WORKING ON A BALLET PERFORMANCE

CHOREOGRAPHER

“The choreographer - in Russian means: master of dance. There are two types of choreographers - choreographer-composer and choreographer-director. These are different professions, although they are often combined in one person. /.../

The choreographer-composer creates a dance-pantomime score of the entire ballet, and the choreographer-producer passes it on to the performers and rehearses it with them in the same way as, for example, a conductor rehearses a piece he received from a composer with an orchestra. If a choreographer-composer can be compared with a composer, then a choreographer-producer can be compared with a conductor” [p.119-120].

“The assistant to the choreographer-composer and director during the whole time of work on the creation of a new ballet should be his assistant - the choreographer-repetiteur. As the choreographer finishes staging the next number, he passes it on to the tutor, who is engaged in finishing the dance. He is also entrusted with the performance after the premiere. The tutor repeats with the artists the most important places before each performance, introduces, if necessary, new performers for solo numbers and “reserve” ones for the mass. Being present at each performance, he oversees its exact performance by both ballet dancers and production staff. The preservation of the quality of the performance throughout its entire stage life largely depends on the choreographer-repetiteur” [p. 124].

"The main task in composing a ballet is to create dramaturgy in music and choreography. No one can do this except for the composer and choreographer. /.../

Choreographer and director are different professions. The director of a drama or opera, when staging a performance, deals with a ready-made text, while the choreographer himself composes the "text" of the ballet, and then stages it. It would be more correct to say: a choreographer is a ballet writer who thinks in choreographic images. The ballet theater is a musical theater, and, of course, the choreographer thinks in musical and choreographic images. In addition, since the necessary components of a ballet performance, in addition to dance and music, are pantomime, scenery, costumes, light, etc., all this in total constitutes the subject of figurative thinking of a choreographer who conceives a new ballet performance [p.137].

Program

“How is a ballet performance born?

The birth of each ballet, like any other work of art, begins with an idea. The idea includes the idea of ​​the ballet and the theme on which the choreographic work will subsequently be created.

The author's idea is embodied by him in a program that contains an accurate, consistent description of the development of the action, built according to the laws of dramaturgy, indicating the place, time and nature of the action, listing and characterizing all the characters, both main and secondary.

The dramaturgy incorporated in such a program will determine musical and choreographic dramaturgy in the future. Therefore, all the advantages, as well as the disadvantages of the program, can be transferred to the music and choreography of the ballet performance” [p.147].

There is a difference between a program, a composition plan (scenario) and a libretto. "We call the program the content, the plot of the future ballet, set out in literary form. The program belongs to the playwright./.../

Also, the concept of “program” should not be confused with the concept of “scenario” or “compositional plan”. If in the program, as I have already said, we are dealing with a literary description of the plot of the future ballet, then the script is a detailed, special development of this plot, breaking it down into separate future musical and dance numbers and small episodes. Therefore, if the program can be written by any playwright, the script necessarily requires the work of a specialist choreographer. Such a scenario in ballet is called a compositional plan. The compositional plan is written for the composer who will compose the music of the future ballet, and it is clear that it does not yet include choreography. Only after receiving music from the composer, the choreographer begins to compose the choreography of the performance and creates its choreographic text [pp.148-149].

“The libretto of a ballet is a brief description of the content of an already finished performance.

Therefore, the program originally proposed by the playwright for composing the ballet and the libretto written after the ballet has already been staged often do not coincide in their text. The libretto can be written by any literary worker, and not necessarily by the playwright himself” [p.150].

“The author of the program should try to build the dramaturgy of the ballet performance in such a way that its action takes place in the present tense, since the ballet does not use words that can tell about what has already happened or what should happen” [p. 150].

Study of materials

“Having received the program, the choreographer can start creating a musical and choreographic plan for the composer. But before that, he needs to do a lot of preparatory work on the study of materials related to the work on which he is to work. He must deeply and in detail study the era to which the action of the ballet belongs, the nature of the people in question, their way of life and customs. He gets acquainted with literary sources, with iconographic and other materials, which should help him to more clearly imagine the life of the era in which the action of his ballet takes place” [p.153].

Choreographer

Director of ballet performances:

Providing a high artistic level entrusted to him

productions;

Organizing work on the preparation and release of performances,

Planning rehearsal process.

The choreographer directs the work of the production designer and

supervises the work of the artistic and production part.

