Technique of rotation. Methodical manual "Dancer rotation technique How to learn to make rotation in dance
Turns - Shan - (From choreography. The principle of self-combustion at the expense of the corps and screwing into the floor. We were taught like this: you become in front of the mirror, you take both hands to the left and the body is partially turning, too, the hips "stay on the spot", feet together. With force, as if jerky, Turn to the right at the expense of the hands and scroll on the feet. Do not forget to choose a point where to watch), and you can develop the speed in turn at the expense of a partner, as the coach said to my partner - if the partner does not work out quickly, then you have shown it, and showed it How to keep my hand correctly to turn the speed in the turn. What now works, TTT
(Partner for turns is not an output, there are batch, where the partner does not help. To increase the speed, you need to use the case for "zamaha" (you need to show, and then you will understand the pressure in the floor. "Slug" to the floor).
For me, it is indifferent where to "screw up" up or down. And he taught me a professionally engaged in ballet. He said that it is necessary for the scout by the side while maintaining the volume. Hands for the start are put as in the ballet (I do not remember what position) elbows above the brush, as if covered by a tree trunk (big. During the rotation of the hand, the trunk to ourselves is pressed. The head turns the "click" of the most recent (after the whole body). Spine Maximum straightened (as if he swallowed). I, by the way, usually make a turn "up" (screwed into the ceiling).
Top Turn the loss of balance. To better and more accurately make rotations without a partner, you still need to use foot - pressure in the floor, the rotation comes from the floor. And not shoulders, no hips begin first, but all together.
As far as I understand this topic, it is necessary to start to be fascinated by the transfer of the weight and correctly setting the foot, all the same, it comes from the end point
Most importantly, the head starts the movement of the latter, and finishes first. That is, overtakes the body. Well, in general, I probably saw Fuete (I do not know how to write it right) in ballet. That's the same.
The head is translated through the muscles. Without using inertia. It is necessary to slowly work out. Slowly turn the body evenly, and the face (eyes) is constantly directed at one point, and when it is no longer watching (the neck does not turn further) to quickly turn the head and fix the face in the direction of the selected point (of course it is the same. It is an eeee nose where the nose is sent there and the whole face. If you just have enough eyes, then due to eye mobility, the face will be shifted all the time (relative to the direction to the point) and the balance will be lost.
The legs never go first, always begins to move the body, torso, and the legs go beyond the body, the latter starts the head of the head, and first come first the first head in the reverse order, then the legs and the body are put up, finishes. Naturally, the movements of these parts of the body occupy a fraction of a second.
About rotations. How to deal with dizziness arising from rotation?
How I was taught the choreographer is necessary for the "Hold the point" center! This leads to the fact that the balance itself appears. And the main thing is still painted up always! With the desire of the top (top) at the top, the entire back pulls out and, at the same place, the first posture of the back appears cool, secondly pull back as a rod (hence and the name Spin) to a smooth and vertical position leads to a good balance. Holding a point helps in all types of rotation, and in any direction!
As I still have long ago, my coach has long ago, so to speak, brought the formula at double Shans to the parties: point - point - mirror. Those, we stand face to the mirror and, let's say, when you turn to the left, you choose a point, you make a turn, looking at her, another and last (stopping look at the mirror). The head turns the very last. By the way, the body in ballroom dancing is pulled out, not as in classic choreography up, but on the contrary
The head is rather heavy part of the body, so it is often precisely it pulls down and the balance is lost. So you need to keep the head slim and raised. And the hands are first wide, then pulling clinging to yourself. And the turn on one leg, the second for the illusion is pressed, but they go to it.
Purpose: Methodical development lies in the help of organizing classes for the technique of rotation of educators of additional education.
This methodological development contains exemplary exercises and rotation with methodological recommendations on the execution that need to be mastered by students of national dance groups and other choreographic teams.
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Methodical development
"Technique of rotation in Russian folk dance"
Developed : Teacher additional formation
Krasnova R.B.
Novokuznetsk 2015 year.
1. Preparatory exercises -2
2. Types of rotations - 7
3. Stop after rotations - 25
4. Conclusion - 26
5. List of references - 27
Purpose: Methodical development lies in the help of organizing classes for the technique of rotation of educators of additional education.
This methodological development contains exemplary exercises and rotations with methodological recommendations on the execution that need to be mastered by students of national dance groups and other choreographic teams.
Preparatory exercises.
The study of tours and turns in the people's stage dance must begin with the development of the technique of turning the head. It is very important to teach the participants of the team "Hold the point", this skill is one of the fundamental successful implementation of a rotation.
Work work.
1.1 Right position VI Position of the legs, hands are bent in the elbows, the brushes are collected in the cams and lie on the waist, shoulders and elbows are directed to the side of one straight line. This preparatory exercise is performed on 4 clock 2/4. On the last quarter of the musical entry rise to the middle seams:
1 Takt: Start a turn in place on the right, finely crossing each 1/8 of the clock, perform 1/4 turn, the head does not change the position and due to the rotation of the body translates to the left shoulder, the look is directed to the same point.
2 Takt: Continuing the turn, on the same minor steps, perform the next quarter turn, holding the look at the same point, to the last 1/8 of the clock sharply translate the head on the right shoulder, trying to "catch" the previous "point" by the eyes at once.
3 and 4 clocks: perform the last 1/2 turn, also crossing each 1/8 of the clock, to finish the rotation in the Position en fac.
During this preparatory exercise, it is necessary to ensure that the head remains an even position, without slaughter and clamps of the cervical muscles, the housing is pulled up, the vertical axial line is preserved, and the hands, the housing and the hodes are in the same plane.
It should be mentioned that all preparatory exercises are performed on the right and to the left side, and then as the techniques are complicated, the party is chosen by each participant, in which the rotation "goes" is better, as a rule, the female party is considered to be the right.
When the moment of turning the head at a slow pace is well mastered, the musical layout of the exercise is changing, that is, it is performed on 2 tact of musical accompaniment, and then 1 tact:
1.2 Original position VI Position of the legs, hands are bent in the elbows, the brushes are collected in the cams and lie on the waist, shoulders and elbows are directed to the side of one straight line. Performed on 2 tact 2/4. On the last quarter of the musical entry rise to the middle seams:
1 Takt: Start a turn on the right to right, finely crossing each 1/8 tact, perform 1/2 turn, the head does not change the position and due to the rotation of the body translates to the left shoulder, the look is sent to the same point. On the last 1/8 of the Tracock sharply transfer the head to the right shoulder, trying to "catch" the previous "point" by the eyes immediately
2 Takt: Perform the last 1/2 turn, also crossing each 1/8 of the clock, finish the rotation in the position en Face.
1.3 Source position VI Position of the legs, the hands are bent in the elbows, the brushes are collected in the cams and lie on the waist, shoulders and elbows are directed to the side of one straight line. This preparatory exercise is performed on 1 tact 2/4. On the last quarter of the musical entry rise to the middle seams:
once and - crossing 1/16 Tracked to perform 1/2 turn on the same rules as in previous exercises, on the last 1/16 sharply translate the head to the right shoulder;
two and - crossing 1/16 Tracked to fulfill the second half of the turn, finish the rotation in the Position en fac.
Staging the corps.
When the head turn is worked out, it is necessary to pay special attention to the production of the corps, since while maintaining the basic rules, the production of the corps in the folk dance differs from the classical.
Source position: Vi Position of the legs, hands are lowered freely along the body, the head in the en face position. To transfer the severity of the housing on the socks, the heels are just slightly tear away from the floor, lifted to low semi-winges (see applying, Fig. 1), pull the knees, leg muscles are intense. Abdominal muscles, buttocks, backs are tightened. Hands open to the sides, approximately at the level of the shoulders or just below, the elbows are elbowed, the fingers of the hands are scattered, the brushes are deployed with palm to the floor. If you turn sideways in the mirror, then the hull, the severity of which is transferred to the socks, is like above the legs - the hips over the socks, the shoulders are a little ahead, that is, a somewhat inclined position, but legs, hollows, shoulders should remain on the same line. Hands should not go back or forward, you can not raise your shoulders, the back should be straightened and very tightly "taken", as well as the loin (not allowed failures), the stomach is pulled in (see. Prints, Fig. 2 A, b). In fact, standing face in the mirror, students, with the right position of the hull, hands and feet, can see the position of the cross. It should not be allowed to make a simple construction of this posture, it is necessary to monitor all the muscles, especially the muscles of the back, hands, the entire shoulder belt, and the load on them should be distributed evenly, since otherwise the hull is possible during the execution of rotations, and This in turn leads to the errors, "drunks", the loss of rotation axis, sometimes to the impossibility of performing one or another rotation. Hands must be fixed so much that if you press them on top in the shoulder part closer to the elbow, they will not be empty and will withstand the pressure (see Prints, Figure 3). Also, this technique is used to feel the necessary muscles, because when you press, they are active in operation and there is every muscle separately, but it is especially important to understand that a good result will be achieved only at their simultaneous work.
Exercises for fixing the muscular corset.
To successfully perform rotations in the people's stage dance, attention should be paid to the set of exercises that help maintain the necessary muscles in good shape.
Here are some of these exercises:
3.1 Loki on the back, lift and lower the elongated legs. You can start with 8 times, gradually increasing the amount, with an increase should be gradually and depend on the individual characteristics of the student.
3.2 Lying on the back, the legs are straight, trying to keep the back strain, go to the sitting position, then slowly lie down, as if rolling the spine on the floor. Hands are in the second or third classical position. It is done not quickly, in moderate pace, starting from 8 times.
3.3 Lying on the back, hands behind the head, twisting the back, lift the head from the floor, tear the blades, then return to its original position. Performed in the fast pace, starting from 8 times.
3.4 The next exercise is executed with the assistant that holds the foot. To lie on the side, the legs are stretched, you can put the top leg to the floor ahead of the bottom, the hands bent, bent in the elbows. Ramilating the upper part of the floor of the floor as high as possible. Perched at an intense pace, starting from 8 times. Performed in the same quantity lying on the right and left sides. If the student feels that on some side, this exercise is more complicated, then you should increase the number of raising on this side. This is done to equilibrate the strength of the muscles on both sides, otherwise the loss of rotation axis is possible. (see Printing, Figure 4).
3.5 is also executed with the assistant. To lie on the stomach, stretch your feet, your hands can be kept in the 3rd or 2nd position, or on the back of the head. Raise the chest from the floor, to get used to the blades, cutting the muscles of the back and return to its original position. Performed in moderate pace, starting from 8 times. (See Prints, Figure 5).
3.6 Cross Mahi Legs:
a) lie on the back, hands - along the body, the legs are straight off, the feet are stretched. Raise the legs are low from the floor, slightly opened on the sides and cross, the right leg from above, restart and cross again, only now the left leg from above. It is performed in the fast pace, rather sharply, ranging from 16 times. Next legs rise upstairs at right angles and the exercise is also executed.
b), too, as under a), only legs are in a non-dlying position.
c) take it on the floor, the back is straight, slightly rejected back, rely on the straight hands, which are behind the back, the legs are straight out, the feet are stretched. Raise the legs are low from the floor, slightly opened on the sides and cross, the right leg from above, restart and cross again, only now the left leg from above. It is performed in the fast pace, rather sharply, ranging from 16 times.
d), too, as under d), only legs are in a non-traffic situation.
3.7 To work out the strength of the hands during the turn, the following exercise is used.
a) Stand up in the VI position, put the right hand on the waist, the left to open aside, as for performing rotation. With an effort, sharply, through muscle resistance, rotate the case to the right from the waist, no more than 45 °, that is, the left hand moves as if forward in the direction of rotation to the right side, and also returned to return to its original position. The legs and hodges behind the body do not go, and the hands and shoulders are in the same plane. This exercise is performed intensively, with large muscle tension, in a fairly fast pace. It is easy to ensure that all muscles are included in the work and the exercise was not performed. "Freshly" Repeat from 16 times.
b) Stand up in the VI position, put the left hand on the waist, right to open aside, as for performing rotation. With an effort, sharply, through muscle resistance, rotate the case to the right from the waist, not more than 45 °, that is, the right hand moves as it were ago in the direction of rotation to the right side, and also dramatically return to its original position. The legs and hodges behind the body do not go, and the hands and shoulders are in the same plane. This exercise is performed intensively, with large muscle tension, in a fairly fast pace. It is easy to ensure that all muscles are included in the work and the exercise was not performed. "Freshly" Repeat from 16 times.
This layout is given to prepare students for rotation to the right side, which is considered "female", but if someone from the participants of the team "goes" to the left side, then it is performed up to the opposite.
Of course, this is not the whole complex of possible exercises, but only its main part. Each participant of the amateur team should have an individual approach, the characteristic features of the body structure, choreographic data should be taken into account, and in accordance with them, to sew certain additional exercises, focus on less developed muscle groups. All of the above exercises are first performed in a small amount, gradually load increases, the rate and intensity of execution gradually increases. When a good physical form is achieved, the frequency of execution of this complex can be reduced, but not to stop classes at all, in order not to be understood already achieved.
