - four steps in a square: forward-to the side-back-to the side.
STEP BALL CHANGE [step ball change] - a connecting step consisting of a step to the side or forward and two steps on half toes (synonymous with step pa de hour,
SUNDARI [zundari] - movement of the head, consisting in the displacement of the cervical vertebrae to the right and left and back and forth.
SURLE COU-DE-PIED [sur le cou-de-pied] - the position of the extended foot of the “working” leg on the ankle of the supporting leg in front or behind.
SWING - swinging any part of the body (arm, leg, head, torso) in a special jazz rhythm.
THRUST [fast] - a sharp jerk of the chest or pelvis forward, to the side or backward.
TILT [tilt] - an angle, a posture in which the torso deviates to the side or forward from a vertical position, the “working” leg can be open in the opposite direction by 90° and above.
TOMBYO [tombe] - fall, transfer of the weight of the body to the open leg forward, to the side or back on the demi-plie,
TOUCH - side step or half-toe step without transferring the weight of the body.
TOUR CHA^NES [tour shene] - performed on two legs diagonally or in a circle on high half-toes, half turns following one another, in modern jazz dance can be performed on a full foot and in demi-plie.