Ballet Dictionary. 2012

See also the interpretations, synonyms, meanings of the word and what is CHORE MASTER in Russian in dictionaries, encyclopedias and reference books:

• CHOREOGRAPHER in the Dictionary of Ballet:
  (German Balletmeister - ballet master). Choreographer - author and director of ballets, concert numbers, as well as dance scenes and individual dances. Relying on...
• CHOREOGRAPHER in the Big Encyclopedic Dictionary:
  (German: Ballettmeister) author and director of ballets, choreographic miniatures, ...
• PRODUCER
  stage director, creative worker, carrying out the staging of a play, a film. See Directing Art...
• CHOREOGRAPHER in the Great Soviet Encyclopedia, TSB:
  (German: Ballettmeister), author and director of ballets, dances, choreographic numbers, dance scenes in opera and operetta. B. puts on choreographic scenes, dances, ...
• CHOREOGRAPHER in the Encyclopedic Dictionary of Brockhaus and Euphron:
  compiler, composer or director of ballets. Cm. …
• CHOREOGRAPHER
  [German ballettmeister] ballet director, director of dances and facial movements in ...
• CHOREOGRAPHER in the Encyclopedic Dictionary:
  a, m., soul Director of dances in a ballet, in a musical stage performance, etc. Choreographer - referring to the choreographer, choreographers.||Cf. CHOREOGRAPH ...
• PRODUCER in the Encyclopedic Dictionary:
  , -a, m. The specialist, who directs the production, puts on the performance. P. film. Director-p. Operator-p. …
• CHOREOGRAPHER in the Encyclopedic Dictionary:
  , -a, m. Author and director of ballets, choreographic miniatures, dances. II adj. choreographer, oh, ...
• CHOREOGRAPHER in the Big Russian Encyclopedic Dictionary:
  Choreographer (German: Ballettmeister), author and director of ballets, choreographer. miniatures...
• CHOREOGRAPHER in the Encyclopedia of Brockhaus and Efron:
  ? compiler, composer or director of ballets. Cm. …
• PRODUCER
  it is decided "vshchik, it is established" vshchik, it is established "vshchik, it is established"
• CHOREOGRAPHER in the Full accentuated paradigm according to Zaliznyak:
  balletme "yster, balletme" yster, balletme "yster, balletme" yster, balletme "yster, balletme" yster, balletme "yster, ballet" yster, balletme "yster, ballet" yster, ballet" yster, ...
• CHOREOGRAPHER in the New Dictionary of Foreign Words:
  (German ballettmeister) author and director of ballets, dances, choreographic numbers, dance ...
• CHOREOGRAPHER in the Dictionary of Foreign Expressions:
  [German] ballettmeister] author in the director of ballets, dances, choreographic numbers, dance ...
• CHOREOGRAPHER in the Dictionary of synonyms of Abramov:
  [composer, composer of ballets; owner of the society of ballet dancers; chief over them (Dal, ballet)] see ...
• PRODUCER
  choreographer, director, ...
• CHOREOGRAPHER in the dictionary of Synonyms of the Russian language:
  choreographer, dancer, ...
• PRODUCER
  
• CHOREOGRAPHER in the New explanatory and derivational dictionary of the Russian language Efremova:
  
• PRODUCER
  director, ...
• CHOREOGRAPHER in the Dictionary of the Russian Language Lopatin:
  choreographer, ...
• PRODUCER
  director, ...
• CHOREOGRAPHER in the Complete Spelling Dictionary of the Russian Language:
  choreographer...
• PRODUCER in the Spelling Dictionary:
  director, ...
• CHOREOGRAPHER in the Spelling Dictionary:
  choreographer, ...
• PRODUCER
  the specialist who directs the production puts on the performance of the P. film. Director-p. Operator-p. …
• CHOREOGRAPHER in the Dictionary of the Russian Language Ozhegov:
  author and director of ballets, choreographic miniatures, ...
• CHOREOGRAPHER in the Modern Explanatory Dictionary, TSB:
  (German Ballettmeister), author and director of ballets, choreographic miniatures, ...
• PRODUCER
  director, m. (theatre, cinema). A person in charge of stage design, staging a performance, a film. Director of the ballet "The Red Poppy". Director of the film "Battleship ...
• CHOREOGRAPHER in the Explanatory Dictionary of the Russian Language Ushakov:
  choreographer, m. (German: Balletmeister) (theatre). Ballet dancer. || Ballet teacher...
• PRODUCER
  director m. The one who directs the production of a play, film and ...
• CHOREOGRAPHER in the Explanatory Dictionary of Efremova:
  choreographer m. Director of ballets, dances, choreographic ...
• PRODUCER
  m. The one who directs the production of a play, film and ...
• CHOREOGRAPHER in the New Dictionary of the Russian Language Efremova:
  m. Director of ballets, dances, choreographic ...
• PRODUCER
  m. The one who directs the production of a play, film and ...
• CHOREOGRAPHER in the Big Modern Explanatory Dictionary of the Russian Language:
  m. Director of ballets, dances, choreographic ...
• GESTURE in the Dictionary of Postmodernism:
  - a plastic-spatial configuration of corporality (see Corporeality), which has a semiotically articulated significance. Acts as a universally widespread communicative tool (as shown by psychologists, in a dialogue ...
• NEW WAVE
  (French - La nouvelle vague) The name proposed by the journalist Françoise Giroud for a group of directors who made their debut in 1957-58. pictures that stood out negatively ...
• ARTO in the Lexicon of non-classics, artistic and aesthetic culture of the XX century, Bychkov:
  Antonin (Artaud Antonin), 1896-1948 French poet, prose writer, playwright and screenwriter, innovator of theatrical language, creator of the theater of cruelty. He made himself famous...
• AUDIOVISUAL WORK in the One-volume large legal dictionary:
  - according to the definition of the law of the Russian Federation on copyright and related rights of July 9, 1993, a work consisting of a fixed ...
• AUDIOVISUAL WORK in the Big Law Dictionary:
  - according to the definition of the Law of the Russian Federation "On Copyright and Related Rights" dated July 9, 1993, a work consisting of a fixed ...
• STAGED
  AGREEMENT - a kind of copyright agreement on the transfer of an unpublished work for use through public performance. By virtue of P.d. one side …
• EXECUTOR in the Dictionary of Economic Terms:
  - 1) in accordance with Russian criminal law (Article 33 of the Criminal Code of the Russian Federation) - one of the types of accomplices in a crime. I. confesses ...
• AUDIOVISUAL in the Dictionary of Economic Terms:
  WORK - a work consisting of a fixed series of interconnected frames (with or without accompaniment by their sound), intended ...
• THEUFEL in the Historical Directory of Terrorism and Terrorists,:
  Fritz, counterculture figure, author and director of happenings, organizer of Commune No. 1, activist of the sexual and social revolution. Inspired by the death in Brussels ...
• COUNT, HERBERT in the Encyclopedia of the Third Reich:
  (Graf), (1903-1973), German theater director. In 1925 he graduated from the University of Vienna, where he defended his thesis "Richard Wagner as a stage director." Theatrical career began ...
• 1969.08.18 in Pages of History What, where, when:
  The third series of the film "The Brothers Karamazov" based on the novel by DOSTOYEVSKY is being released. Director-producer Ivan PYRYEV did not have time to finish work on the film, ...

