I am gradually beginning to understand that dancing is becoming a big and important part of my life, along with music and vocals. Of course, work is to blame for this. And also the movie "Step Up". It’s so cool to be able to dance, to combine ballet and street dance. So far I have not been given either one or the other, but I am already beginning to understand the classic machine. Thanks to “Rhythms” - Yulia Vladimirovna explains everything very clearly to the guys, and I also listen and remember.

When throwing a leg forward or backward, the head looks to the side (center of the class), and when throwing a leg to the side, the head looks straight.
With battement tendu, the leg is brought forward with the heel. In general, where the heel is pointed is very important. Because if you direct it in the wrong direction, there will be no sense in the movement. I tried it myself last night.
When jumping, it is important to jump as high as possible and stay in the air for as long as possible. Only then can you have time to change position in the air from 5 to 2, from 5 to 5, etc.
Preparation for jumping (plie) must be very active so that the fragile, heavy and loose body is pushed upward.
According to the rules of classical graphics, you need to end the movement in the same position in which you started. With rare exceptions, which must be specified.
Demi plie(demi plie)- half squats (Fig. 8). It is important to achieve maximum bending of the legs at the knee joints without separating the heels from the floor. The weight of the body is evenly distributed on both feet without “blocking” the big toe. The knees and feet remain in an inverted position at all times, without violating the correct positions. The back is kept straight. The exercise is performed in I, II, III positions, less often and only at the support - in V, IV positions.

Grand plie. When performing the exercise (Fig. 9), you should keep your heels on the floor for as long as possible - the movement is performed through a demi plie. When straightening your legs, you need to place your heels on the floor as early as possible. You must rise onto your toes and place your heels on the floor with both legs at the same time. Throughout the entire exercise, maximum eversion of the hips and feet is maintained. The weight of the body is evenly distributed on both legs, without “sagging” on the big toes.

Batman(battement)- abduction of the working leg in any direction and returning it to the supporting leg. Each type of batman has its own shape and independent name.

Batman tandue sample(battement tendu simple) - placing the leg forward, to the side, back on the toe. The exercise promotes the development of leg lifting and strengthening of the ankle joint, and is preparatory for mastering a number of subsequent movements of this classification group. When performing batman tandu, the eversion leg is moved with a sliding movement from positions I, III, V forward, to the side, back on the toe and returns to i. n. The movement should be performed in a straight line from the heel of the supporting leg to the toe of the abducted leg and back (Fig. 10). Sliding the leg is performed first with the entire foot with a gradual lifting of the heel from the floor to the position of the extremely extended toe without emphasis on the toe in the final position. With a similar sliding movement, the leg returns to i. n. The support is straightened at the knee. The center of gravity is on the supporting leg. The working leg maintains an everted position.

Batman tandu demi plie(battement tendu demi plie) - a combination of abduction of the leg followed by adduction and a half-squat on two legs (Fig. 11). When performing the exercise, it is necessary to achieve complete fusion of the two movements. To do this, bending the legs at the knees begins slightly earlier than the working leg returns to position 1 or 3. The torso is held straight, the weight of the body during demi plie is evenly distributed on both feet.

Batman tandu pimp(battement tendu soutenu) - is an exercise of combining simultaneously performed abductions and adductions of the leg with a half squat on the supporting leg. In this case, the torso deviates slightly in the direction opposite to the working leg. After performing the exercise with your face, sideways to the support, the form of this movement becomes more complicated: i. p. - right in front on the toe (IV position) through I position to the right position back on the toe. In the future, it is possible to complicate the exercise with various hand movements, lifting onto half-toes, and changing the direction of movement.

Batman tandu zhete(battement tendu jete) - this exercise is profiling for all swing movements. Unlike Batman, tandu is performed with the toe lifted off the floor when abducted from i. n. In fact, it is a swing to a height of about 25° (Fig. 12). The movement should be clear, united, and energetic. The legs maintain an everted position, the center of gravity is on the supporting leg. Hands in 2nd position.