Thus, it can be said that in the execution of rotations, it is necessary to clearly control your body, the condition of all muscles to achieve the most professional execution, as well as to avoid possible injuries. The probability of falling, torn and stretched muscles and ligaments is higher than the correctness of the execution. In the performance of rotations in the folk dance, all the basic rules for the execution of the classic pyruette are preserved. The housing is held all the time tightened and assembled. At the time of the rotational push, it should not turn into the opposite direction, since excessive shows, as it were, "alternates" by the performer and violates the entire course of rotation. It is very important that the shoulders and thighs of the student at all stages of rotation are in the same plane, and the center of gravity of the body - always exactly on the supporting leg, or evenly distributed on two legs. Updated and open shoulders, tightly "taken" back and the loin are mandatory.
The position of the hands in rotation.
Separately, I would like to dwell on the position of the hands in rotation. Straight hands, open to the sides, began to be applied not so long ago and not everywhere else used, but confidently occupy a leading position. In such a position, there is an interesting fact - during the execution of tours with extended hands, huge speeds are achieved. And since the choreography is generally, and the folk dance in particular develops quite quickly, the vocabulary and various stunt elements should be developed and complicated. Cools in a slow pace the sophisticated viewer to watch is no longer interesting.
When high speeds reach, the blood intensively sticks to the hands of hands. In order to reduce the unpleasant feelings in the wrists during rotation, it is necessary to remember that the hand is relaxed from the tips of the fingers to the elbow, the muscles are included in the work only in order to hold the hand in the correct position. And, accordingly, the muscles of the hands from the elbow to the shoulder, the muscles of the back and chest are extremely tense and constitute a single integer.
During the rotational shock (on the right side), the left hand is served in the direction of rotation movement, that is, on the right side. However, one should not forget that the right hand should also participate in a rotational jog, otherwise the hull breakdowns and the loss of rotation axis are inevitable. And during the execution of rotation, it is necessary to ensure that the right blade does not "crash" and the shoulder did not rise - this is a fairly widespread error.
The head is the same as during the pirouette, it is somewhat delayed, then faster than the hull turns into its original position. The active and independent participation of the head in rotation allows the student to look directly and almost continuously in one spatial point without spraying its attention across the academic hall. In addition, the head should move strictly by the same vertical as the body and the supporting leg, without delaying and not accelerating their rotational movement, without clamping or climbing the neck muscle. The movement of the head is free and easy, but quite clearly and sharply.
In general, legs, hands, housing and head must be a single whole from the start of rotation until the stop.
Views Preparation.
1. Preparations for rotations diagonally and in a circle.
There are a large number of preparation species to the rotations of the people's dance, especially these are the rotations that are performed on the spot. Therefore, I first wanted to pay attention to the types of preparation used to approach rotations diagonally and in a circle.
1.1. Training Preparation to approach rotations diagonally and in a circle:
Source position: To rotate the right side to stand right side in the direction of movement, legs in a free first position, the hands are omitted along the body, the head is turned to the right shoulder. On the musical introduction, the right foot opens with the use of BatTements Tendu forward on the sock, the right hand rises in the first position, left - in the second. With the start of rotation (at the expense of "times" of musical accompaniment), the right foot should be done for a particular movement. Right hand, slightly ahead of the body, sharply opens to the side, straightened the elbow, turns the brush with the palm down, the fingers are closed. The left hand straightens in the elbow, the brush is also rotated by the palm down, the fingers are closed. That is, the housing and hands occupy the starting position to perform rotation.
1.2. If the team participants have good data for performing various rotations in a rapid pace, it is in good physical form, then preparation can be improved so that it helps from the very beginning to gain a quick pace of rotation from the very beginning. The initial position remains the same, also the right leg opens forward on the sock, the hands open - right in the first, left in the second position. On the latest tact of musical entry (2/4), at the expense of "two", to make a quick step on the half-foot half-footer, left to bring the right leg to the SUR LE COU-DE-PIED position, at the expense "and" fall on the left foot back On the Demi Plie, the right leg is broken from the floor, the knee and stop stretched, and, at the expense of the "times" of the new musical phrase, c receiving the Demi Rond, makes a step required for this rotation. Hands work in the same way as in the previous preparation. Step on the sock, Tombe back to the left leg and step to start rotation must be performed sharply and acutely. This type of preparation allows you from the beginning of rotation to dial a sufficiently high speed of execution. It can be performed not only on 2/8 clock, but also for the last 2/16 tact of musical entry, in this case the rotation speed will be even more.
2. Preparations for rotation in place.
For rotation on site there is no single approach.
2.1. Simple Preparation Hands (for Non-Support Rots):
Source position: en Face in the 1st point, legs in the 3rd or 6th position (depending on the further movement), the right hand rises in 1 position, the left opens on the 2nd. At the beginning of the musical phrase, the right hand opens to the side, elbows pulls out, the brush unfolds palm down. Left hand is also pulled away. At the same time, forces are served in the course of rotation, the right hand helps the left due to a sharp opening to the side and a slight advance of the case.
2.2. There are a number of rotations on the site of the combined main movement - obverse. Approaches to such rotations may be as follows:
a) Preparation with VI positions (to rotate right).
Music joining 2 tact 2/4. Source position: En Face to point 1, legs in the 3rd hand position, lowered down.
- Two - the right foot Reception of Demi Rond is held forward in the Epaulement Croise Pose and is put on the IV position on the entire foot in Demi Plie. The left leg is from behind with an elongated knee throughout the foot, or the heel of the left leg can break away a bit from the floor. The right hand comes to the first position, the left hand saves the position of the second position. The case, remaining smooth and tightened, turns to the Epaulement Croise position with the right shoulder forward. The severity of the case is on the right foot. The glance is directed to point 1.
- And - there is a strong push with the right foot from the floor, the severity of the body is transferred to the left foot. The knee of the left leg softens, comes to a small PLIE. Hands pulling out, open to the sides, the case unfolds en Face. Right leg, pushing from the floor, the reception of Demi Rond opens to the side of 45 ° or 90 °, the knee and sock are stretched. It is also possible to open the right leg aside not through Demi Rond. Then the right foot slippers the foot along the floor almost through the 3rd free position and opens aside to the specified height.
b) Preparation with TOMBE (to rotate right)
Music joining 2 tact 2/4. Source position: en Face to point 1, legs in the 3rd position, hands are lowered down.
1 tact - stand in the original position.
2 tact - once and - open an elongated right leg aside on the wear of BatTements Tendu, the hands open through the first position on the second.
"And - the left leg knocks the right and put on the entire foot to the floor in Demi Plie. The right foot, slipping through the 3rd position, opens aside by 45 ° or 90 °. Hands pulling out, open to the sides, the case unfolds en Face.
2.3. Preparations for rotation with fasten.
a) from the III position.
Music joining 2 tact 2/4. Source position: en Face to point 1, legs in the 3rd position, hands are lowered down.
1 tact - stand in the original position.
2 tact - once - right hand rises in the first position, and the left rises to the second,
- And - Short Demi Plie on both legs,
- Two - 1 singing on the left legs on the left legs to the right, the hands are pulled out and open to the sides, the right leg is pressed to the left in front of the SUR LE COU-DE-PIED position by the ankle or the knee.
- And - right leg goes forward to the 6th position with a small jump on both legs and a push with two legs to perform a jump in a rotation with the foot.
b) from the II of the unworn position.
Music joining 2 tact 2/4. Source position: EN FACE to point 1, legs in the free first or in the 6th position, hands are lowered down.
1 Tact - Source Positions.
2 tact - once - raise your hands in the first position.
- And - the elastic step with the left foot in the 2nd unbearable position in Demi Plie, to open the left hand into the 2nd position.
- Two - a short push with the left foot and the pirouette on the right foot in the Demi Plie, the left foot in the unwitting position is pressed by an elongated toe to the ankle right. Right hand draws sharply to the side. The left hand pulls the elbow and gives a forced impetus to perform a pyrueta.
- And - Zakokok from two legs in the 6th position and push from two legs to perform a jump in a rotation with your foot.
When these approaches and the rotation itself are dirty, it is possible to do two instead of one pyruet. In this case, the technique of execution increases the speed of rotation.
Rotation in place is very diverse, and new options are constantly arising, and, as a result, new types of approaches to them. Therefore, it is quite difficult to cover the whole spectrum of Preparations. Further, when describing different rotations, I will like a little more attention to the way to start certain rotations.
Types of rotations.
Rotation in folk dance come in the following types:
In place;
Diagonally;
Round.
It is believed that rotation in place is easier than rotation with the promotion diagonally, and the most complex is rotation in a circle. However, in my opinion, such gradation does not always justify himself in practice. It all depends primarily from the individual characteristics of the performers. And everyone decides for himself that it is easier for him to fulfill, but more difficult. Nevertheless, I describe the rotation in this order - on the spot, diagonally, in a circle - since they are being studied. The descriptions of all rotations are given to turn to the right, as it has already been indicated that this Party is considered to be "female", respectively, to rotate the left everything is executed with accuracy to the opposite.
Rotation in place.
1. Pirouettes.
The technique of execution of Pirouettes was described by me in the previous chapter. And it has already been said that the pyruetes in the people's dance are of several species.
a) Pirouette en DEHORS from the 3rd position on the brutal knee.
b) Pirouette en Dedans with the 2nd non-resistant position on the bridge of the knee.
c) Pirouette EN Dedans from a shuffle on the air on the bridal or on the elongated knee.
d) Pirouette - Tir-Bouchon.
e) EN DEHORS and EN Dedans pirouettes on the 6th position on the embarrassment or an elongated knee.
Combined pyruets can be among themselves, and also to be combined with other types of rotations.
2. Rotation on fallen.
The initial position of the legs is 3rd free. Hands disclosed on the sides or lie on the waist (this position is used more often when taking). Corps and head hold straight. The movement takes 1 tact 2/4. An example of rotation to the right side.
- Once - starting the turn, to step on the entire foot of the right leg in the 3rd point in a small squat, a slight leg slightly raise from the floor behind the right leg in the open position, the stop is free. Hold your head straight.
- And - continuing the turn, to step on the low half-legs of the left leg, slightly pulling the leg in the knee. Right leg raise low on the floor in the open position, the stop is free. The look is still directed to point 1.
- Two - to come on the entire foot of the right leg in the 7th point in a small squat. Left leg slightly raise from the floor behind the right leg in the open position, the stop is free. The head sharply turn right, and again to send a look at point 1.
- And - ending the turn, to step on the low half-legs of the left leg. Right leg raise low on the floor in the open position, the stop is free. Leave your head at point 1.
It is necessary to ensure that the housing remains straight, the head did not lean away and did not go down, the hands open to the side, remained at the same level and turned along with the turn of the body, without lagging behind and without overtaking it.
3. Running in turning in place.
Musical size - 2/4. Movement takes 1 tact by one turn. The initial position of the legs is 6th. Legs, housing and head are turned to point 1. Rotation hands are open to the sides or lie on the waist, the brushes are collected in the cams.
- Once - making a small tink, with two legs to jump on the right leg, brought into the knee, on the entire foot through the low half-one in the 5th point. At the same time, the left leg is sharply bended in the knee and rises in the right position back - upstairs stretched out. The knees are pressed to each other, with what the left knee is slightly ahead of the right. The housing starts the rotation to the right to the 5th point.
- Two - to jump onto the left foot through low half-winges into a small squat in the 1st point. At the same time, the right leg is sharply bended in the knee and rises in the straight position back - upstairs stretched, the knees are connected, the knee of the right leg is a little ahead of the left. Head, turning sharply to the right, returns to the 1st point. The case, completing the rotation, rotates to the point 1. Hands in the same position.
In order to repeat the movement again, the crossroads on the right leg through low seams, and the turn continues. When performing movement, it is necessary to ensure that your knees do not diverge away to the sides. The housing is tightened, the hands are tense, the head works clearly and sharply. Rotation is performed both on average and in a rapid pace. Usually in pure form and large quantities it is not executed, but it is found in combinations. For example:
Musical size 2/4, starting position: sixth position position, housing tighten, en face in the 1st point, hands lie on the waist, brushes are collected in cams.
- Once - scrap on 2 legs on the 6th position to point 3. The body turns behind the legs. The head retains the position, that is, the look is still directed to point 1.
- And two and - to perform three cross-country steps in place in the above-described principle, starting with the right leg (that is, the left foot bends in the knee and rises in the right position back - upstairs). At the same time there are 2 turns around them. The combination ends with en face in the 1st point, the right leg with a crushed knee and on low half-coils (either throughout the foot). The left foot bends in the knee and rises in the straight position back - upstairs stretched out. The knees are pressed to each other, with what the left knee is slightly ahead of the right.
At the expense of "times" the next tact of rotation is repeated again. Thus, one tact of musical accompaniment Combination is executed once, while there are two turns in place around them.
The approach to this rotation may be as follows. On the second tact of the musical entry, from a small step forward with the right foot, make 2 turns on the spot on the seams of both legs, as if to cross from foot to the leg, gaining speed to perform further rotation. The knees of the legs are stretched, hands lie on the waist, the housing is pulled out, the head works like with any rotation.