That is ballet performance, which has a plot, plot and acting (nominal) characters. Created according to the laws of theatrical action, such a performance synthesizes in itself different types of dramaturgy - scenario, musical, choreographic, scenographic, each of which acquires a "ballet" coloring, due to "work for the dance" and specific existence in the conditions offered by the dance. Here, knowledge and understanding of ballet specifics - that is, the rules and patterns that are beneficial to dance and capable of ensuring a successful life for a ballet performance - are necessary both for the practical work of choreographers who are planning to stage a plot work, and for a professional ballet analysis of existing ballet performances.

Creation of a theatrical ballet implies following the director's art in the creative process as the art of staging a performance and creating an author's stage text. The questions of the director's concept taken as the content, the construction of the performance in its procedural integrity, the methods of ballet directing used to embody the plot, are among those basic concepts that cannot be avoided in the process of preparing students for the analysis of the staging principles of ballet performances. But what is important here is the combination of the universal director's principle with the specifics of the plot, action, structures and language of the ballet.

The internal sections and subsections of the first part constitute the supporting themes of theatrical aesthetics and the stages of the creative process in the implementation of the concept of the performance. This also includes plot choreographic miniatures with their special requirements for dramaturgy.

Topic 1. Ballet as a form of theatrical art.

The specificity of the synthesis of arts in the theater. Components of the theater: playwright - actor - spectator. stage space. Theater and life: convention and unconditionality. The nature of theatrical action. Conflict as the basis of theatrical dramaturgy.

Lecture 2 Theater directing as the art of staging a performance

Otherness of dramaturgy in the play. Staging performances in the pre-director's theater. The appearance of the figure of the director. The director as an interpreter of the original source. The director as the author of the play. The director as the creator of the stage text. Directing criteria.

Lecture 3 Theatrical and directing nature of the ballet theater -

The complex nature of a ballet performance. Choreographer as playwright. Choreographer as director. Choreographic text as the basis of the stage text of a ballet performance. Composing a choreographic text like staging a ballet performance. General and specific laws of ballet directing.

Interaction of the director with the author's work. The content of the source. Concepts of the theme, ideas, plot, plot, genre, style, images and characters of the characters. Methodology for the analysis of a literary work. Objective characteristics of the text.

Homework: carefully read the proposed literary text (at the choice of the teacher) and identify its artistic components.

Seminar: Analysis of the theme, plot and problems of a literary work - 2 hours.

The theme of the work. Composition and alignment of forces. Characteristics of heroes. The logic of the plot. Author's position. Content quintessence of the work.

Interpretation of a literary plot as its "second authorship". Vision of the original source from the author's "I". The first indicators of the author's interpretation: the title, the list of characters, the idea of ​​the finale. A modern look at the problems of the original source. The author's selection of the main and secondary, the author's view of the hierarchy of actors. Director's concept as a sum of ideas in the interpretation of the original source.

Homework: acquaintance with the proposed literary text (at the choice of the teacher) and free interpretation of its plot.

Seminar on the topic: Director's interpretation of a literary work

Chosen point of view on the plot. Director's emphasis on events and character relationships. The ideological orientation of the concept.