Batman tandu jete pointe (battement tendu jete pointe). In principle, this movement is no different from batman tandyu zhete, however, after abduction, the leg does not close into position, but is placed with the toe on the floor. The exercise can be performed 2-3 times in a row, then the leg is closed in position III (Fig. 13). As the movement becomes more complex, the leg is moved in a low arc from the right (left) position in front, behind on the toe (IV position) to the side on the toe and back, or in a “cross”.

Double Batman tandu(double battement tendu) is a variety of batman tandyu. Performed with the heel lowered to the floor in position II: with one, two, or three or more lowerings (Fig. 14). When the heel is lowered to the floor, the center of gravity remains on the supporting leg. The emphasis of the movement coincides with lowering the heel to the floor.

Batman frappe(battement frappe)- flexion and extension of the lower leg at an angle of 45° (Fig. 15). Before starting to study the movement, the position of the leg is mastered. sur le cou de pied(sur le coup-de-pied) (Fig. 16) . In gymnastics, the position in front (conditional) is used - the leg is bent at the knee, the toe is in front of the ankle of the supporting leg, the thigh is turned backward - the toe is pressed behind the ankle of the supporting leg. Batman frappe consists of quickly bending the shin from and. p. right (left) to the side in the position sur le cou de pie in front or behind with a light blow to the supporting leg, followed by extension forward, to the side, back. The exercise is performed with a sharp, strong movement. At the same time, the hip and knee maintain an everted position. Since the exercise begins from i.p. leg to the side, then before the start the leg from positions I, III through the batman tandu opens to the side, while the hand rises from the preparatory position through position I to II.

There is a more complicated version Batman double frappe(battement double frappe) , characterized by a double “kick” of the working leg at the supporting ankle.

Batman fondue(battement fondu)- a combination of a half-squat on the supporting leg with simultaneous bending of the free leg on the sur le cou de pied in front (behind), followed by extension of the working leg and straightening of the supporting leg (Fig. 17).

It is performed forward, to the side, backward, with the toe on the floor, with the leg raised to 45, 90°. When bending the leg into the sur le cou de pie position, the thigh should not be lowered immediately; the knee is first bent, and the thigh is held motionless at a height of 45°, then gradually lowered together with the lower leg to the final position. When batman frappe is performed at 90°, the leg first lowers to 45°, then bends as described above. Musical time signature is 2/4 or 4/4.

Double Batman fondue(double battement fondu) . The movement begins with a demi-plie on the supporting leg, then a half-toe lift is performed, but the free leg does not open in the given direction, but lingers in a position bent at the ankle; then the half-squat on the supporting leg is repeated again with simultaneous straightening of the free leg by 45 or 90°; at the moment of final straightening of the free leg, straightening of the supporting leg is also performed, ending with lifting onto the half-toes.

Grand Batman Jete(grand battement jete) - swing your legs forward, to the side, back (Fig. 18). The movement is performed through the batman tandu until the toe touches the floor, then the leg rises to the maximum height and through the batman tandu returns to the I.P. (I or III position).

Grand Batman Jete Balance(grand battement jete balance) - swings forward and backward by 90° and higher through the first position (Fig. 19). The movement can be performed to the side: in i.p. facing the support or in the middle of the hall, alternately with one and the other leg. A combination with torso bending, half-toe lifting, and half-squats is possible.

Grand Batman Jete Pointe(grand battement jete pointe) performed like a Grand Batman Jete, but before the toe touches the floor (Fig. 20).

Grand Batman Jete Passe(grand battement jete passe) performed according to the rules of Grand Batman Jete, but with the transfer of the leg from one direction to another using a technique passe(Fig. 21): leg bent, hip turned out, knee to the side, toe at the supporting knee, without touching it. Performed forward and backward. Musical size 2/4.

Batman Devloppe(battement developpe) performed forward, to the side, back 90° and higher (Fig. 22). From the third position, the working leg, bending and sliding with an extended toe, rises to the knee of the supporting leg, after which it straightens in any direction and lowers into the standing position. Throughout the entire movement, the thigh maintains maximum eversion; when straightening the leg, the knee does not drop. When performing movements forward and to the side, the torso remains straight, when moving backwards, it bends slightly forward. Musical time signature: 2/4, 4/4.