4. Rotation "Sock-heel".
Before performing this rotation, it is recommended to teach a combination of legs without turning.
Musical size 2/4. The combination takes 1 tact. Right position: 6th position position, knees are relaxed, en face in the 1st point, hands lie on the waist, brushes are collected in the cams.
- And - a small tink of left leg. The right leg is pressed unbearable to the ankle of the left leg stretched out. Left leg is located in Demi Plie.
- Once - on the first 1/16 - the right leg is lowered a little forward to the left leg on the heel, the left leg is raised from the floor, the foot leg stop is reduced (see. Prints, Fig. 6).
- And - a small tink of left leg. Left leg is located in Demi Plie. The right foot is pressed by an unbearable-elongated toe to the ankle left.
- Two - on the first 1/16 - the right leg is lowered by the seams next to the left foot, the left foot is lifted on the floor, the foot of the left leg is reduced (cm. Applications, Fig. 7).
- On the second 1/16 - the left leg goes to the entire foot to the floor, the right leg returns to the ankle.
It is necessary to ensure that during the execution of the fading on the left leg, the case has reacted minimally, not "walked" after the legs remained static. The supporting leg is the left leg, so when the right foot goes down on the heel forward should not be transferred to it the gravity of the case, in this case the burden of the case is on two legs and there is a slight step over with the left legs on the right and left again. The tack should be clear and hard.
On the assimilation of this material, a turn is introduced into the combination:
Musical size 2/4. The combination takes 1 clock, 2 turns occur. Right position: 6th position position, knees are softened, en Face in the 1st point, right hand in the first position, left - in the second.
- And - a small tink of left leg and full turn right. Left leg is located in Demi Plie. The right is pressed by an unbearable-elongated toe to the ankle left. Hands open to the sides, elbows stretched, brushes deployed palms down.
- Once - on the first 1/16 - the right leg is lowered a little to the left leg on the heel, the left leg is lifted on the floor, the foot left leg is reduced.
- On the second 1/16 - the left leg goes to the entire foot to the floor, the right leg returns to the ankle.
- And - a small tink of left leg, and full turn right. Left leg is located in Demi Plie. The right foot is pressed by an unbearable-elongated toe to the ankle left.
- Two - on the first 1/16 - the right leg goes to the seams next to the left foot, the left leg is lifted by the floor, the foot left leg is reduced.
- On the second 1/16 - the left leg goes to the entire foot to the floor, the right leg returns to the ankle.
The turn should occur on the jump, should not be used by the reception of pyruet. The combination is performed ply, you do not need to stop at the moments when the right leg is lowered on the heel, and then on the sock.
1 clock - executed in the same way as indicated above
2 tact - and - a small tack of left leg, and full turn right. Left leg is located in Demi Plie. The right foot is pressed by an unbearable-elongated toe to the ankle left.
- Once and two - the right leg drops next to the left on the heel, the left leg, with a shortened stop, is lifted above the floor and, crossing sixteenth heels, 2 turns are made on the spot around themselves.
At the moment of turning on the height, the burden of the case is on two legs - it allows you to rotate on the spot, not shifting - and then reappears on the left foot.
5. Pirouette - Tir-Bouchon.
The "Pirouettes" section said mainly about pyruets on Demi Plie. However, in the folk dance less often, but there are pyruets on the elongated knee.
Musical size 2/4. Source position 3rd Position of the feet, en Face to point 1. Music joining 2 tact 2/4, on the second tact of musical entry, at the expense - once - Demi Plie on the 3rd position, right hand rises in the 1st position, Left hand opens into the 2nd position.
- And - stretch the knee of the left leg and climb the high half-winges. The right leg is simultaneously rising on the Passé, elongated to the knee of the left leg, the knee of the right leg is remavated. Hands retain the oldest position.
- Two - both legs return to the 3rd position in Demi Plie. Hands retain the oldest position. Demi Plie must be elastic, on taut muscles.
- And - left leg, Release Reception goes to high half-winges, the right leg is simultaneously rising in front of the Passé sock under the knee (see Prints, Figure 8). It is performed using a rotational push with both legs in the direction of EN DEHORS, that is, in the direction opposite to the supporting leg, on which one pirouette is made. Hands open to the sides, elbows stretched out.
At the expense - once - musical accompaniment, finishing the pirouette, the left foot goes down in Demi Plie, the knee is disrupted. The right foot is pulled out of 45 ° forward, the stop is reduced (cm. Prints, Fig. 9).
- Two - also, that at the expense - once - musical accompaniment.
- And - to re-fulfill Pirouette.
Thus, the movement is executed by the required number of times. This rotation is quite complex, so first it is recommended to teach the technique of its execution without turning. Right position: 3rd position of the legs, hands can be put on the waist, the brushes are collected in the cams. Musical size 2/4.
Uctat - Elastic Demi Plie on the 3rd position.
- Once - the left leg, Release Receive goes to high semi-winges (happens to the seams on the semi), the right leg is simultaneously rising in front of the Passé sock under the knee (TIR-BOUCHON position). The knee of the right leg at the same time with force is given to the side, and its sock is tightly pressed against her left leg.
- And - the left leg is lowered in Demi Plie, the knee is disrupted. The right foot is pulled out of 45 ° forward, the stop is reduced.
- Two and - too, as "once and"
Special attention should be paid to the tranquility of the right knee in the TIR-BOUCHON position, since when performing Pirouet, it is the right knee, with an effort to take aside, then it should serve as a kind of turning mechanism. The heel of the left legs should be very firmly descending from the semi-winges in Demi Plie and very confidently make a subsequent impetus for the two-chance. When opening a right-handed leg, an abbreviated foot cannot be reduced or raised the height of the knee, this may lead to equilibrium loss and axis of rotation.
This twist is combined as follows:
The combination will take 2 tact 2/4.
Uctat - Left leg, Release Receive Rates High Camfeits, the right leg is simultaneously rising in front of the Passé sock under the knee. It is performed using a rotational push with both legs in the direction of EN DEHORS, that is, in the direction opposite to the supporting leg, on which one pirouette is made. Hands open to the sides, elbows stretched out.
1 clock - time - musical accompaniment, finishing the pirouette, the left leg goes down in Demi Plie, the knee is disrupted. The right foot is pulled out of 45 ° forward, the stop is reduced.
- And - left leg, Release Receive goes to high semi-winges, the right leg, bending down in the knee, is again supplied with an elongated sock under the knee of the left foot to the Tir-Bouchon position, the knee of the right leg is assigned to the side. One pirouette is performed.
- Two - Having finished Pirouette, the left leg goes down in Demi Plie, the knee is disrupted. The right foot is pulled out of 45 ° forward, the stop is reduced.
- And - left leg, Release Receive goes to high semi-winges, the right leg, bending down in the knee, is again supplied with an elongated sock under the knee of the left foot to the Tir-Bouchon position, the knee of the right leg is assigned to the side. Hands are closed on the waist in the cams, while the left hand enhances the forced movement for performing double pyrueta. Begins double pirouette.
2 tact - once and - continues double pirouette. It is necessary to ensure that the height of the semi-foot feet does not decrease during the pirouette, and the knee of right did not lose the transit position.
- Two - finished double pirouette, the left leg goes down in Demi Plie, the knee is disrupted. The right foot is pulled out of 45 ° forward, the stop is reduced. Hands with effort through the first position open to the sides.
- And - the combination is performed from the beginning.
The technique of performing this rotation is quite complex, therefore it will be proper and clearly execution that all the necessary muscles and the performer is included in good physical form.
6. Rotation with a jump on the support leg.
This rotation can be several species and run both on the right and left leg. I bring both examples and give different musical layouts:
a) Rotation with a jump on his left leg.
Musical size 2/4. Source position: 6th Position of the feet, en Face to point 1, the left hand is open in the 2nd position, right - in the 1st. With the beginning of the movement, the right hand opens to the side, elbow stretched, the left hand is also pulled out in the elbow.
uctat - a leap on the left leg on low seams, the knee of the left leg is softened, and the full rotation of 360 ° right. The right foot bends in the knee and presses the elongated toe to the middle of the left leg caviar. Both legs retain the 6th position.
- Once - a jump en Face to point 1, two legs, on low half-coins (that is, the right leg is lowered by the floor next to the left in the 6th position), knees of both legs are softened.
Rotation is performed required. Movement may not start at acact, but at the expense - once - in this case, accents simply change. During rotation, depending on the task of the teacher, the individual features of the performer, the speed of rotation and the nature of musical accompaniment may be changing the height of the right leg during rotation. The toe of the right leg can be at the ankle, in the middle of the caviar or the knee, and in any case the non-resistant position of the working leg is preserved - her knee is directed forward. However, in my opinion, the most convenient position is the position of the sock of the right leg from the middle of the caviar. This rotation can be performed both in its pure form and in combination, and it may not begin because of the tact, and the tact.
b) Rotation with a jump on the right foot.
Musical size 2/4. Source position: 6th Position of the feet, en Face to point 1, the left hand is open in the 2nd position, right - in the 1st. With the beginning of the movement, the right hand opens to the side, elbow stretched, the left hand is also pulled out in the elbow. Also, for starting the rotation, you can use preparation from the II of the non-verbal position (see the section "Preparation").
- Once - a jump on the right foot on low half-coils, the knee of the right leg is softened, and a full turn of 360 ° right. The left foot bends in the knee and rises to the position back - up (as during running), the knee of the left leg is slightly ahead of the knee of the right leg.
- And - a jump on 2 legs, on low half-winges, en Face to point 1, that is, the left foot falls on the floor next to the right in the 6th position, the knees of both legs are softened.
- Two and - movement repeats.
The rotation is performed by the required number of times, both in its pure form and in combination with other rotations. The speed of rotation may be the most diverse, so this rotation is quite accessible to both experienced performers and beginners. If preparation is used as an approach to this rotation from the II of an unbearable position, then a multiple music layout changes. In this case, it takes a jump on both legs, en Face to point 1, on low semi-winges (that is, zakok from pyruet), and on - and - jump on the right leg and turn 360 ° right.
7. Obrants.
Musical size 2/4. Source position: en Face to point 1, legs in the 3rd position, hands are lowered down. The movement takes 1 tact, the entry of 2 tact. The introduction is performed by Preparation from the VI position:
1 tact - stand in the original position.
2 tact - once and - open an elongated right leg aside on the wear of BatTements Tendu, the hands open through the first position on the second.
- Two - the right foot Reception of Demi Rond is held forward in Epaulement Croise Pose and puts it in the IV position on the entire foot in the Demi Plie, the left foot is supplied with the right back to the SUR LE COU-DE-PIED position, that is, TOMBE is on the right foot. Hands, housing and head work as in the previous form Preparation.
"And - the left leg knocks the right and put on the entire foot to the floor in Demi Plie. The right leg, slipping through the 3rd position, opens aside by 90 °. Hands pulling out, open to the sides, the case unfolds en Face.
Start of musical accompaniment:
- Once - jump on the low seams of the left leg in a small squat, the right leg, bent in the knee, close the left sock under the knee, stretch the foot.
- And - continuing the turn, cross on the semi-winges of the right leg behind the left in the 3rd passing position, to raise the left leg to the left above the floor.
"Two - finishing the turn, cross on the seam's seams (it will be the right foot) and bring the right foot to leave the left for 30 °, knee and stop pulling out.
- And - bring the right leg with the reception of Demi Rond aside by 90 °. Position of the housing - en face. Hands during the execution of rotation are open to the side, the severity of the case is on the left leg. When the right leg opens to 90 °, it is necessary to ensure that the housing remains even, not allow the tilt of the body to foot or from the leg, the bodies of the body head back. Hands are in the same plane with a housing, not lagging behind and without overtaking it during turn.
At the expense - two - the right leg can open in the direction not through the Demi Rond, but as follows: - Two - finishing the turn, cross on the seamless legs (it will be right), the right foot is in front of the left in the 3rd position on the seams .
- And - the right leg opens up 90 °.
Also, the obverse can be performed with a stretch of legs to the side by 45 °, and not 90 °. This preserves a musical layout and execution technique. Hands can be opened to the sides or work in various combinations, depending on the task of the teacher.
- Once - jump on the low seams of the left leg in a small squat, the right leg, bent in the knee, close the left sock under the knee, stretch the foot. Continuing the turn, cross on the half-footed feet behind the left in the 3rd passing position, lift the left leg to the left above the floor.
"And - having finished the turn, cross the left legs to the seams of the left leg (it will be back to the right leg) and bring the right foot to leave the left for 30 °, knee and stop pulling out. Next, bring the right leg with the reception of Demi Rond to the side of 90 °. Position of the housing - en face. Hands during the execution of rotation are open to the side, the severity of the case is on the left leg.
- Two and - the same as for - once and -.
Thus, the obverse is performed 2 times faster.
Rotation "Obrattas" is found in pure form and in a variety of combinations, for example:
Wraps with Fouette.