Lecture 3 Directing concepts for ballets

Multiple interpretations of the same story . Director's twists of the theme. The ideological and substantive basis of performances connected by one primary source or score (using video).

"Giselle" - classical, Eka, Marcia Heide

"Faust" - Perrault, according to the scenario of Heine, Boyarchikov.

"Swan Lake" - classical, Burmeister, Grigorovich, Vasiliev, Neumeier, Eck, etc.

"The Nutcracker" - Lev Ivanov, Vainonen, Grigorovich, Belsky, Chernyshev, Boyarchikov, Petit, Neumeier and others.

"Esmeralda" - classical, Burmeister, Petit ("Notre Dame Cathedral")

"Sleeping Beauty" - classical, Petit, Neumeier, Eck.

Philosophical and spiritual foundations of ballet art. Ballet as a form of communion with the sublime. Genre range of ballet plots. relation to reality. Detachment from Reality: Poetic Fantasies of Ballet, Flight into Illusion. Emotional background of ballet plots. The composition of the actors. Types of ballet plot (according to the primacy of the characters): "monologic", "pair", "mixed". Characteristics of ballet heroes. The hero and the idea of ​​a hero. Arrangement of heroes in the "camps" of the conflict.

Lecture 2 Specificity of ballet "worlds"

Heroes and environment. "Worlds" as a way of organizing the ballet environment. Contrast and conflict of "worlds". Polystylistics of "worlds". The content of ballet "worlds". The hero and the "world" are "wanderings" and belonging. Objectivity and subjectivity, reality and ideality of ballet "worlds".

Lecture 3 Specifics of ballet situations

Direct display of life situations. The ballet situation is like a trap for feelings. Dream states. Transformation of a Literary Plot into a Ballet Plot: Selection of Advantageous Dancing Situations.

Seminar on the topic: analysis of famous ballet plots and scenarios according to their specific plot moves(According to the book by Yu.I. Slonimsky "Dramaturgy of the ballet theater of the 19th century")

Turning the original source towards ballet imagery. Searching for plot exits to dance spaces.

Topic 4. Scenario dramaturgy of the ballet

Lecture 1 The nature of action in drama and ballet

essence of drama. Conflict as the driving force of dramatic action. Composition and stages of action: exposition, plot, development, climax, denouement. The dynamic nature of dramatic action. The expositional nature of the ballet action. Conflict situations in drama and ballet. External and internal ballet action. The number structure of the ballet action.

Lecture 2 Script for a multi-act story ballet

Script functions. Scenario as a unity of literary and effective-theatrical principle. The script's guidelines for the expressive means of a ballet performance are dance and pantomime. The law of visualization of a ballet plot. Outlines of the future dramatic structure of the ballet in the scenario. Tips for choreographer's moves and decisions in the script.

Seminar: analysis of ballet scripts Instructions for written work.

(Based on the book by Yu.I. Slonimsky "Dramaturgy of the Ballet Theatre", scripts by Mikhail Fokin, Leonid Yakobson, etc.).

Topic 5. Directing and choreographic construction of the ballet.

Abstract

training session

"Ballet performance:

Composer, choreographer, painter, artist»

Lesson topic: Ballet performance: composer, choreographer, artist, artist. Viewing a ballet performance (fragment)»

Age: 8-10 years (second year of study).

Target: to form in students an idea of ​​a ballet performance.
Tasks:
Educational: acquaintance of students with the professions involved in the creation of the performance.
Educational : the formation of cognitive interest, the ability to generalize, analyze, compare.
Educational : education of aesthetic taste, musical and general culture.

Methodological purpose of the lesson: activation of the mental activity of students, the formation of the concept of "ballet performance", students' awareness of the uniqueness of choreographic art.

Lesson type : theoretical with elements of practice, mastering new knowledge

Form of occupation: group

Organizational and pedagogical support of the lesson:

1. Technical means and equipment: piano, music center, computer, TV.

2. Conducting methods: verbal - teacher's story with elements of conversation, visual - computer presentation; practical – repetition, elements of improvisation

Lesson structure:

1st part - preparatory or organizational

(entrance to the hall, greeting, message of the topic of the lesson)

2nd part - main

(teacher's story, repetition of positions, exercises in the middle of the hall in turn by points, dance improvisation, slide viewing)

3rd part - final

(generalization and consolidation of new material, mini-quiz, summing up, watching the ballet "The Nutcracker" or fragments from it)

STUDY PROCEDURE:

1. Preparatory partincludes: entrance to the hall, mood for class, bow, walk through the hall with a calm step, light running in a circle and returning to your seats, announcement of the topic of the lesson “Ballet performance, its creators”
2. Main part:

Teacher: Today we will talk about a ballet performance. The French word "ballet" comes from the Italian "balletto", which means to dance.

For three centuries now, this word has been used to refer to a performance in which music and dance, dramatic and visual arts are combined.