Batman developpe passe (battement developpe passe). The working leg rises, then bends, the toe goes under the supporting knee without touching it (passe position), after which the leg rises again in any direction.
Batman devloppe with leg abduction 1/4 of the circle. The working leg is brought forward, then moved to the side and lowered into the i. n. The same is done in the opposite direction. Then the leg is raised to the side and moved forward or backward.
Batman devloppe with leg abduction 1/4 of the circle. The leg from the third position is raised forward by 90° and higher, the extended leg is pulled back across the side and lowered to the third position. It is performed similarly in the opposite direction.

Batman developpe passe. The leg rises forward, to the side, back, then with a short movement it lowers slightly and immediately sharply returns to its previous height. Musical time signature is 2/4 and 4/4.

Ron de jambe. This type of exercise includes moving the leg in an arc along the floor and in the air. Movement of the leg in an arc back, to the side, forward, that is, directed towards the supporting leg, is called en dedan (en dedans). Movement of the leg in an arc forward, to the side, back, that is, directed from the supporting leg, is called en deor (en dehors). Exercises in this group contribute to the development of mobility of the hip joints and eversion of the legs.

Rond de jambe par terre- movement of the extended leg in an arc, touching the floor with the toe (Fig. 23). The exercise is performed by uniformly moving the outstretched leg in an arc, separating the toes from the floor. The hip is in an everted position, the weight of the body is on the supporting leg.

Ron de jambes en lair(rond de jambe en l'air) - circular movements of the shin in the air (Fig. 24). From i.p. right (left) to the side at a height of 45°, circular movements with the shin, while simultaneously bending the knee inward (an deor), outward (an dedan) until the toe touches the calf muscle. The hip is in an everted position.

Grand Rhône de Jambes Jété (grand rond de jambe jete) - large leg swing in a 90° arc in the direction of an deor and an dedan.

Gymnastics all-around: Women's events. Ed. G 48 2nd, revised Floor exercise. T.S. Lisitskaya, V.E. Zaglada / edited by Gaverdovsky Yu.K. - M.: Physical culture and sport, 1986. - 336 pp., illus.”

Pas (pa ) - step; movement or combination of movements; used as equivalent to the concept of “dance”.
Pas d'actions (pas de action ) is an effective dance.
Pas de deux (pas de deux ) - a dance of two performers, usually a dancer and a dancer.
Pas de trois (pas de trois ) - a dance of three performers, usually two dancers and one male dancer.
Pas de quatre (pas de carte ) - dance of four performers.

Adagio (adagio ) - slow, slow part of the dance.
Allegro (allegro ) - fast, jumping.
Allongee (together ) - from Ch. lengthen, prolong, extend; a movement from the adagio, meaning an extended position of the leg and a hidden hand.
Aplomb (aplomb ) - stability.
Croisee (croisé ) - a pose in which the legs are crossed, one leg covers the other.
Degage (dégagé ) - release, take away.
Demi (demi ) - medium, small.
Ecartee (ekarte ) - retract, move apart; a pose in which the entire figure is turned diagonally.
Effect (efase ) - deployed position of the body and legs.
En dedans (en dedan ) - inside, in a circle.
En dehors (en deor ) - out, from the circle.
En face (en face ) - directly; straight position of the body, head and legs.
En tournant (en tournan ) - from Ch. "rotate"; turning the body while moving.
Grand (grandee ) - big.
Petit (petit ) - small.
Port de bras (port de bras ) - exercise for arms, body, head; tilts of the body and head.
Preparation (preparation ) - cooking, preparation.

Arabesque (arabesque ) - a pose whose name comes from the style of Arabic frescoes.
Attitude (attitude ) - posture, body position; the raised leg is half bent.
Passe (passe ) - from Ch. “to conduct, pass”; connecting movement, holding or moving the leg.
Sur le cou-de-pied (sur le cou de pied ) - the position of one leg on the ankle of the other, supporting one.
Tire bounchon (shooting range bouchon ) - “twist, curl”; the raised leg is in a half-bent forward position.