Musical size 2/4. The combination takes 4 tact 2/4. Preparation from the VI position is performed on the introduction, or Preparation with TOMBE.
On 1 and 2 tact of musical accompaniment to perform 2 turns obverseas.
3 tact - once and two and - right leg, bending in the knee and starting the turn, is supplied behind the left leg stretched to the knee. Continuing the turn of the right foot is translated with an elongated toe under the knee of his left leg. The left leg is drawn out of Demi Plie, her heel, making a rotational push, breaks away from the floor, that is, the left leg rises to high half-winges. Hands at the expense - once - close on the waist, brushes in cams.
4 tact - once and two and - the right leg is open a little later, the knee is bent, the sock is stretched. The right leg is then pulled out forward, without lowering the height of the knee, and the reception of Demi Rond is displayed aside by 90 °. The left foot on the last 1/8 sinks from the half-footers in Demi Plie. The hands are clearly and tough open to the parties at the expense - once and -. Next, the combination is performed from the beginning.
It is very important to calculate the power of the rotational shock during the execution of Fouette so that it is not too large or not very weak to perform the turnover. It is also important during the Demi Plie to accurately correct the slightest deviation from equilibrium (when moving to high semi-chances) with the help of an elastic pushing out of the assembled and tightened body to a more correct support point. It is necessary to observe the springy Demi Plie, from which the pirouette is taken, the correct seizure of the gravity of the body on the supporting leg, the exact effect of the working leg, the clear action of the hands, housing and heads.
Upon assimilation of the combination, the pace of its execution increases and during Fouette double pyruet is performed. With an increase in the pace, the combination will occupy 2 clock 2/4. That is, 1 tact is performed 2 rotation of the obverseas, and 2 tact is the turn of the Fouette. At the same time, it is at a more rapid pace that is more convenient to make a double tour of the Fouette, because the housing and hands work intensely and nicely, and the left hand gives a stronger force.
Other types of obverseas.
a) Obrants in the jump.
Musical size 2/4. Right position: 3rd position position, en Face to point 1, hands are omitted along the body. On 2 tact of music joining the preparation with Tombe (see "Preparation types"), while on the last 1/8 of the 2nd tact of the musical entry left leg chops the right and put on the entire foot on the floor in Demi Plie. The right leg, slipping through the 3rd position, opens aside by 90 °. Hands pulling out, open to the sides, the case unfolds en Face.
1 Tact of musical accompaniment - Once - 1/16 - Jump on the left foot EN FACE to point 1. The right foot bends in the knee, as when performing the usual overtas. The left leg during the jump is greatly flexed in the knee, due to which the jump is quite high. It is necessary to monitor the preservation of both legs.
- 2/16 - Completing the jump, the left leg comes in Demi Plie, the right leg goes down to the seams behind the left left in the 3rd position, there is a cross on the right leg, and the left leg is slightly lifted over the floor, the turn begins.
- And - 1/16 - Having finished turning on the right leg, crossing the left legs on the seamless feet (it will be right away) and bring the right leg to 90 °.
- Two is the same as - once and -.
The pushing foot in this case is the left leg. From how power and how clearly the jump will be performed, its height and purity of execution depends. The housing and hands should be tense, and is a single integer. If this rotation is performed in a pure form of a row several times, then the hands most often remain elongated on the sides. The higher the Ballone, the more effect it looks like a jump and himself. The pace of musical accompaniment depends on the individual data of the performer.
b) Obrants with a non-resistant working foot and pyruette.
Musical size 2/4. The combination takes 1 tact 2/4. As an approach, it is recommended to use Preparation with TOMBE (see "Preparation Types" section), the right foot at the end of Preparation opens by 45 ° in an unbearable position. The principle of this rotation is borrowed from the Ukrainian dance, only in turning the hands characteristic of Russian dance are used.
- And - jump on the low seams of the left leg in a small squat, right leg, bent in the knee, press to the middle of the caviar of the left leg, stretch the foot, the knee of the right leg is directed forward. Hands uncovered on the sides.
- Once - starting the turn, lower the right leg on the middle seams unbearable next to the left foot, the right leg is in Demi Plie. The left leg (as if knocked out the right) is pressed with an elongated toe to the middle of the caviar of the right leg, the knee of the left leg is directed forward. Hands are sharply closed on the waist in the cams through the undergoing 1st position, while the left hand enhances the forced movement for double pyrueta.
- And - the double tour on the right foot, the position of the hands and legs is preserved.
- Two - the pirouette ends at point 1. The left leg is lowered to the floor to low semi-winges, the right leg, as if knocking out the left, opens to the side by 45 ° in the unwitting position. Hands through the undergoing 1st position open to the sides.
Next, the combination is repeated anew. All rotation is performed on Demi Plie. You can diversify this twist with a change in hand working. At the expense - once - close your arms in front of yourself, crossed them on the chest. The left hand in this case also enhances the forple rotation, closes under the right hand leading here is the wrist of the left hand. At the expense - two - hands, as the first case opens to the sides. A pace of rotation may also change (increase or decrease).
It is necessary to ensure that with each change of legs on the floor, the feet were placed as close as possible by replacing each other. Otherwise, the displacement from the place of rotation is inevitable, the loss of "dots", all sorts of ruins. In its pure form, without pirouette, it is virtually not found with an unproatable working foot, since it is uncomfortable in execution, the pirouette here serves as a link.
8. Rotation with pursed legs.
Previously, this rotation was related to male technician and was performed only by men. Gradually, it passed into the women's class, where he now takes a worthy place. However, the male technology is finally not gone. Until now, the people are found in the dances of the peoples of the Caucasus - performed by various tricks - and the men make double and triple turns around them, coming down on their knees and with knees again jump upstairs; Or in Ukrainian dances - some tricks end with a jump with a fit, double turnover and ending in the knee.
During this rotation in one turn, one jump is performed with the legs under the 6th position. The rules for execution of the jump are as follows:
The legs are pressed for sure, the knees are directed forward, the stop stretched. It is not necessary to raise the knees forward to the top, and you should not take the foot back, as it leads to a violation of equilibrium during the jump and turn. In such cases, the lower back "breaks", and, in the first case, the housing bends forward, and in the second, the failure appears in the lower back. In order for the performers to be clear the correct position of the legs during the jump, you can sit on the floor on your knees, the cochter omitted on the heels, the back is straight, the housing from the hip is slightly tilted forward.
The jump consists of some of the three parts - the jump itself, when the legs pushed out of the floor bend in the knees and pumped up to themselves, then in this position continues "smaller" up on good ballone and then the legs straighten up and landing on both legs in Demi Plie.
Feet are strictly in the 6th position. During the jump, it is necessary to ensure that your knees are not revealed to the parties, and during the landing in the Demi Plie, the foot should not be provided in the 2nd non-resistant position.
In the push for a jump, the sock and fingers of the foot are involved, the heel on the floor is practically not put, and, therefore, it is not busy in the process of jumping. Throwing out from the floor, the stop is drawn up - thereby increasing the height of the jump.
The jump must be performed with an emphasis from the floor, and not in the floor, otherwise the height of the jump and rotation entertainment is lost. At the same time, it is impossible to be carried away with too high jump - this leads to the loss of rotation speed and the relaxation of the muscular apparatus. Thus, the jump must be elastic, moderately high, to be performed with a focus on the floor, in a good pace.
Hands should not react to repulsion from the floor and landing, as this leads to the loss of equilibrium, the rods in one direction or another. Hands and housing are a single whole, are in the same plane.
Musical size 2/4. At the introduction to perform one of the preparation to rotations with the footsteps (see the section "Preparations" section). Start of musical accompaniment:
- Once - jump with undercrow and turn 360 °. Hands with elbow elbow open to the sides.
- And - land on both legs in Demi Plie, in the 6th position. Hands retain the oldest position.
- Two and - the same thing for - once and -.
Rotation repeats the required number of times. A common error - not enough forces with left hand (to rotate right), and, as a result, the rotation is not 360 °, but less. There is a so-called "negligence". Beginners performers often jump over "halves", that is, rotated 180 °, it takes place from not strongly taken force, a weak shock from the floor and poor coordination of hands and housing.
9. Combined rotations.
a) Obrants with a jump and pyruet.
Musical size 2/4. To join the preparation with IV position or Preparation with TOMBE. Depending on the rate of musical accompaniment, the combination can occupy 2 clock 2/4 or 4 clock 2/4. I cite a musical layout designed for 2 tact 2/4.
1 tact - 2 turns are obverse as 1/4 each. Hands work as follows: - Once - right hand rises in the 3rd position, the left retains its former position.
- And - the right hand goes to the 1st position and opens towards the passing movement. Left hand saves the previous position.
- Two - the right hand rises again into the 3rd position, the left retains its former position.
- And - the right hand is lowered in the first position, the left hand also closes in the first position.
2 tact - once and - obverseas in a jump - that is, a jump on the left leg is performed, which is very bent in the knee (pressed under itself), the right foot bends in the knee, as when performing a simple rotation of the obverseas. After jumping left leg comes to Demi Plie. Hands during the jump will boil upstairs into the 3rd position, emphasizing brushes at the highest point, open to the sides or in the second position, or stretched in the elbows (the brushes are palm down).
- And - the right leg, slipping along the left, falls on the floor, on the seams next to the left foot in the unvotable position in Demi Plie. The left foot is repelled from the floor and presses the elongated toes to the ankle of the right leg in an unwitting position. Begins double Pirouette en DEHORS on the right foot. Hands through the first position sharply close on the waist, while the left hand enhances the forced movement.
- Two - Double Pirouette EN Dehors on the right foot.
- And - the Pirouut ends at the point 1. The left leg is lowered to the floor, on the entire foot in the Demi Plie, the right foot opens up 90 °. Left hand through the first position stretches aside. The right hand opens in the first position.
b) Wraps with a working leg transfer to SUR LE COU-DE-PIED position with abbreviated foot.
Musical size 2/4. The combination takes 4 tact 2/4.
1-2 tact - two turns wraps, the hands are open to the sides.
3 clock - once and two - a double tour of the Fouette on high half-winges is performed, only the right foot does not open to the side, but remains at the TIR-BOUCHON position to the knee of the left leg in front. The knee of the right leg is very much assigned to the side. Hands soften in the elbows and rise to the third revealed position, the brushes are allongee.
- And - the left foot goes to the Demi Plie in the en face position, the right foot retains the previous position, it is important not to lose the height of the knee and feeding. Hands begin to descend down, and the movement of hands goes progressively - first elbows, a little late wrist and only then brushes.
4 tact - once - growing out of Demi Plie, climb the high seams of the left leg. Turning to the right. At the same time, the right foot slides to the toe in the middle of the caviar, goes to the position of SUR LE Cou-de-Pied in front and at the last moment of the stop of the right leg is reduced. Right leg as if pushing the left from Demi Plie. Hands, pulling out in the elbows, fall down and occupy the position between the second and preparatory positions, the brushes - on themselves, the fingers of the hands are closed. Using hands, in this case, there is a small "screwing" to the floor and pushing out from Demi Plie.
- And two - a double turn on the high globles of the left leg, the right leg is squeezed to the left with a shortened stop, the knee of the right leg stretched. The heel of the right leg is in the heel left. Knees of both legs with force are pressed to each other. Hands retain the oldest position.
- And - finishing a double turn, the left leg comes to Demi Plie, to the EN FACE position, the right leg pulls the foot and rises to 90 °. Hands open to the sides.
In this rotation, it is also impossible to allow the housing in one direction or another, as it will inevitably lead to the loss of rotation axis. Hands work simultaneously and coordinated, and not catching up one other.
With an increase in the rotation rate of 2 rotation, the obverseas is performed on 1 tact of musical accompaniment, the tour Fouette for 1/4 of the clock and the next turn on the left foot with the elongated right also on 1/4 of the clock. At the same time, in this case, turns may be single or during Fouette - single, and during the subsequent rotation - double.
c) non-resistant wraps and pyruetics with shift legs.
Musical size 2/4. Source position: 6th Position Foot, en Face to point. At the entry, the right hand rises in the first position, the left opens to the side with an elbow elbow.
uctop - a quick step with the left foot in the second unbearable position, a short push with the left foot from the floor and the pirouut of EN DEHORS on the right foot on the high seams, on the right side, the knee of the right leg is elongated. The left foot is pressed by an unbearable elongated toes to the middle of the caviar of the right leg, her knee is directed forward. Hands with the beginning of Pirouette sharply close on the waist, brushes in cams.
- Once - finished Pirouette en Face to point 1, omit left foot on the entire foot to the floor in a free position in Demi Plie. The right leg, knocked out left, opens up 45 °, into a unworn position. The knee and stop of the right leg stretched. Hands through the undergoing 1st position, sharply open to the sides.
- And - from a smallly successful to climb to the seamless legs, her knee is stretched. Right leg, flexing in the knee, the admission is wrapped with an unproatal working foot, pressed with an elongated toe to the middle of the left leg caviar, giving force to the execution of one pyruet. There is a pirouette on his left leg. Hands at this moment sharply, through the 1st position, closed again on the waist, the left hand gives force for the execution of turn, the pirouette finish en Face to point 1.