The French name and its Italian roots are not accidental. Ballet originated during the Renaissance in Italy. From time immemorial, they have loved the merry dance scenes performed at the carnival. Gradually, they turned into independent dance performances. The dance began to turn into ballet when it began to be performed according to certain rules. For the first time they were formulated by the choreographer Pierre Beauchamp, who headed the French Academy of Dance in 1661 (the future theater of the Paris Opera). He wrote down the canons of the noble manner of dance, which was based on the principle of turning the legs (en dehors). This position gave the human body the opportunity to move freely in different directions. He divided all the movements of the dancer into groups: squats (plié), jumps, rotations (pirouettes, fouettes), body positions (attitudes, arabesques).

Let's do the movements from the different groups that Pierre Beauchamp has already formed: squats, jumps, turns (our preparation for the spins). Trainers perform. (MUSIC. FRAG.). The execution of these movements was carried out on the basis of five positions of the legs and three positions of the hands (port de bras). Do we know these positions or not? Let's repeat them (MUZ. FRAGM.). Fine.

All classical dance steps are derived from these foot and hand positions. Also, canons were developed that regulated the subject and form of a ballet performance, and types of theatrical dance were developed. Thus began the formation of ballet, which developed by the 18th century from interludes and divertissements into an independent art.

Ballet in Russia, as well as in Europe, arose as a court art. This happened under Tsar Alexei Mikhailovich, in the 17th century. The first Russian ballet is considered "Ballet about Orpheus and Eurydice»(music by G. Schutz) It was performed in 1673 in the village of Preobrazhensky, Moscow. The performance combined singing, recitation and dancing.It was prepared by a foreigner Nicola Lima. It is not known exactly who he was by origin - most likely a Scot who emigrated to France and then came to Russia as an officer in the engineering troops. However, it is a completely reliable fact that his knowledge of ballet was very great. He became the leader of the nascent ballet troupe, its teacher, choreographer and first dancer. Ten "petty-bourgeois children" were given to Lima for training, and a year later their number doubled. It was the first professional ballet performance staged on the Russian stage.. According to the description of historians, the ballet began with an aria - the speech of the protagonist, praising the valor of the king. In the course of the action, “the singing of Orpheus made rocks and trees move,” and in the finale, two “pyramidal rocks” danced in honor of Alexei Mikhailovich. But much later, after the assemblies under Peter I, at the turn of the 30s and 40s of the 18th century, a professional ballet theater was born in Russia. Ballet performances began to be created.

Who do you think did it? Student response.

In order to create a ballet performance, joint efforts, talent and experience of people of various professions are required.

First of all, the authors of a ballet work are the composer, who creates the musical dramaturgy of the ballet, and the choreographer, who creates the choreographic dramaturgy - his scenes and dances - on the plot proposed by the playwright..

Choreographer (from German - balletmeister ) is the director of a ballet performance, he develops the general dramaturgy of the performance, thinks over the "drawing" of the dance, gestures and plastic solutions for images. How the idea of ​​a ballet performance is born from the choreographer - choreographer - it is impossible to say with accuracy. Probably, it was, is and will be similar to how a melody or a poem arises. Here personal affections, habits, tastes, and sometimes just random events made themselves felt. Mikhail Fokin created his ballets, drawing inspiration from the paintings of the artists "World of Art", Marius Petipa's "Sleeping Beauty" was inspired by the music of Tchaikovsky (MUZ. FAGM.). Kasyan Goleizovsky composed his ingenious miniatures, inspired by communication with nature. Lunar glare on the floor prompted the inexhaustible fantasy of the choreographer to compose the famous "Mazurka" for Ekaterina Maximova. And a light handkerchief that fell out of the window, circling in the air, was embodied in the famous "Russian" (MUZ. FAGM.). Which choreographer do you know? Name. Students response.

I will give you some famous names of Russian choreographers: Marius Petipa, Mikhail Fokin, Yuri Grigorovich. Marius Petipa prepared for staged rehearsals at home, in his office. On a special table was placed a board similar to a chessboard, with many small ballet figures. Moving them around the field, the choreographer came up with his grandiose dance ensembles. And only then did he demand pen and paper. On clean, white sheets, with the help of simple icons - circles, arrows, crosses, he sketched dance scenes designed for a hundred artists.

The main task in composing a ballet is to create dramaturgy in music and choreography. Apart from the composer and choreographer, no one can do this.

In order for everyone to understand what the ballet is about, there is .... who knows what? Right! The libretto is the basis of a ballet performance. It outlines the main events, defines the idea and the conflict. The plot of ballet performances is often based on fabulous, magical stories. For example, the plot of the ballet The Nutcracker is based on Hoffmann's fairy tale: “On the eve of Christmas, the little girl Masha is presented with the Nutcracker, a doll that can crack nuts. At night, the Nutcracker turns into a handsome prince. He fearlessly fights an army of rats and mice. Masha throws her shoe at the Mouse King, and then the prince takes it to the palace of sweets. There Masha gets to the ball and sees how they dance in different countries of the world. In the same place, the dragee fairy dances pa-de-de with the prince. At the end, Masha wakes up and realizes that it was a dream.” The libretto is very often based on a literary work, but the author can be a composer, a choreographer, an artist, and an artist.