Balance (balance sheet ) - “to swing, sway”; swaying movement.
Balancoire (balance ) - “swing”, used in grand battement jete.
Battement (Batman ) - swing, beat.
Battement developpe (Batman Devloppe ) - swing, open, remove the leg 90* ​​in the desired direction.
Battement double frappe (batman double frappe ) - double strike movement.
Battement fondu (Batman fondue ) - soft, smooth, “melting” movement.
Battement frappe (batman frappe ) - movement with impact, or impact movement.
Battement soutenu (batman hundred ) - withstand, support; movement with pulling the legs in the fifth position, continuous movement.
Battement tendu (Batman tandu ) - abduction and adduction of an extended leg without lifting the toe off the floor.
Batterie (batry ) - drumming; the leg in the sur le cou-de-pied position makes a series of small striking movements.
Demi-plie (demi plie ) - small squat.
Dessus-dessous (ten-desu ) - upper-lower part, above-under, view of the ras de bourree.
Grand battement (grand batman ) - big batman.
Grand-plie (grand plie ) - big squat.
Jete (jete ) - leg throw on the spot or in a jump.
Pas coururu (I'm smoking ) - run through the sixth position.
Pas de bascue (pas de basque ) - Basque step; This movement is characterized by a count of 3/4 or 6/8 (three-beat time signature), performed forward and backward.
Pas de bourree (pas de bure ) - a chased dance step, stepping with a slight advance.
Petit battement (petit batman ) - a small batman, on the ankle of the supporting leg.
Plie (plie ) - squat.
Releve (relevé ) - from Ch. “raise, elevate”; lifting onto fingers or half fingers.
Relevelent (Relevelan ) - slow leg lift to 90*.
Soutenu (a hundred ) - from Ch. “to withstand, to support, to draw in.”

Fouette (fouetté ) - from the verb “to quilt, to flog”; type of dance turn, fast, sharp; During the turn, the open leg bends towards the supporting leg and opens again with a sharp movement.
Pirouette (pirouette ) - “spinning top, spinner”; fast rotation on the floor.
Port de bras (port de bras ) - tilts of the body, head.
Renverse (ranverse ) - from Ch. “overturn, turn over”; overturning of the body in a strong bend and in a turn.
Rond (ronde ) - “circle, round.”
Rond de jambe en l'air (Ronde de Jambes en Leur ) - circle with your foot in the air.
Rond de jambe par terre (Ronde de jambes par terre ) - circular movement of the leg on the floor, circle with the toe on the floor.
Tour (tour ) - turn.
Tour chain (tour chenet ) - “linked, connected”; quick turns following one after another.
Tour en l'air (tour en ler ) - tour in the air.

Assembly (assembly ) - from Ch. connect, collect; jump with outstretched legs collected in the air; jump from two legs to two legs.
Brise (breeze ) - to break, crush; movement from the section of jumping with skids.
Cabriole (cabriole ) - jump in place with one leg kicking the other.
Changement de pieds (Shazhman de pied ) - jump with a change of legs in the air (in the V position).
Coupe (coupe ) - knocking; jerky movement, short push.
Echappe (echappé ) - a jump with the legs opening to the second position and collecting from the second to the fifth.
Entrechat (entrechat ) - jump with a skid.
Glissade (glide path ) - “sliding”; a jump performed without lifting the toes off the floor.
Jete ferme (jete ferme ) - closed jump
Jet passé (jete passe ) - passing jump.
Pas ballonne (pa balone ) - to inflate, to swell; advancement at the moment of the jump in various directions and poses, as well as legs strongly extended in the air until the moment of landing and bending one leg sur le cou-de-pied.
Pass ballot (pa balotte ) - hesitate; a movement in which the legs are extended forward and backward at the moment of the jump, passing through a central point; the body leans forward and backward, as if oscillating.
Pass chasse (on the chasse ) - a ground jump with advancement, during which one leg kicks the other.
Pas ciseaux (pa pre-trial detention center ) - scissors; a jump with legs thrown forward in turn, stretched out in the air.
Pas de chat (pas de sha ) - cat step; a sliding jump from one foot to another, when one leg passes the other in the air.
Pas emboite (in ambuate ) - from Ch. “put in, put in, put in”; a jump during which there is a change of half-bent legs in the air.
Saute (sauté ) - jump in place by position.
Sissonne (Sison ) - a type of jump, varied in shape and often used.
Sissonne fermee (Sison Farm ) - closed jump.
Sissonne ouverte (sison overt ) - jump with leg opening.
Sissonne simple (Sison Simple ) - a simple jump from two legs to one.
Sissonne tombee (Sison Tombe ) - jump with a fall.

