УРОКИ КЛАССИЧЕСКОГО ТАНЦА: ТЕХНИКА ПРЫЖКА В КЛАССИЧЕСКОМ ТАНЦЕ. ВОПРОСЫ МЕТОДИКИ И ПРАКТИКИ

Abstract

Galina Konstantinovna Polishchuk – a teacher of classical dance, is known by our teachers and students as the author of the book "The History of Karaganda Ballet". As a teacher of classical dance, she once received training from representatives of the Moscow and Leningrad schools in the GITIS internship assistant (Prof. R. Struchkova, E. The Pearl) There she also got acquainted with the methodology of European schools from trainees from the Danish and English Royal Ballet, which provided a huge material for independent pedagogical work and the development of her practical techniques for different classes from junior and experimental to senior. Working at the Odessa Choreographic school next to the famous teacher Yu. She became interested in his experience of retraining students, and then ballet dancers who received insufficient training for the academic stage, developed her own methodology and later applied it in the practice of working with students and with theater artists. She has worked abroad, taught at ballet schools in Japan. Her students took part in International ballet competitions in Italy, Hungary, Russia, Korea, and Kazakhstan. They have danced and taught in Russia, Ukraine, the USA, Germany, Poland, and Japan. In 2020, G.K. Polishchuk published a textbook "Classical dance lessons". In this issue, a continuation of this work is published – a fragment of a chapter devoted to the methodology of work on teaching the technique of jumping classical dance. The results of many years of work on the training of ballet dancers are summarized and systematized at a high professional level. The author typologizes the types of jumps, explains in detail the physiology of the jump, gives a comparative analysis of the methods of teaching jumping in classical dance. The style of writing the article is recognizable: the abundant use of ballet terms alternates with excursions into the history of ballet pedagogy, interspersed with comparisons of different choreographic schools, and, without weighing down the text, allows both a novice teacher and a teacher with experience to understand the essence of the problem.