It happens that on the basis of the libretto (scenario) the composer writes ballet music, or maybe the music itself will tell the creator (choreographer) the content of the future dance work.

A ballet performance is divided into acts, scenes and individual numbers. The role of music in the performance is incredibly great, what kind of music - such are the characters; it reflects all the events taking place in the plot and enriches it with the content of musical images. As a result of the embodiment of the content of the script and music, the musical dramaturgy of the ballet arises - the basis for creating choreography.

Do you know the composers who wrote music for ballets? Name! Students response. (Glier, Asafiev, Minkus, Pugni, Tchaikovsky, etc.)

Since the 19th century, no country has been able to compare with Russia in the art of ballet. The ballets of Pyotr Ilyich Tchaikovsky, Sergei Sergeevich Prokofiev (Romeo and Juliet, Cinderella, The Tale of the Stone Flower), Rodion Konstantinovich Shchedrin (Anna Karenina, Carmen Suite, The Seagull, The Little Humpbacked Horse and The Lady with the Dog) and other composers are known all over the world.

A real revolution in ballet music was made by Pyotr Ilyich Tchaikovsky, who introduced continuous symphonic development, deep figurative content, and dramatic expressiveness into it. The music of his ballets Swan Lake, The Sleeping Beauty, The Nutcracker, along with the symphonic music, acquired the ability to reveal the inner course of the action, to create the characters of the characters in their interaction, development, and struggle.

And who will embody what the choreographer has planned? Students response.

Of course, the artists, there are many of them - these are soloists, and this is the corps de ballet. Russian ballet has been famous for several centuries and the names of Russian ballerinas and dancers are known all over the world: Anna Pavlova, Galina Ulanova, Maya Plisetskaya, Vaclav Nijinsky, Mikhail Baryshnikov, Rudolf Nureyev, Maris Liepa, Vladimir Vasiliev and others. A teacher-tutor works with them.It is with him that the dancers learn the movements of their parties, work them out and repeat many times, rehearse.

In a ballet performance, the artistic design of the action is of great importance.and stage costume design, which is the embodiment of the idea. Decorators work here. Here are some famous names:Alexander Benois,Alexander Golovin, Leon Bakst. Costumes show the peculiarity of the characters, emphasize the historical era. In the performance, the unity of costumes, scenery and lighting should be achieved. Sketches for the scenes of the play always accurately convey this.

Immediately before entering the stage, make-up artists work with the performers, creating the desired image.Some images require "special makeup", for example, the image of the Mouse King from the ballet "The Nutcracker", the evil wizard Rothbard from the ballet "Swan Lake", the characters from the ballet "Chippolino".

An important role in a ballet performance is assigned to the conductor. His job is to embody the composer's idea, the ideas of the choreographer - director, to emphasize the individuality of the soloists and the skill of the corps de ballet in the performance of mass scenes.

Ballet has unlimited possibilities of figurative reflection of the surrounding reality, is able to embody philosophical thoughts, feelings, reveal life conflicts. Ballet always sings of the beautiful in a person, brings up kind and noble feelings, affirming the ideas of humanism. When composing music for a ballet, the composer creates an independent musical work of art; the choreographer, inspired by music, creates a choreographic work on its basis - the ballet itself. In the unity of music and dance, in the synthesis of composer's and choreographer's creativity lies the success of the future ballet performance, the nature of the future choreography is determined.

“Helping the course of history, awakening conscience and honor,

there are heroic oratorios and symphonies in the world.

But between them, keeping and merciful, selflessly loving people,

There is a sweet smile, a dance of little swans.

In the hopeless days of spring and in the dense frost,

After a formidable shock, evil insults and black threats

Suddenly you feel it is easier to breathe and suddenly in your soul

All of a sudden you hear the dance of little swans.

An unexpected rescue, a white splash of swan wings.

The spring keys of precious spiritual forces rustled.

A good deed will not be forgotten, and the villain will be punished

For the time being, until the heart imagines the dance of little swans.

What musical fragment is referred to in this poem by Margarita Aliger? Students response.

Who wrote this ballet? Students response.

This ballet is about a beautiful princess and her friends who are turned into swans by an evil wizard. The brave prince Siegfried disenchanted them.

How do you imagine little swans? The answer of the students (inept, clumsy). Let's try to portray them, improvise. (MUSIC. FRAG.)