Plié is a squat.

Depending on the depth of the squat, there are two types of Plié: Demi-plié and Grand-plié.

Let's consider both types.

Lesson 7

Demi translated from French means “half”.

Demi-pliéIndeed, the squat is not full, but only half.

When performing it, we do not bend our legs to failure, but stop at half the bend.

We squat down, allowing only the knees to bend and not allowing the heels to join in the leg work.

The heels remain firmly pressed to the floor, which promotes stretching in the area Achilles tendon.

Having dropped to the lowest point that our body’s capabilities allow us, we, without stopping, return to the top, stretching our knees.

How to learn Demi-plié?

To make it easier to learn, let's look at the principle by which the legs work.

To do this, we will stand in the sixth position and, tightening our body, begin to bend our knees. The heels are pressed tightly to the floor. We bend our knees “to the point of failure” and without lifting our heels from the floor, we change the direction of movement, starting to rise up. At the top we stretch our knees well.

Having learned footwork in Demi-plié, let's look at the exercise in full.

Like any exercise in classical dance, Demi-plié performed with a taut body. Its position should remain perpendicular to the floor.

I must remind you of the importance of body positioning in any exercise. In other words, it is called a toned body. We talked about her in Lesson 3. Positioning the body.

When squatting, the back is pulled up, the buttocks are directed towards the groaning of the heels, the knees are directed towards the toes, the feet are tightly adjacent to the floor.

The movement is uniform and constant. We don't sit or stand. We are in constant motion up and down without slowing down or speeding up. In music, bending the knees takes the same count as straightening them.

This exercise can be performed in all classic leg positions.

It develops turnout, strengthens the legs and promotes stretching in the Achilles tendon area.

Eversion of legs orDemi-plié in third position.

Not everyone is born with an ideal turnout, which we could use already in the first lessons. Many of us will have to work on our turnout for more than one year.

The third position exists to prepare the legs for the more difficult fifth position.

If you do not take into account the eversion of the legs and go straight to learning movements from the fifth position, then people with a slight eversion will not be able to perform the movement correctly (we are not talking only about Plié).

Firstly, the knees will not be strained; secondly, the foot, especially the one that will be in front, will take an incorrect position and will not be in proper working condition. All together this will lead to improper functioning of the leg muscles. Therefore, we cannot expect that we will see good results from our work.

But it won't end there. We will move on to learning the following exercises for an incorrectly positioned body.

Stop and think: “Do you need this?” "Do you want that?"

I think no.

Take your time with the fifth position. Replace it with a third one and pay due attention to daily work on turning your legs out.

But with this (that is, with the eversion of the legs), you should hurry up, since good eversion gives freedom in movement. I don't think there is any need to explain the importance of this for classical dance.

There are people who from birth have ideal eversion of their legs. For them, the correct fifth position is not a problem. But they won’t waste their time if they work in the third one. The fact is that such details help develop precision in the execution of the sought-after element.

That is, we learn to do not only as we know how and as our body allows us, but also as requested by the choreographer, even in the smallest details.

Lesson 8

Grand-plié This is a big squat.

It is done on the basis Demi-plié.

Doing the first half Demi-plié.

We tighten the body and begin to bend the knees.

ABOUT let's go down to the bottom Demi-plié with a fully taut body, bending your knees.

Let me remind you that the gathered buttocks should fall in the direction of the feet. Your knees should be pointing towards your toes. The heels should be pressed firmly to the floor.

Having reached the maximum point of bending the knees with the heels on the floor, without stopping, we allow the heels to lift off the floor. The heels off the floor should be minimal.

We continue moving down until the legs remain in working condition. Do not let yourself relax and do not sit on your heels.

At the moment when we feel that the leg muscles begin to move into a relaxed state, we change the direction of movement and begin to rise upward.