- Two and - on 1/8 - a change of legs on the floor, the right leg knocks down the left and put on the floor, on high half-winges, the knee of the right leg stretched. Left leg, pushing off from the floor, bends in the knee and rises with an elongated toe to the middle of the caviar of the right leg, the knee of his left leg is directed forward. There is a double pirouette on a very taut right foot. Hands retain the oldest position.
At the expense - the next clock the combination is executed from the beginning.
Foot change in pyruets should occur at high half-coils, with very tightened knees and housing. Foot replaced each other in almost one place - in order not to have fallen and offsets during the rotation. Hands work clearly, sharply and extremely cooler.
d) Obrants - Fouette En Dedans - EN DEHORS.
Musical size 2/4. The combination takes 2 tact 2/4. Right position: 3rd foot position, left leg rear, en Face to point 1, hands freely omitted along the body. Entry 2 tact 2/4. On the second tact of the musical entry, at the expense - and two - to open hands through the first position on the second.
uactable - open the left foot towered to 45 ° dispersed, knee and stop - elongated. Right foot comes to the Demi Plie position.
1 Tact - Once - left foot foot from the knee, admission en l'air, is supplied to the knee of the right leg in front (makes shuffles for the execution of the pyruet), the knee of the left foot is dispersed and directed to the side. Right leg, pulling out in the knee, through a small opening rises to high half-winges. There are 1 pirouette on the right foot to the right (Reception of Fouette En Dedans). Hands, giving force for turn, through the 1st position closed sharply on the waist.
- And - Zerkok en Face on the entire foot of the left leg, in Demi Plie. The right leg opens sharply to the side, her knee and stop stretched. The left hand saves the former position, the right hand is displayed in the first position.
- Two - right hand makes shuffles over a side and rises upstairs into the third position. Left leg jumps on high half-winges. The right foot Reception of the wrapper is supplied with an elongated toe to the knee of the left foot in the free position (that is, the knee of the right leg can be directed as accurately forward, so be somewhat deployed to the side). There is a complete turn right on the left foot (tour en dehors). The rotation ends again en Face to point 1.
- And - the right leg is placed on the floor, on high half-winges next to the left foot. The left leg, pushing from the floor, bends in the knee and rises with an elongated toe to his knee right, the knee of his left leg is directed forward. Pirouette en dedans on the right foot to the right. Ends the turn again en Face to the point 1. The left hand keeps the former position, the right hand lowers from the 3rd position through the first on the waist.
2 tact - once - jump over the entire foot of the left leg in Demi Plie, the knee of the left leg is directed forward. The right leg, bending in the knee and pulling the sock, rises to the position back-up (as during running), the knee of the right leg is slightly ahead of the knee of the left leg. Hands retain the oldest position.
- And - to get up on the high half-winged legs, the knee of the right leg stretched. The left leg, repelled from the floor, bending into the knee and pulling the sock, rises to the position back-up (as during running), the knee of his left leg is a little ahead of the knee of the right leg. One pirouette at the high half-half-footed legs right. Ends the turn of EN FACE to the point 1. Hands save the previous position.
- Two - to get up on the high seams of the left leg, the knee of the left leg stretched out. The right leg, repelled from the floor, bending into the knee and pulling the sock, rises to the position back-up (as during running), the knee of the right leg is slightly ahead of the knee of the left leg. One pirouette on the high half-foot half-legs to the right. Ends the turn of EN FACE to the point 1. Hands save the previous position.
- And you go to the right leg, on the whole stop in Demi Plie (in position 3 positions). The left leg is knocked away by 45 °, the knee and stop stretched. Hands open through the first position on the second. That is, the performer takes a weak position for performing a combination first.
Rotation is performed ply, one movement flows from the other. Changing the positions of the hands and legs is accentued, but without pauses and stops. It is important to ensure that all shifts on the floor take place next to each other, the legs are replaced by each other at one point. The housing is tightened, the hands work clearly, sharply and extremely coordinated.
e) rotation with a jump on the left foot and the air tour.
Musical size 2/4. The combination takes 2 tact 2/4. Source position: 6th foot position, en Face to point 1, hands freely omitted along the body. Entry 2 tact 2/4. On the second tact of the musical entry, at the expense - and two - to open the left hand through the first position on the second, right hand to raise in the first position, knees to soften the legs.
1 Tact, Uctat - leap on the left leg on low seams, the knee of the left leg is mitigated, and the full rotation of 360 ° right. The right foot bends in the knee and presses the elongated toe to the middle of the left leg caviar. Both legs retain the 6th position. Right hand, stretching in the elbow to the side, the left hand is also drawn in the elbow.
- Once - a jump en Face to point 1, two legs, on low half-coins (that is, the right leg is lowered by the floor next to the left in the 6th position), knees of both legs are softened. That is, at the expense - and once - perform one turn with a jump on the left leg.
- And two - repeat the rotation with the jump on the left foot.
2 tact - and once - perform a turn with a jump on the left leg. Only on the score - two - in order to further happen to a good push from the floor with two legs, make a more accentuated and high scrape on both legs, on low half-winges in Demi Plie.
- And two are a strong push from the floor with two legs, a high jump and full turn of -360 ° right. That is, run the air tour to the 6th position. Finish the turn of EN FACE to point 1, in the 6th position, in Demi Plie.
Next, the combination is executed first. Throughout the rotation, the hands are revealed to the parties and do not change their position. They should not respond to the movement of the legs, should remain in the same plane with the case - it is necessary to avoid the loss of rotation axis.
g) rotation with a jump with a shift of the legs and "pursed."
Musical size 2/4. The combination takes 2 tact 2/4. Source position: 6th foot position, en Face to point 1, hands freely omitted along the body. Entry 2 tact 2/4. On the second tact of the musical entry, at the expense - and two - to open the left hand through the first position on the second, right hand to raise in the first position, knees to soften the legs. With the beginning of the movement, both hands are pulled out to the sides.
1 Tact - Uctat - leap on the right foot on low seams, knee of right leg is softened, and a complete rotation of 360 ° right. The left foot bends in the knee and rises to the position back - up (as during running), the knee of the left leg is slightly ahead of the knee of the right leg.
- Once - a jump on 2 legs, on low half-winges, en Face to point 1, that is, the left leg goes to the floor next to the right to 6th position, knees of both legs are softened. Thus, to fulfill one turn with a jump on the right foot, as described above, only here it is performed in the beat, and because of the tact.
- And two - the movement is repeated.
2 tact - and once - to perform rotation with a jump on my left foot 1 time, while the working right leg is pressed to the toe not to the middle of the caviar, but to the knee of the left leg. At the expense - once - make a more accented scrape on two legs, in order to further perform a strong push from the floor.
- And two are a strong push from the floor and one turn of rotation with the legs undercrow.
The combination is repeated for the next time. Hands during rotation do not change their position, are maximally tense and coordinated with the work of the case.
All of the above types of rotation in place and combinations are performed in a punch, without pauses and stops, even if various accents are present in the structure of rotation. Observing this rule is very important to monitor, as otherwise the integrity of rotation is lost and its unified motive.
Female dance technique develops very quickly, new types of rotations appear and, as a result, new combination options. Where most recently one Pirouette was performed, now they have time to do and double, sometimes even triple. All the combinations given by me may well be adjusted, it all depends on the possibilities and desires of the performers. However, one should not be takenlated and "vehicle" into the combination of unnecessarily complex elements, since it is not always difficult to perform the rotation looks beautiful and interesting.
Rotation diagonally.
In Russian and some other national dances, rotations often meet and in direct - that is, with the promotion diagonally, along the line of advance (from the scene to the Kulis) or from the back forward. In the classroom, when studying rotations in a straight line, it is advisable to perform them diagonally, since this line is the longest, and here it is possible to fulfill the largest number of turns. Technical rules of execution are preserved the same as in the spin. Depending on the type of rotation - on two legs or one - and, therefore, where the center of gravity is, the force of the force of the force is changed somewhat (when rotating to the right). All rotations with Promotion should be performed evenly, but it is important to take into account the internal structure of rotation, and the fact that it includes a continuous chain of a constantly repeating one and the same movement, or a combination of different rotations in character. In the second case, even when changing the rhythm inside the combination, it is necessary to achieve the swiftness of the promotion and clarity of rotation.
1. Tours Chainés.
Name This means a rapid continuous circuit of revolutions with advancement in a given direction. Tours Chainés is performed on high half-half with tightened knees on the 1st half-minded position. Each turnover in Tours Chainés is divided into 2 uniform semi-surgets, which are visually captured, as they are performed very quickly and merge into a single whole. The transition from one semipirouette to another is made with minimal progress over the distance of diluted socks and without disconnecting the legs in the direction of the 2nd or 4th position.
In general, Tours Chainés in the people's stage dance saves all the rules for the execution of the classic Tours Chainés. A significant difference is the position of the hands during the rotation. Hands can be elongated to the sides, closed on the waist, or is in the position of the characteristic nature of a dance.
It is impossible to perform Tours Chainés on low semi-coils, hacked lap, it is necessary to strictly observe the position of the first position of the legs. Feet should be in their movement accurate to the limit, and only in case of any failure, you can break the 1st position to correct the balance of the body or the rhythm of rotation, that is, for one instant, in one or two semi-rotations.
At the beginning, this rotation is performed at a slow pace - every half-spell occupy 1/4 of the 2/4 music layout. At the same time, it is allowed to lower from the half-footers to the entire foot. In the future, lowering the entire foot is not permitted, on the contrary, the muscles of the legs and backs are very tightened. Increase the speed of rotation, the pace is achieved quite large. Thus, every half-ups can take 1/8, 1/16, 1/32 tact. On the assimilation of Tours Chainés, it can be combined with any other rotations, only you need to follow the convenience of a built-in combination.
To start rotation, Preparation described by me in the section "Preparation" section (Preparation 1.1). In the final version, Tours Chainés is fulfilled rapidly and clearly, the severity of the case is on two legs. It is impossible to allow the lag behind the right hand and the blades (when rotating to the right) from the rate of movement, if this happens, it is better to return to a slower tempo and check the correctness of the position of the hands and the case, the muscular corset will attack.
2. "Pancakes".
"Pancakes" is a fairly common rotation, often found in various dance compositions. There are several options for the execution of this rotation, but regardless of or another there are several general methodological rules. The main one is the right foot (when rotating in the right direction) should be as if supported, push-up, and every step on it is confident and clear. Otherwise, the fusion and continuity of movement is lost. The height of the jump should be so to have time to sue in the air alternately 2 legs and move forward to the predetermined length.
Options for the execution of "pancakes":
a) "Pancakes" with pursed legs.
- Once - step forward on the diagonal on the right foot on the entire foot in Demi Plie, the left foot bends in the knee and presses exactly for yourself. It happens to the right foot from the floor, jumping up with progress along the rotation and turn around yourself.
- And - the left leg is lowered to the floor, the right bends in the knee and presses exactly for itself, the full turn ends. The knee of the left leg is brought down. Hands stretched to the sides (see. Prints, Figure 10).
- Two and - repeat too, that - once and -.
The feet of both legs during the jump should be elongated, the change of tortured legs occurs in the air. Legs at the time of the jump take the position described in rotation with the legs undercrow, that is, it is impossible to raise the knees too forward or take them too much down - this may cause the position of the corps during the turn and, as a result, the wrong execution.
Rotation is executed by the required number of times. As it is absorbed, the rate of execution increases.
b) "Pancakes" with elongated legs.
This rotation can be executed both through the 3rd and 6th position. The rules of execution regardless of what position the rotation is done significantly change.
- "Pancakes" with elongated knees on the 3rd position.
Musical size 2/4. On the music joining the 1st or 2nd Preparations for rotations diagonally and in a circle.
- Once - a step right foot forward in the direction of rotation, push the right foot from the floor and jump. The left foot at the time of the jump stretches in the knee and the foot is supplied to the right back in the 3rd position. Right leg, after trying to push, is also pulled out in the knee and foot. Rotate 360º with a slight advance forward.
- And - ending the turn, land on the entire foot of the left leg, the knee is brought it. The right leg, remaining ahead of the left leg, slightly bends in the knee, stop free.
- Two and - repeat too, as for - once and -.
While jumping both legs are extremely elongated. The left foot is very pressing from behind to the right. Hands stretched to the sides. Rotation is executed by the required number of times. As it is absorbed, the pace of its execution increases.
In the performance of this rotation, the extremely high speed becomes impossible to perform the jump upstairs and stretch both legs in the air. In this case, the right leg during the jump and turning remains crushed into the knee, its stop is reduced, and the left foot is pressed back to the right leg with an elongated rise, but its knee is also brought down. At the same time, the jump is completely low, the legs come off from the floor only in order to have time to turn in the air. In a rapid pace, this rotation looks very impressive.
c) "Pancakes" with pursed legs and double fraction.