3. Final part:

So, guys, we figured out what a ballet performance is. Now questions and tasks:

• Guys, who is the choreographer?
• Who writes the music for the ballet?
• What is a libretto?
• Who creates the characters? (make-up artists, artists, costume designers)
• Who graces the stage? (decorators)
• What ballets do you know?
• Find the extra: Khachaturian, Petipa, Prokofiev, Tchaikovsky
• List the names of composers who worked in this direction.
• Name the names of famous ballet dancers.
• Find the extra: "Swan Lake", "Sleeping Beauty", "Snow Maiden", "Nutcracker".
• Who are the main characters in the ballet? (Artists)

• pas de deux
• pas de trois
• grand pas
• adagio

Connect the desired dance definition with an arrow.

• dance together
• threesome dance
• big dance
• slow dance of the main characters

Where can we see ballet? Students response. Well done! You were attentive and active in the lesson, it helped you deal with my questions so well.

Where do you think the knowledge gained in this lesson can be useful to you? Who can you tell about your impressions of what you heard?
If you are invited to a ballet, in what mood will you go to this performance?

Now let's look at the scenes from the ballet "The Nutcracker".

Well done! You were very attentive. We will share our impressions at the next lesson, think it over, remember! All the best to you! The curtain is closing!

P.S. or explanation: the musical fragments indicated in the text - (MUZ. FRAGM.) are performed by the accompanist.

Bibliography

Degen A.B., Stupnikov I.V.Dance masters. / Leningrad: Music, 1974

Demidov A.P. Yuri Grigorovich. / M.: Planeta, 1987.
Zakharov R.V. Dance composition. Pages of pedagogical experience. / M.: Art, 1989.

Moiseev I.A. About folk-characteristic dance: materials of the seminar // Bulletin of the Choreographic School of the Bolshoi Theater of the USSR, 1957-58.

Pasyutinskaya V.M. . The magical world of dance. / M .: Education, 1985.

Smirnov I.V. Art of the choreographer / M.: Education, 1986.

Smirnova E.S.

http://www.artcontext.info

The choreographer is the director of dance numbers in concerts, ballet performances, choreographic scenes in musical and drama performances, the head of a dance ensemble or a troupe of dancers. This is the person who invents and brings to life the images of the characters, their movements, plasticity, chooses the musical material, and also determines what the light, makeup, costumes, and scenery should be like. The art of dance must be learned from an early age. As a rule, training begins at school, then continues at a vocational school and a higher educational institution.

Profession of choreographer

It implies the creation and staging of choreographic numbers, theatrical and ballet performances. That is, the choreographer brings to life his ideas and vision of stage images through choreographic instruments.

The profession of a choreographer is very multifaceted, it is not enough just to know the choreography, it is necessary to understand related disciplines, such as: music, dramaturgy, literature, sculpture. To create a truly worthwhile work, you need to combine your talent, knowledge and ability to masterfully work with a team.

There are four branches of the choreographer's activity:

• Choreographer-composer, which is directly involved in the creation of new performances and dances. His main task is to create a dance-pantomime score of the ballet.

• Choreographer, which puts already composed works. At rehearsals, the choreographer himself shows the performer how he should dance, and the more expressive and accurate he does, the easier it is for the dancer to repeat the movements, to get used to the image. Often the writer and director are the same person.

• Choreographer-tutor, who draws up a rehearsal plan, plans classes and learns choreographic parts with artists. He is the closest assistant to the choreographer-director. To achieve high results, the choreographer must know well each member of the team and its capabilities. The main goal is to bring to perfection the image of the hero and performing skills.
• Dancemaster, which puts individual numbers in the genre of small forms.

The choreographer must, of course, have great talent, in order to develop it you need to study and train for many years. To develop, in addition to choreographic skills, an ear for music, visual memory and a sense of rhythm, must be able to reproduce gestures and movements of various characters.

One of the most important tasks is staging a work of world classics or restoring a performance after a long break.

In order to correctly convey the idea and plot of the work to the viewer, the choreographer must be passionate about his work and treat it creatively. Most often, the choice of costumes is also part of his duties.

Choreographer

How strong an emotional impact a dance number, a choreographic scene in a musical and drama theater or the entire ballet performance will have depends on how beautifully and accurately the movements and interactions of dancers and dancers are organized, on the expressiveness and originality of their movements, on how their dances are combined with musical material, with stage lighting, with costumes and make-up - all this together creates a single image of the whole action. And the choreographer is just the person who is its creator. He must know all the rules and subtleties of the art of ballet, its history, in order to create such dances that will be interesting for the audience to watch and perform for the dancers. The director must possess knowledge, have experience and abilities as an organizer, have a rich imagination, fantasy, be original in his ideas, have talent, be musical, understand music, have a sense of rhythm, be able to express emotions with the help of plasticity - it is from these components that the art of a choreographer is formed. If all this is in the arsenal of the leader, then his production will be a success with the public and critics.