When rising, first of all we lower our heels to the floor, while maintaining the eversion of the entire leg.

Muscular movement. We work only with our feet, without relying on a stick. The body remains taut throughout the entire exercise and the buttocks are collected.

This movement strengthens the leg muscles and helps develop their eversion.

Grand-plié in second position.

In the second position, you should pay attention to the fact that the body weight is distributed equally on both legs.

By doing Grand-plié in the second position, the heels do not come off the floor.

Grand-plié in third position.

If the turnout is not very good, it is worth staying longer while performing the movement in third position.

The movement itself already contributes to the development and strengthening of eversion.

You should not proceed to perform the exercise in the fifth position if initially the person cannot get into it correctly.

Develop eversion of the leg from the hip joint.

Grand-plié in fourth position.

Grand-plié in the fourth position it is learned last. It is a little more difficult than performing in other leg positions. This is due to the position itself.

The weight of the body is evenly distributed on both legs so that the body (its upper part) falls exactly between the two legs. When bending your legs, your buttocks should point down toward the floor between your two feet. This position guarantees an even distribution of body weight on both legs. The knees should still be pointed towards the toes of the feet. Difficulties usually arise with the back foot. It should be turned out as much as possible.

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Choreographic terminology is a system of special names designed to designate exercises or concepts that are difficult to briefly explain or describe.

In the 17th century (1701), the Frenchman Raoul Feuillet created a system for recording elements of classical dance. These terms are recognized by experts in the field of world choreography even today.

Turning to specialized literature, students experienced difficulties when faced with unfamiliar terms, such as: “Eversion of the legs,” and this is a necessary and obligatory condition for the technique of performing elements of classical dance; “Body” is an unacceptable term in gymnastics; it is replaced by “Posture” , "Balloon" - the ability to fix a pose in a jump, "Force" - the necessary preparatory movement of the arms to perform pirouettes, "Aplomb" - a stable position of the student, "Elevation" - the ability of an athlete to show the maximum phase of flight in a jump, "Priporasion" - preparatory exercises hand or foot before starting to perform an element, “Cross” - performing elements in the following directions: forward, sideways, backwards, to the side or in the opposite direction.

Knowledge of special terms speeds up the learning process. Choreographic terminology characterizes movement in more detail than gymnastics. This is the international language of dance, the opportunity to communicate with choreographers, understanding of specialized literature, the ability to briefly record training combinations, lessons, etudes, floor exercises, compositions.

Terminology is always constructed in accordance with the rules of word formation. The main advantage of the term is its brevity. This makes it possible to reduce the time for explaining tasks and maintain the density of the lesson.

But students are not always able to remember choreographic terminology, so the idea arose of writing choreographic elements using gymnastic terminology, for a more accessible perception by students of the material being studied.

Experience shows that it is precisely students who do not have choreographic training who have difficulty remembering the names of movements. As a rule, these are trampolineists and jumpers on the acrobatic track. But even athletes who have fulfilled the CCM and MS standards do not always have knowledge of the terms and the correct technique for performing even the simplest elements. The creation of this kind of table and a large number of illustrations for the elements make it possible to organize students’ knowledge in the field of choreographic training, to be fluent in choreographic terms and, if necessary, to use special literature on choreography.

POSITIONS OF HANDS AND LEGS IN CLASSICAL DANCE POSITIONS OF HANDS

preparatory

Hands down, rounded at the elbow and wrist joints with the palm up. Thumb inside the palm

I – first

Arms forward, rounded at the elbow and wrist joints

II – second

Arms forward to the sides, rounded at the elbow and wrist joints with palms facing inward

III – third

Hands forward upward, rounded at the elbow and wrist joints, palms inward

HAND POSITION OPTIONS

Right hand in third position, left hand in second position

Right hand forward, palm down, left hand back, palm down

Right hand in second position, left hand in preparatory position

Right hand in first position, left hand in preparatory position

Right hand in third, left hand in preparatory position

LEGS POSITIONS

I – first

Closed toe post outward. Heels closed, toes out. The legs are located on the same line with an even distribution of the center of gravity throughout the foot

II – second

Wide stance with your feet apart and your toes out. The legs are located from each other on the same line at a distance of one foot with an even distribution of the center of gravity between the feet

III – third

The right one is placed in the middle of the left foot (toes out)

IV – fourth

Stand with your feet apart, right in front of the left (at a distance of one foot), toes outward (performed on both feet)

V – fifth

Closed stance right in front of the left, toes out (the right heel is closed with the toe of the left, performed on both legs)

VI – sixth

Closed stance (heels and toes closed)

LIST OF EXERCISE ELEMENTS

Exercise – choreographic exercises in a set sequence at the support or in the middle.