In general, this rotation is a type of "pancakes" with the legs undercrow. Only at the time when the right foot is put on the floor to make a push and jump, it first hits the entire foot to the floor, bounces off the floor and then with a blow again put on the entire foot to the floor, the push and jump occurs. Thus, a double fraction is introduced into rotation. Hands stretched to the sides, the housing is pulled up, the head is not behind the movement of the housing. Rotation is performed ply, without stopping at the time of double fraction.
Speaking about the fusion of rotation, I want to say once again that the right leg in any kind of "pancakes" is a leading, supporting leg. It is important to do a confident step on it, a clearly distributing the severity of the body and leaving it on his left leg.
During the execution of all types of "pancakes", hands can be stretched static to the sides, or work on the task of the teacher. So, for example, during the "pancake" with the right hand, the right hand at the expense - once - opens through the first position on the second, and at the expense - and - makes the shuffles and rises to the third position. Next, it falls into the first position and can either repeat this kind of circular movement, or just pulls to the side. The position of the hands is modified depending on the nature of the movement, the tasks of the teacher and the possibilities of the performer.
3. Runanet.
Musical size 2/4. On the music joining the 1st or 2nd Preparations for rotations diagonally and in a circle.
- Once - to make a long running step with the right foot in the direction of movement, the left leg is greatly bend in the knee, put the left leg stretched. To fulfill the right side of the right side.
- Two and - repeat, too, as for - once and-.
Rotation is performed smoothly, pumped, without jerks, on a small squat, the required number of times. Hands stretched to the sides or closed on the waist. The leg, bending in the knee, presses under itself and takes the position described in rotation with the supplied.
4. Rotation "Sock-heel".
Musical size 2/4. On the music joining the 1st or 2nd Preparations for rotations diagonally and in a circle.
- Once - a step on the high half-winged legs, the knee is stretched. The left leg, bending in the knee, pressed the stretched lifting, disrupted, behind the ankle or knee of the right leg. Piroet EN Dehors is performed.
- Two - a step on the heel of the right leg, the knee is stretched. The left leg, bending in the knee, pressed the stretched lifting, disrupted, behind the ankle or knee of the right leg. Piroet EN Dehors is performed.
"And the left leg descends with the entire foot on the floor in Demi Plie, the right leg opens in the direction of movement by 15º, the rise and knee of the right leg stretched out. It is important to ensure that the left foot falls on the floor almost in place of the right leg, as if knocking it out, otherwise the loss of rotation axis is possible.
Next, the combination is repeated first. In general, this rotation resembles a classic Tours Piqué, with the only difference that over the second time it takes the right foot on the heel. Hands stretched to the sides, or included in the task of the teacher.
5. Combined rotations.
a) the rotation of the "sock-heel" and a jump with the footsteps.
1 Takt - perform a combination of "sock - heel" rotation 1 time, thus performing two pyruet en dehors.
2 tact - once - scraps on both legs on the 6th position face in the direction of movement.
- And - jump with the legs and full turn right.
- Two - landing on both legs in the 6th position face towards movement.
- And - the rattles on the right side on the two legs (3/4 turns). Finish in the scrap on the left foot, the right foot is knocked out to repeat the combination first.
Hands stretched to the sides and are extremely coordinated in working with a housing and head. During the jump with the legs of the legs, the promotion forward in the course of rotation should be minimal or absent at all. To do this, it is important to correctly calculate the power of feeding the left hand on the turn and promotion, so as not to thwart yourself from the rotation line.
b) Rotation with "Motalka" and "Pork".
Musical size 2/4. The combination takes 2 tact 2/4. Source position: 6th position position, hands closed on the waist. Rotation is performed diagonally to point 3.
1 Tact - Once and - to perform the "Motalk" with the left foot, the right shoulder, the left leg sock is directed to the point 3 of the class. Hands open on the second position.
- Two and - perform a "hook" in turn with the right foot, finish right sideways to a point 3 class, hands closed on the waist.
2 clocks - to tear the right foot from the floor and perform 2 "pancakes" with pursed legs on 1/4 each.
This rotation is quite simple in execution and it can be safely used not only in dance compositions, but also in academic work, in order to teach the performers to change the force of force and rhythm in the internal structure of rotation.
c) combining "pancakes" and a runner.
Combining options between "pancakes" and the runner can be the most diverse. For example, a slugger is performed on 1 clock, on the 2nd tact - 2 turn "pancake" with pursed legs. Thus, inside the combination, the rhythm of rotation is changed, which, despite the ease of execution, it looks quite effectively. Possible options for combining between these types of rotation of rotation are unlimited and depend on the fantasy of the teacher and the possibilities of the performers.
Rotation in a circle.
Rotation in a circle often repeat the rotations in a straight line. Essential differences here are some methodological recommendations. Due to the fact that the rotation around itself is complicated by the promotion in a circle, sending the housing forward should be stronger and dynamic. According to the inner sensations, the performer should feel like a body, along its entire axis, as it should be leaked into the center, but this inclination should be impaired greatest, as it is extremely minimal and its increase will certainly lead to a fall. Promotion line - in a circle, therefore, the rotation around itself will be not 360º, but a little more, the degree of increase depends on the diameter of the circle than it is less, the degree is greater. Rotate the head - sharp and clear, it is also important to keep the point, but it shifts all the time. When taking examination, the teacher can determine the specific 4 points in the class and the students initially focus on them. Most often it is 3, 5, 7 and 1 points of the class, which are a kind of diamond. The teacher must ensure that, when rotating from a change point, students did not move from point to point by direct, and all the same moved in a circle. Then each performer independently coordinates the work of the head and "breaks" the circle to a larger number of reference points. A common mistake is that the point is starting to keep in the floor, lower the eyes and visually seems to be closed. The look should be directed accurately before you, in the distance, by hand. It is not only more aesthetically, but also more securely - the performer can control himself and those surrounding in order to avoid collisions, injuries and falls.
one . "Pancakes", Runanets.
All kinds of "pancakes" and the slider are performed in a circle, as well as in promotion in a straight line. It is important to ensure that the right lead leg makes each step strictly along the rotation line without deviating it. Each turn seems to flow from the other by constituting a continuous chain of rotations. Music layouts correspond to the musical layouts of rotations in a straight line. Hands may have a wide variety, and depend on the musical material, the tasks of the teacher, the nature of rotation and the possibilities of the performer. All these rotations can be combined with each other.
2. "Triliste" in turn.
This rotation is an example of fractional rotation, which is based on a simple fraction of the "Triliste". In the process of assimilation, sufficiently high speeds of rotation are achieved, so it is important to trace the correctness of the arms elongated on the parties. The teacher must remind students that hands from the elbow to the fingertips are not dressed up, and the muscles are included here in operation, only to hold the hand in the desired position.
The fraction of the "Triliste": Musical size 2/4, the fraction is performed on each 1/8 clock, from the left leg. Source position - 6th position of the legs, hands lie on the waist.
- Once - lift the left leg to the ankle of the right leg with a shortened rise, omit on the heel with a blow, then omitted with a blow to the floor to the floor (as if catching up the heel), and though from the right foot next to the left.
- And two and - repeat the fraction for each 1/8 tact.
Rotation itself is performed as follows. For each 1/8 clock, that is, for each fractional combination, one turn is performed 360º.
It is recommended to make a small step with right foot in the direction of rotation in order to dial the speed and give force hand. At the moment when the left foot is put on the heel to make a half-digit and turn left side in the direction of rotation, then, ending the turn, finish the fraction to the end.
The simplicity of the performance of this rotation is the apparent, oddly enough, at a slow pace it is more difficult, it is easier to perform it in a fast pace, but for this you need to be in good physical form, it is necessary to clearly coordinate the work of the body, hands, legs and heads. "Visitnik" in the turn is one of the few rotations, where the support, the leading foot is not the right foot, but left. And it is she who helps in the work of the left forced hand.
3. Combined rotations.
a) Runners and "pancakes" with work hand.
Musical size 2/4. The combination takes 2 tact 2/4. On the music joining the 1st or 2nd Preparations for rotations diagonally and in a circle.
1 clock - perform two rotation of the Rotsense.
2 tact - to perform two turns "Pancakes" with the legs. At the same time, during the execution of each "pancake" right hand at the expense - once - opens through the first position on the second, and at the expense - and - makes shuffles and rises to the third position. Next, it falls in the first position and repeats this peculiar circular movement. After the second time, the right hand pulls to the side, and the combination is performed first.
b) Runanet with Pas Assemble.
Musical size 2/4. The combination takes 2 tact 2/4. On the music joining the 1st or 2nd Preparations for rotations diagonally and in a circle.
1 Tact - Once - make a long running step with the right foot in the direction of movement, the left leg is greatly bent in the knee, the lifting leg stretched. To fulfill the right side of the right side.
- And - make a treadmill with the left foot in the direction of movement, the right leg bent a lot in the knee, put the right leg stretched. Finish full turn right.
- Two and - repeat too, as well as -, that is, to rotate the runner twice.
2 tact - once - make a step-tombe right foot face in the direction of rotation, on the entire foot, in Demi Plie. Left leg raise from the floor.
- And - take the left foot with an elongated knee and stop, forward to 45º, making the shuffles for turning. Pull with the right foot from the floor and perform the PAS ASSEMBLE jump about one and a half turn. The legs are connected in the air to the 3rd position, first the left leg in front, then, at the end of the turn, it translates backwards. Also possible is an option for connecting the legs not 3rd, but in the 6th position, in this case, naturally, the legs in the air retain the 6th position. Hands at the time of the jump closes on the waist, thereby enhancing force.
- Two - finish the jump in Demi Plie in the 3rd (right foot front) or in the 6th position.
- And - make a scrack on the left foot, trust in the course of the movement by the right shoulder and open the right leg disposable to the side by 45º. Hands at the time of the trust opening through the first position. And the combination is executed first.
c) Rotation Tours Piqué and "Pancakes".
Musical size 2/4. The combination takes 2 tact 2/4. On the music joining the 1st or 2nd Preparations for rotations diagonally and in a circle.
1 Takt - Once - a step on the high half-winged legs, the knee is stretched. The left leg, bending in the knee, pressed the stretched lifting, disrupted, behind the ankle or knee of the right leg. Piroet EN Dehors is performed.
"And the left leg descends with the entire foot on the floor in Demi Plie, the right leg opens in the direction of movement by 15º, the rise and knee of the right leg stretched out. It is important to ensure that the left foot falls on the floor almost in place of the right leg, as if knocking it out, otherwise the loss of rotation axis is possible.
- Two and - repeat, too, as well as -, hands are elongated all the time to the sides.
2 tact - once - step forward to the diagonal on the right foot on the entire foot in Demi Plie, the left foot bends in the knee and presses accurately for yourself. It happens to the right foot from the floor, jumping up with progress along the rotation and turn around yourself.
- And - the left leg is lowered to the floor, the right bends in the knee and presses exactly for itself, the full turn ends. The knee of the left leg is brought down.
- Two and - repeat, too, that - once -, that is, to fulfill 2 "pancakes" with the foot. The right hand is both times passing through the first and second position, it looks up to the third position.
At the expense - the next time the rotation is executed first.
This rotation has a smooth internal structure and must be punished with a jerk without jerks. The only focus is the ramp of the right hand to the third position.
d) Rotation with two legs scrap, pyruette and "pancake".
Musical size 2/4. The combination takes 2 tact 2/4. Right position: 3rd position of legs, hands on the waist, right shoulder in the direction of rotation.
Uctop - open the right leg aside by 45º.
1 Tact - Once - Skurp on the right foot, in the 3rd position in Demi Plie, left foot front. Hands open on the second position. At the gear on the floor, the right leg is first put, followed by the left one comes in the first position, the reception of the syncopes.
- And - growing out of Demi Plie on high half-winges, turn 360º. The left hand closes on the waist, the right hand comes to the first position.
- Two and - make a short demi plie on his left leg, to open the right leg to the side of 45º, and immediately step on the high half-half-footed legs and execute Tours Piqué (the left foot is pressed back to the ankle of the right leg). The left left on the waist, the right hand through the second position rises upstairs, to the third, making shuffles to complete the turn, and falls again to the first position.
2 tact - once and - crossing on the left foot, execute one "pancake" with the legs. The left hand remains on the waist, the right hand also closes on the waist.
- Two and - make a step on the high half-foot half-winges, put the left in the 6th position to it and make a complete turn. Hands retain the oldest position.
These are just some examples of possible combinations. All the movements of the people's scenic dance can be included in all possible rotations. It all depends, as already indicated, from the desire and capabilities of performers, fantasy teacher and the available musical material.
Stop after rotation.
The end of rotation, its conclusion is also extremely important as the beginning, Preparations. The ability to stop correctly after the twentieth says that the performer is completely ready to endure his art to the audience's court. After all, you will agree that it is not interesting to look at how after a fairly tight rotation performed, the performer will be lost, search for viewers, fall into one direction or another, losing the axis of his body. It is beautiful, it is quite difficult to stop well and clearly, so the teacher must pay the technique of stopping in the lessons the required amount of time, as long as it is mastered by students.