The word "choreographer" in translation into Russian means "master of dance." This profession is difficult, and it requires a lot of work and effort, both physical and moral. The director must show all the performers their parts, explain what emotions they should express in plasticity and facial expressions. The complexity of such work is also in the fact that the dance script cannot be written down on paper, the choreographer must keep it in his head and show the artists so that they learn their part. The dancers get acquainted with the role directly at the rehearsals, while the actors of the drama and musical theater have the opportunity to receive text and musical material in advance. The choreographer must reveal to the performer the content of his role, showing him what needs to be danced and how. And the more expressively the director demonstrates his idea to the artist, the faster and easier his idea will be understood and assimilated.

The choreographer's task is also to arrange the dance or the whole performance in such a way as to maintain and increase the audience's interest. The dance movements themselves are just mechanical exercises, a set of poses that will not tell the viewer anything, they will only demonstrate the flexibility of the performer's body, and they will speak only if the director fills them with thought and feeling and helps the artist put his soul into them. In many ways, the success of the performance and the duration of its “life” on stage will depend on this. The very first performer of all dances is the choreographer himself, because he must first demonstrate their parties to the performers.

Choreographers past and present

Famous choreographers of Russia and the world of the 19th and 20th centuries:

• Marius Petipa, who made a huge and invaluable contribution to Russian ballet;
• Jose Mendez- was a director in many famous theaters of the world, including the Bolshoi Theater in Moscow;
• Filippo Taglioni;
• Jules Joseph Perrault- one of the brightest representatives of the "romantic ballet";
• Gaetano Gioia- representative of the Italian choreodrama;
• George Balanchine- laid the foundation for American ballet, as well as modern ballet neoclassicism, believed that the plot should be expressed exclusively with the help of the bodies of the dancers, and the scenery and magnificent costumes are superfluous;
• Mikhail Baryshnikov- made a great contribution to the world ballet art;
• Maurice Bejart- one of the brightest choreographers of the 20th century;
• Maris Liepa ;
• Pierre Lacotte– engaged in the restoration of ancient choreography;
• Igor Moiseev- the creator of the first professional ensemble in Russia in the folk genre;
• Vaslav Nijinsky- was an innovator in choreographic art;
• Rudolf Nureyev ;
• Alexey Ratmansky.

Modern choreographers of the world:

• Jerome Bell- representative of the modern ballet school;
• Nacho Duato;
• Jiri Kilian ;
• Angelin Preljocaj- a bright representative of the new French dance.

Ballet masters of Russia of the 21st century:

• Boris Eifman- the creator of his own theater;
• Alla Sigalova;
• Ludmila Semenyaka;
• Maya Plisetskaya ;
• Gedeminas Taranda;
• Evgeny Panfilov- Creator of his own ballet troupe, enthusiast in the genre of free dance.

All these Russian choreographers are very famous not only in our country, but also abroad.

Marius Petipa

French and Russian choreographer who left a huge legacy. Since 1847, he entered the service of a choreographer at the Mariinsky Theater in St. Petersburg and the Bolshoi Theater of Moscow, at the invitation of the Russian Emperor. In 1894 he became a subject of the Russian Empire. He was the director of a huge number of ballets, such as Giselle, Esmeralda, Corsair, The Pharaoh's Daughter, Don Quixote, La Bayadère, A Midsummer Night's Dream, The Snow's Daughter, Robert the Devil, and many others. others

Roland Petit

There are well-known choreographers who are considered classics of the ballet of the 20th century. Among them, one of the brightest figures is Roland Petit. In 1945, he created his own ballet company in Paris, which was named "Ballet des Champs-Elysées". A year later, he staged the famous play "The Youth and Death" to the music of I.S. Bach, which entered the classics of world art. In 1948, Roland Petit founded a new ballet company called the Ballet de Paris. In the 1950s he was a dance director for several films. In 1965, he staged the legendary ballet Notre Dame Cathedral in Paris, in which he himself played the role of the hunchback Quasimodo, in 2003 he performed this production in Russia - at the Bolshoi Theater, where Nikolai Tsiskaridze danced the part of the ugly bell ringer.

Gedeminas Taranda

Another world-famous choreographer is Gedeminas Taranda. After graduating from the choreographic school in Voronezh, he was a soloist at the Bolshoi Theater of Moscow. In 1994 he founded his own "Imperial Russian Ballet", which gave him worldwide fame. Since 2012, he has been the leader and co-founder of the Foundation for the Promotion of Creative Education, and the president of the Grand Pas ballet festival. Gedeminas Taranda has the title of Honored Art Worker of Russia.

Boris Eifman

Bright, modern, original, choreographer - this is B. Eifman. He is the founder of his own ballet theater. He has various titles and awards in the field of art. His first productions in 1960 were: "Toward Life" to the music of the composer D.B. Kabalevsky, as well as "Icarus" to the music of V. Arzumanov and A. Chernov. Fame to Boris Eifman as a choreographer brought the ballet "The Firebird" to the music of the composer I.F. Stravinsky. He has been running his own theater since 1977. Boris Eifman's productions are always original, innovative, combining academic, pointless and contemporary rock choreography. Every year the troupe goes on tour to America. The repertoire of the theater includes classical ballets, children's and rock ballets.