ROTATIONS 90°, 180°, 360°, 540°, 720°, 1080°.

METHOD OF TRAINING THE BASIC ELEMENTS OF EXERCISE

DEMI PLIE, GRANA PLIE (HALF SQUIET, SQUT)

The purpose of the exercise is to develop the elasticity of the articular-ligamentous apparatus and “eversion” in the hip, knee and ankle joints. This exercise helps develop jumping ability by stretching the Achilles tendon.

Half squat(demi plie)

The half squat is performed in all positions. In this exercise, the heels do not come off the floor, the weight of the body is distributed evenly on both legs. Bending and extension of the legs is performed smoothly, without stopping, “inverted”, the knees are directed to the sides, along the line of the shoulders. Posture is straight.

Squat(grand plie)

The squat is performed in all positions. First, a half-squat is performed smoothly, then the heels are gradually raised, and the knees are bent as much as possible. When extending, the heels are first lowered to the floor, then the knees are straightened. When raising your heels, do not rise high on your toes. The exception is the grand plié in the second position, where the heels do not come off the floor due to the wide position of the legs.

Flexion and extension should be performed smoothly, at the same pace. The pace is average. Before starting the exercise, the hand (if the movement is performed at the machine) or both hands (if the movement is performed in the middle) are transferred from the preparatory position through the first position to the second. Then, with the beginning of leg bending, the arm (or both arms) is lowered from the second position to the preparatory position, and with the beginning of leg extension, the arm is again transferred through the first position to the second.

BANTMAN TANDYU (STRETCHED)

(position of the foot on the toe forward, to the side, back)

Flexion and extension of the foot by sliding along the floor until the foot is on the toe. Performed from the first or fifth position in three directions: forward, sideways, backward.

The purpose of the exercise is to teach how to correctly stretch the leg in the right direction, to develop strength and elasticity of the instep (ankle joint) and a beautiful line of the legs.

Batman tandu(right to the side on the toe)

Batman tandy forward(right forward on toe)

Banman tandyu back(right back to toe)

Batman tandu forward and backward is performed along a line strictly perpendicular to the body, and to the side - exactly along the line of the shoulder. When performing batman tandu, first the entire foot slides along the floor, then the toes and instep are gradually extended. The center of gravity of the body is on the supporting leg, the toe does not come off the floor.

Make sure that your knees remain as extended as possible and that both legs remain turned out. When stretching your leg, there should be no emphasis on the toe. As the leg returns to its original position, the foot gradually lowers to the floor. The heel is lowered to the floor only in the starting position.

When performing forward, sliding begins with the heel, and back the foot returns with the toe to the IP. When performing backwards, the toe begins to slide, and the foot returns back with the heel to the IP.

4/4 , the pace is slow. Later, the movement is performed from the beat. Musical time signature -2/4, the pace is average.

BATMAN TANDUE JETE (WASH)

Develops muscle strength, beauty of the leg line and clarity of execution.

Small clear swings of the leg to the downward position and return to the starting position through the batman tandu.

Performed in the first or fifth position in three directions: forward - downwards, to the side - downwards, back - downwards.

Batman tandu jete to the side

(swipe the right one to the side - downwards)

Batman tandu jet forward

(swipe right forward downwards)

Batman tandu jete back

(swipe right back down)

Batman tandu jete is performed in the same way as batman tandu, but when reaching the position on the toes, the leg does not linger, but continues to move with a swing, where it is fixed at the height of the middle shin of the supporting leg (45°). Both legs should be “turned out”, the leg muscles should be tightened, and during the swing the instep and toes of the working leg should be extremely stretched.