After the rotations on site, the ending or, as they say the "spin" can be performed both in place and advanced. For example:
a) "twist" in place, with exit through the fourth position.
After performing any rotation, the required number of times, climb the high semi-chances of both legs on the 6th or free 1st position. Finely crossing to make 2-3 turn around him, first increasing the speed of rotation, and then hacking it. The hands are sharply closed on the waist, thus reinforcing the speed of rotation. At the last turn, the speed decreases and a step forward with the right foot in the Demi Plie and the transition through the 4th position on the right foot. The left foot is drawn back to the toe in the floor. Hands can be left on the waist, or open through the first position on the second. During the "twist", the legs must be interconnected, it is impossible to be allowed that they will be revealed to the second non-verbal position.
b) the "twist" on the spot with the scraping on the 3rd position.
This stop is convenient for the rotations performed in the rapid pace, when at the time of the "twist" it is very difficult to pay off the speed of rotation.
After performing one or another rotation, perform the "twist", as it was described above, but do not take a step on the right foot, and at the end of a sharp scrape from the 6th position on the third, right foot ahead, in Demi Plie, to open in First position. Then climb to the seams of both legs, also staying in the third position, bring hands to the second position.
Such a stop, or rather, the scrapes and rise to the semi-winges, allow you to quickly extinguish the rotation speed.
c) "spin" with advancement.
After performing any rotation, such as overtas, both hands are closed on the waist, and 2-3 turns are made by Tours Chainés forward to the existness. And then the "spin" itself ends with a yield through the 4th position or the scrap on the 3rd position.
Rotation with the promotion diagonally or in a circle ends approximately the same as the rotation in place. With the only difference that most often the "twist" is not done in place, but with progress along the rotation, for example:
d) "spin" with promotion for rotations diagonally or in a circle.
After performing one or another rotation with the promotion in a given direction, both hands are sharply closed on the waist and make 2-3 turns of Tours Chainés, continuing the movement in the same direction and without changing the "point". Over the last turnover, the speed of rotation is quenched and stopped after the 4th position on the right leg at the 2nd point (for rotation diagonally), while the head turns to the left shoulder, and the view is translated into the viewer; Either the scrakes occur on the 3rd position of the face to the audience (for any rotations), in this case, at the time of the scope, the view changes the point and translates En Face to the viewer.
These are the main options for the end of rotations. In addition, each teacher can offer to performers other options that will depend on the specific tasks of the execution of a particular choreographic composition.
It is important to remember that preparations, the rotation itself and its ending - 3 essential parts of one movement. And none of these parts can exist apart. The teacher must remember that no rotation can be considered a full-fledged movement if the approach to it and the end is not executed properly or not at all.
Conclusion.
Russian People's Dance is a bright, colorful creation of the people, which is an emotional artistic specific display of his life, character, thoughts, feelings, aesthetic views and understanding of the beauty of the surrounding world.
Dances people decorated their life, their lives. In every city or village there were especially favorite places, where in the days of summer and winter holidays or just the guys were going to the people - drove away dances, danced, sang, played in various games. The traditions of such festivities have been folded long, and their roots are rooted into deep old.
In the dance, each Russian man wanted to be better, elevated than in everyday life. He expressed his minds and thoughts about the beauty of human, both inner and external. The Russian man danced not so much for the viewer as for himself, for his own pleasure, for his own satisfaction.
And even now, when everything in Russian dance, it would seem, subordinate to the technical improvement of performers, no dance composition will be successful if only the mechanical execution of movements and tricks will be included, including. The most difficult thing in the modern art of dance is the ability to express your emotional state and attitude towards each movement. If performers are enjoyed, the inner rise and joy because they do, it means that they are genuine custodians of folk art.
Bibliography.
1. Bores A.A. Dancing the peoples of the world. - M.: University of Natalia Nesterova, 2006. .
9. Gusev G.P. Methods of teaching folk dance. - M.: Vlados, 2004.
10. Zakharova V.M. Rainbow Russian dance. - M.: OV. Russia, 1986.
11. Zakharov R. Notes of the balletmaster. - M.: Art, 1976.
12. Zatsepina K., Klimov A, Richter K., Tolstaya N., Pharmalianz E.
People's dance. - M.: Art, 1976.
13. Inoshetseva G.V. Folk dance. M., Knowledge, 1971.
14. Klimov A.A. Basics of Russian folk dance. - M.: Art, 1981.
15. Klimov A.A. Basics of Russian folk dance. - M., 1999.
16. Klimov A.A. Russian folk dance. Tutorial. Issue 1. - M., 1996.
17. Lopukhov A., Shiryaeva., Bocharov A. Basics of characteristic dance. - L.-M.: Art, 1939.
19. Moiseev I. I remember ... - M.: Consent, 1998.
22. People's Scenic Dance. Methodical development. - M., 1987.
24. Plekhanov G.V. Aesthetics and sociology of art. - M., 1978.
25. Russian dance. - Samara 1998.
26. Smirnov I.V. The art of the balletmaster. - M.: Enlightenment, 1986.
27. Sobolev G.G. Modern Russian folk choir. - M.: Knowledge, 1978.
28. Stukolkin N. Four Emsisis. - M., 1974.
29. Dancing the peoples of the USSR. Vol. 6, m, art 1972 - 122 p.
30. Tarasov N.I. Classic dance. - M.: Art, 1981.
32. Tkachenko T. Folk dance. - M.: Art, 1975.
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In swimming, under the turn, the change in the direction of movement by 180 ° is understood.
All turns are divided into open and closed (to perform inhale during rotation), as well as simple and complex (speed) - by the number of rotation axes.
In order to simplify the analysis of movements when turning and for a more successful solution of tasks in training, the turns are conditionally divided into phases (parts) of movements:
- 1st phase - swimming and touch the wall of the pool;
- 2nd phase - rotation;
- 3rd phase - push;
- 4th phase - sliding;
- The 5th phase is the first swimming movements under water;
- The 6th phase - exit to the surface of the water and swimming movements.
Phase 1. - Swimming and touching the pool wall. Sweeping to rotation is necessary without reducing speed. For highly qualified athletes, the fulfillment of five consecutive cycles of movement without changing their pace.
Phase 2. - The rotation occurs in a dense grouping, which contributes to the transformation of the speed of translational movement into the rotational. The speed of rotation depends on the radius and the moment of rotation. The smaller the rotation radius, the faster the turn will be completed. Radius of rotation is determined by the removal of body parts from the center of body mass. The densely grouping, the smaller resistance to this rotation is water. It is important to inhibit in time and occupy the starting position before the impetus.
When performing the rotation phase, it is necessary to remember that a slight impetus is set from the very beginning of the movement. So, for example, when swimming with a crawl on a chest, the hands move down-back, and the swimmer seeks to touch with the tassels of the ankle joints of the legs, and the chin - chest. The rotation of the body around the transverse axis occurs with a slight advance from rotation around the longitudinal axis. The broach of the bent legs is carried out in inclined or vertical planes and is performed with acceleration at the end of the movement.
Phase 3. - push. Before the impetus, the torso is immersed under water to a depth of 0.4 -0.6 m, the longitudinal axis of the body is located almost horizontally, the hands together, the head between the elongated hands. Feet bent, feet on a swing wall. Too low (high) leg position will lead when performing sliding to an increase in water resistance. The greatest force of the shock is achieved by flexing legs in the knee joints to a straight corner.
The effectiveness of the repulsion phase is due to the level of development of the speed and power capabilities of an athlete. The distance and speed of sliding, the effectiveness of subsequent phases depend on the direction of the jolly and the force of repulsion. A push should not be sharp and short, but should be optimal in time with ever-increasing effort until the bottom of the legs from the wall. Swimmer "squeezes" himself from the wall, all the time increasing the power of repulsion.
Some athletes use "care under the flow of water to reduce the resistance of the oncoming water flow of the body.
Phase 4. - Slip. After performing the push, the straightened hands are in front, the head is between hands, the legs are straightened, the swimmer takes the streamlined position. The sliding length depends on the strength, direction and speed of push.
Phase 5. - Swimming movements under water are different for different ways of swimming, are carried out depending on how they are regulated by the Rules of Competition.
The first swimming movements under water in all ways of swimming, except for breast cancer, it is allowed to perform only to a mark of 15 m from the turntable pool. When swimming with freestyle, they are made by legs or a crawl, or butterfly, and when the water is released, the movements are performed by hand - at the beginning of one and then another. When swimming on the back, the first movements under water are performed by the legs and the body of the batterfly. The head of the swimmer should seem on the surface of the water at no further of this mark and after that the rowing movements begin with their hands. The first swimming movements of Butterfly are the same as on the back, just at the same time the swimmers can be on the chest or on the side, without turning their backs down. When swimming in a brew, the athlete can make the first cycle of movements with rowing hands to the hips under water, but after the start of the second cycle, when the hand brushes during the rowing will take the widest position, the head should seem on the surface of the water.
Currently, the improvement of this phase of turns is given great importance in the training of high-class swimmers.
Phase 6. - access to the surface of the water and swimming movements. Simple turns are mastered with the initial training of sports swimming methods and are a touch with one hand when swimming with a rumble on the chest and on the back and touching the pool walls simultaneously when swimming with butterfly and breast. But with all methods of swimming, a simple turn is performed by rotating around only one vertical axis, i.e. The body of the swimmer during the fulfillment of all turns with all methods of swimming except the way on the back is breast down, and on the back - back down.
If a simple turn is open, then at the time of rotation, the head of the swimmer is over the water and at the same time it becomes possible to breathe in. If a simple turn is closed, then the swimmer performs the rotation with the head-down head without the possibility of breathing, which makes it possible to rotate faster.
In modern sports swimming, swimmers use three types of complex turns.
Fig. 4.6. Turning technique "Pendentum" (explanations in the text)
Rotate "Pendentum" It is a complex open turn. It is performed by swimmers floating with breast and butterfly. The athlete, without going to the wall of the basin of 0.5 -0.7 m, performs the energetic rowing with his hands and touches the walls of the wall at 20 - 30 cm above the surface of the water. Then it turns on the side, at the same time taking the position of the grouping and pushing out with one hand down, performs rotation. Rotate on the chest around the longitudinal axis of the body is completed during slip. This method of rotation is rather slow, but it complies with the regulations of the rules of the competition, since when swimming with breasts and butterfly, when the pool is necessary, it is necessary to rely on the wall of the pool at the same time, below or at the surface of the water (Fig. 4.6, a, b, b). During this phase, the swimmer rotates around the transverse and longitudinal axes, at the same time lowering the bent legs down, and the shoulders rising up. The bottom hand is displayed in the direction of the inverse movement, and the upper air is sweeping towards the rotation (Fig. 4.6, g, e).
Then setting the bent legs under the duty of 90 ° in the knee joints on the wall of the pool, the upper hand enters the water, the push is performed with a turn on the chest and occupies a streamlined position (Fig. 4.6, e, w, h). When rotating the torso and the foot of the swimmer must be in the same plane. In the event that the legs are lagging behind the shoulder movement, the duration of rotation increases significantly.
The first movements when swimming with the Brass begins with their hands, then the movement is performed, and the head should appear on the surface of the water to the middle of the second rowing.
When swimming with butterfly, the first movements after sliding begin with the legs and the head should appear on the surface of the water at a distance of no more than 15 m from the swing wall of the pool.
In 1964, the International Foundation for Swimming (FINA) was solved by a special solution to athletes specializing in swimming free-style, producing a turn without a touch of a pool wall. This turn was named "Silt Rotation".
Fig. 4.7. Machinery "Film Turn Salto" (explanations in the text)
The swimmer without reducing the speed sails to the swivel shield (Fig. 4.7, a), one hand finishes the beats, and the other starts in the direction back-up, helping this movement of the start of rotation of the body (Fig. 4.7, b). At the same time, the swimmer makes movement in the footsteps down, flexing the legs in the knee joints, thereby increasing the speed of the initial rotation of the body. Having received a pulse to rotate, the swimmer tilts his head to the chest, supporting the speed of rotation due to the support with his hands down (Fig. 4.7, B, G, D). Initially, rotation is performed only by the torso, and then the legs bend into the knee and hip joints. The end of rotation coincides with the legs on the side of the pool and the rotation of the body on the side (Fig. 4.7, E). The athlete puts the feet on the wall, the impetus begins. At the moment of repulsion, the torso turns on his chest, and the swimmer starts slipping (Fig. 4.7, w, h).
When performing rotation at high speed, the swimmer does not have the need to create rotation using the movement of hands and legs.
It is enough to lower the head and shoulders under the water during swimming in the swivel wall of the pool. The spin of the swimmer will rely on the "water pillow", and the rotational moment will arise. Hands, at the same time, along the trunk, remain in a fixed position and at the end of the body rotation will take a position for sliding, then during the rotation of the muscles of the hands and the body will be in a state of rest, which will have a positive effect on their performance.
Fig. 4.8. Simple turning technique on the back (explanations in the text)
Outdoor simple twist when swimming with a rabble on the back. Open turn is most simple on the implementation technique and is used in the initial swimming. When the swimmer approaches the swivel shield in the back position concerns the wall at the end of the next rowing, without reducing the speed (Fig. 4.8, a). Immediately before turning with the last rowing, a full breath is made.
The turn can be performed in any direction depending on which the wall is touched by the wall - if the right, then turning towards the same hand, and vice versa. When turning the swimmer should touch the wall bent in the elbow joint with hand so that the palm under the surface of the water is directed a little toward the turn, the other hand after the rowing remains at the hip (Fig. 4.8, b). At this moment it is exhaled.
Rotation is performed after touching the wall with hand, then the swimmer takes the position of the grouping. At the same time, the legs move the side so that the knee joints oppose water. The rotation is promoted by the support of one hand about the wall and the movement of the other to the body. In the second half of the rotation, the reference hand is removed from the shield and moves forward; At this moment, inhale is performed (Fig. 4.8, B). At the same time, the legs are put on the wall with the feet, located in parallel on the width of 0.15 - 0.20 m as close as possible to the surface of the water, and the hands are connected in front (Fig. 4.8, g, d).
The push is done immediately after the stops will be on the rotary shield (Fig. 4.8, e). Next should be gliding, swimming movements under water and exit to the surface of the water.
"High-speed twist of flops on the back". When swimming in the back in the back for a long time was allowed to perform a turn only when tapping the pool wall with hand. The rotation was allowed to do in any plane, but before repulsing the swimmer had to take the position on the back until his legs were separated from the pool wall.
Rules of rotation on the back (1991) are allowed "touch the wall of the pool with any part of the body." Rotate without touching the wall of the pool wall 0.3 -0.5 with faster than with a touch. The technique of performing complex turnout without touching the wall of the hand is as follows: for two rowing until the wall touch the swimmer's pool must perform a coup on the chest simultaneously with the beginning of the rotational movement head down, making beats one or two hands. The last rowing is performed similarly to the rowing when swimming with a rumble on the chest. Rotation is performed in the same way as when swimming on the chest, with the only difference, which at the moment after rotation, the swimmer does not turn into the chest, but remains in the back position. Hands must meet in a position behind the head before the repulsion begins, the occipital part of the head is in a position between hands in an elongated position. When analyzing the swimming techniques on the back, it was found that the work of the legs after slipping by dolphin (butterfly) under water gives a swimmer advantage over time compared to the work of the legs of the crawl. If the technique of movements with the legs of the dolphin is not sufficiently worked out, then the swimmer is recommended immediately after the repulsion to pop up onto the surface and start working hands without delay. The value of the method of swimming in dolphin in applied swimming is small.
In complex swimming, after sailing a distance, the transition to swimming on the back occurs with a cloud of the wall with two hands at the same time, and the rotation is performed by rotating the body back. Having completed the swimming stage on the back, it is necessary to touch the wall with hand and rotate forward, being in the position on the chest. Finishing the stage of Brass, it is necessary to touch the wall with two hands at the same time. Here it is possible to perform a knot forward, or "pendulum".
Error occurring: lowering or climbing the head, late when performing the first movements and the irrational execution of the first movements.
Beautiful and clear turn is an elegant raisin that decorates our dance. However, the most frequent problem that appears at the beginning of training is dizziness and as a result, the loss of clarity in the movements. This is what the cycle of articles will be devoted - what ways to avoid dizziness on the turn and what to do if such a situation happened.
There are 2 absolutely opposite techniques for storing clarity when retention - retention of the point and the reflock of the view.
The retention technique is based on the fact that during the rotation the dancer chooses a point and keeps it with her gaze until his body turns a turn. From here there were two focus options at the point - on the far and in the near the subject.
Holding point on the far object
Focusing on the far object is the most common way to avoid dizziness. Consider the mechanics of movement when turning in one place:
- The dancer begins the turn, the head remains directed straight, the selected point is held by the look
- The dancer turned 90 degrees, the head remains directed directly, the selected point is held by the look
- The dancer turns more than 90 degrees (position when we can no longer leave the head in the position right), the head comes to the direction of the body with a greater speed than the body, the selected point look does not hold
- The dancer turns more than 180 degrees, the head comes to the position right, due to the fact that it has already turned toward the turn, the selected point is held with a look
- The dancer finishes rotation, completing the turn up to 360 degrees, the head is in the position straight, the selected point is held with the view 
Preparation
However, without additional training before starting training, it is not necessary. Before additional preparation, the task will be to keep the axis of rotation of the dancer without distortion and at the same time not harm the body.
Required exercises before execution of a point in a distant subject:
- Turning the head in different directions, holding the head strictly vertically.
The human movement feature is that when we turn your head in the side, then it does not remain vertical, but slightly "falls" towards turning. To correct, ask the assistant in the side position of the head of her slightly gently turn to a strictly vertical position. Physically, it is felt as an additional work of the neck muscles from the opposite side. Working and control will allow you to save a strictly vertical position of the head during any turn. If the moment of "false" head is not removed, then when rotating the body is a single straight axis, and the head gives a break of this axis. Corollary - the axis is unstable and it is harder to keep the turn.
- Rotation with fixed beautifully horizontally hand.
The problem is that when rotating, many of us on the instinctive level begin to pull up one or both hands to ourselves. As a result, the sizes of the turn is changing that again, it affects the holding of rotation (remember the lessons of physics and figure skaters, which change the positions of the hands and legs, control the characteristics of their turns). In addition, this looks very not aesthetically. The only way out is to include good music, put hands and train turns, controlling their immobility.
In move
The technique of holding a point on the far object when rotating in one place is clear. But what if we move? This case also has "Lifehaki":
- moving in a straight line
When moving in direct only it seems that it is impossible to find a fixed long point. This point will be the first on what we can hook a look towards moving at the level of our head. Speaking in a simple way: we look there, where we must come.
It is very convenient to train this point in the hall in front of the mirror, rotating on the mirror. Choose in the role of a fixed point Reflection of our eyes and try not to let them out of sight to the end of the rotational path
- Moving in a circle
Here the technique of holding a fixed point in the direction of rotation will not suit us, because This is the most destination will constantly change and we have to choose that when rotating in a circle will be relatively invariably - the position of the center.
If you keep a point with a look at the floor, then it may often be such an error as the head lowered, so we choose a point of about 0.5 meters above the floor - and the head does not look lowered at such a point, and the point itself is easy to hold
Holding point in the near object
This technique meets a much less freight of the retention of the point in the far object, however, it is possible to achieve a very high speed of rotation without losing the focus and without taking dizziness.
The essence of the technique is that the subject is selected, which will be seen by look and rotate with us. I use some kind of 
powerful ring (to see it with any lighting). Beginning to rotate, we focus your eyesight on the ring, which wearing the horizontally supplied hand - it will be for us a fixed object.
Defocused vision technique
And what to do if, during rotation, our head does not stay still, but should perform additional rotation / mahi hair? In this situation, it's almost impossible to keep the look at the point! The output in this case is almost only one - the defocus of view.
The dancer before starting the element execution defocivers vision and after the end of the item again collects it on one of the fixed point
Afterword
And what to do if the head still smelled, and still need to do a very big piece of dance? If we received dizziness during rotation, then in training we remove it with the rotation of the head in the opposite direction. In the dance, this can be originated by the execution of turns in the opposite direction. 1-2 rotation is enough to restore focus.
I hope the above techniques will help you avoid dizziness and driving on turns. After all, it is not in vain that each dancer had her favorite pillar, in which she was listed. All creative success and non-maimatic dance!
Technique of rotation
I recently managed to open an exercise, preventing awakening and allowing a new dream effort to cause a new dream. I encountered the fact that awareness of sleep state often interrupts his move, leading to immediate awakening. Since the action in a dream corresponds to the events in the physical world, it was possible to assume that the relaxation of the body of sleep may interfere with the awakening, reducing the tension of the muscles of the physical body. The next time, being in an informed dream, I checked this idea. As soon as the dream began to melt, I fell to the floor, completely relaxing the body. Nevertheless, in contrast to my assumption, it seemed to me that I woke up. However, a few minutes later, I realized that it was just a false awakening. Further experiments confirmed the correctness of the assumption. I discovered that the main element of this method is not relaxation, but a sense of movement. In subsequent dreams, I experienced a variety of movements and realized that for the occurrence of a new conscious dream, the most effective turning on the back and rotation.
The technique is very simple. As soon as the image begins to fade, you need to either fall on your back, or start spinning a wolf (using, of course, the body of sleep!). In order for the method to work, it is necessary to get a bright sense of movement. Usually such a procedure causes a scene shift in a dream. For me, a new place is often becoming a bedroom in which I sleep. After that, I can continue to admire the new scene of a conscious dream, if it manages to remember that by the time the transition starts, I slept. Without such additional efforts it may seem that the new dream is a real awakening. And it is despite the obvious manifestations of absurdity in the content of sleep!
This method is very effective. In more than a hundred dreams, I had the last six months and I put in a three-year report attached to my doctoral dissertation, I used the described technique for 40 percent of time, and 85 percent of cases I managed to create a new dream. Awareness returned to me in 97 percent of new dreams. When the rotation gave rise to a new dream, its situation was always closely connected with the bed at which I slept, and in general my bedroom.
The experiences of others consciously dreaming, used this technique, are very similar to everything described by me, but the new dream in them is not always associated with the scene in the bedroom. One such a dream, after using the rotation method in five cases from eleven, turned out to be outside its bedroom.
This result suggests that after the use of rotation, a person usually turns out where it expects to be. In my case, the almost constant emergence of dreams about the bedroom may be unlucky consequence of the situation in which I opened this method. From the case of the case, I accidentally tried to create some other sleep. However, although I sought to be outside my bedroom, it is impossible to say that I truly expected this. And yet I do not lose hope that one day I will succeed in throwing out this annoying association from my head (if this is the case in this). After all, faith can move the mountains, at least in dreams.
Why is the imaginary movement capable of sleeping? This can be given a neurophysiological explanation. The vestibular apparatus located in our inner ear (and helps us to maintain balance), controls information about the movements of the head and body. This information enters the brain and together with vision helps him create an optimal and stable picture of the world. It is in this that the confidence lies that the world will remain in the same position, even if we slide our heads.
Because the feeling of movement during rotation in the dream is as bright as the sensation of the present movement, the brain in both cases is the same. The technique of rotation stimulates the vestibular apparatus and contributes to the activation of the BDG-sleep system located next to it. This assumption is not devoid of grounds, if you recall the link between the vestibular apparatus and the rapid movement of the eyes during the BDG-sleep, open neurophysiologists 24.
There is another side of this "psychological medal." Barbara Lerner has repeatedly noted the importance of movement in a dream to achieve the integrity of the image of the image 25. If the movement is a psychological function of a dream, as it believes, there must be a mechanism connecting the imagery with the psychology of BDG sleep. Moreover, if imaginary feelings can reduce susceptibility to external stimulation of the same kind, then why imaginary movement does not suppress the real sensations of the body and not to prevent the awakening. If the brain is fully engaged in creating a bright inner feeling of rotation, it will be more difficult for him to respond to the opposite sensation coming from the outside. This is an example of what is called "boot stabilization" of the system. Charles Tart explained this by bringing the following analogy: "If you want someone to become a good citizen, you must fully captivate his activities like a real citizen, then he will not have energy to do anything else" 26. In our terminology, "be a good citizen" means to continue to see a dream, and "activity" means rotation in a dream.
There is another technique less efficient than rotation, but which is based on the same principle. This technique is focused on the sleep element. Maers-Mesmer described in 1938 a landmark technique as a means to stabilize sleep. Almost simultaneously with this, similar methods were opened by many researchers, including Scott Speroou and Carlos Castaneda. So the "Donhuanovskaya" variation on the topic "Look in hand" appeared.
Another way to prevent the awakening and loss of awareness is the stabilization of consciousness using "positive feedback". Returning to the analogy of Tarta, one could say that a citizen engaged in some kind of activity is always considered good. There are several methods that fall under this classification. It is proposed, for example, to use allegations that constantly remind you that you are in a dream state (you can, for example, repeat the phrase "this is a dream is a dream ..."). According to another method, it is necessary to "swim along the course" of sleep all the time and do not try to confront events. If we assume that the neurophysiological explanations of my technique of rotation are true, then it can be attributed to the phenomenon of positive feedback. If the rotation in a dream leads to the continuation of the BDG sleep, it means that we have the type of activity in a dream - rotation - leading to a further growth of activity.
The third way to stabilize a conscious dream is called "limiting stabilization". This method, according to Tartu, is similar to the restriction of the possibility of a citizen to take part in unwanted activities. In the relationship of informed dreams "unwanted activities" can be awakening and loss of awareness. This method is based on many stabilization systems of conscious dreams. Some people to strengthen sleep is recommended to make certain exercises, eat and avoid indentation of the stomach. Others are offered to stuck ears or sleep alone. However, there are also universal recommendations: it is necessary to avoid emotional conflicts in the wakeful state and excessive enthusiasm during a conscious sleep. Finally, I would like to advise consciously dreaming not to think too much during sleep and not lose yourself in a dream.