Returns to IP with a sliding movement through the position on the toe.

Musical size at the beginning of learning - 4/4 or 2/4, the pace is slow. As you master the exercise, the leg swing is performed from a beat, the tempo is average.

GRAND BATMAN (RIGHT SWING FORWARD, SIDEWAY, BACKWARD)

The leg is in this position both when performing large batman jetés (swings), fixed at 90°, and when slowly raising the leg - relevé lan.

Foot forward position

Leg position to the side

Leg position back

Large swings into the air and return to the starting position are performed in the first or fifth positions in three directions: forward, sideways, backward. From the starting position, the leg rises into the air with a swing, passing along the floor with a sliding movement, as in the batman tandu jet, with the leg fixed at 90° (hereinafter higher), and returns by sliding through the batman tandu jet to the IP. Make sure to maintain the “turnout” and tension of the knees, instep and toes of the working leg. Transfer the center of gravity of the body to the supporting leg. When performing a large swing forward and to the side, the torso should remain strictly vertical. When swinging backwards, a slight forward tilt of the torso is allowed.

Musical size – 4/4. At the beginning of learning the pace is slow. As the leg swing is mastered, it is performed out of beat, the tempo is average, and the height of the swing increases in three directions: up and then up.

When performing a relevé, the leg slowly rises forward, to the side or back and just as slowly lowers to the starting position (through the batman tandu). As it is mastered, the height also increases, as in Grand Batman up and up.

RONDDE DE JAMBE PARTERRE (CIRCULATORY MOVEMENT OF THE TOE ON THE FLOOR)

The main objective of the exercise is to develop and strengthen the hip joint and the necessary “turnout” of the legs.

The movement is performed forward – an deor and backward – an de dan.

An deor(outside)

From the first position, a sliding movement forward onto the toe (batman tandu), maintaining maximum “turnout” and tension of the legs, is transferred by sliding to the second position to the right position to the side on the toe, then, maintaining “turnout” and tension, it is carried back to the toe (batman tandu) and returns by sliding to the starting position

An dedan(inside)

When performing the exercise backwards (an dedan), the leg from the first position is sliding back onto the toe, then sliding to the side onto the toe (to the second position), from the second position sliding to the right position forward on the toe (batman tandyu) and sliding back to the starting position. position

The center of gravity of the body is maintained on the supporting leg. The working leg should move “inverted” through all the main positions of the legs on the toes at the same pace. Through the first position, the leg is carried out in a sliding motion with the obligatory lowering of the entire foot to the floor.

Musical size 3/4, 4/4, medium tempo.

PORT DE BRAS (EXERCISES FOR THE TORSO AND ARMS)

A group of exercises that develop body flexibility, smoothness and softness of the hands and coordination of movements.

Here is one of the forms of por de bras, which consists of bending the torso forward and straightening it, tilting the torso back and returning to its original position.

The exercise is performed at the support and in the middle of the hall from the fifth position in a facing position (en face) or in a half turn (croise, hilt). Before starting the exercise, the hands are transferred from the preparatory position through the first to the second.

Fifth position of legs, second position of arms

Closed stance, right in front of the left, toes out, right heel closed with the toe of the left. Arms to the sides, rounded at the elbow and wrist joints, palm forward, thumb inward.

Fifth position of legs, third position of arms

Port de bras forward, arms in third position (torso tilted forward, arms up, rounded at the elbow and wrist joints).

Fifth position of legs, first position of arms

Closed stance, right in front of the left, toes out, right heel closed with the toe of the left. Hands forward, rounded at the elbow and metacarpal joints with palms facing inward.

Port de bras back, third hand position

Tilt the torso back, arms up, rounded at the elbow and wrist joints, turn the head to the right (tilt the torso back only with your shoulders back, without relaxing the muscles of the lumbar region).

Perform the exercise smoothly, observing the exact positions of your hands, accompanying their movement with your gaze and turning your head. The musical size is 3/4, 4/4, the tempo is slow.

SUR LE COU AE PIE (FIXED POSITIONS OF THE BENT LEG ON THE ANKLE)

Position the foot on the ankle (sur le cou de pied) to perform batman frappe, batman fondue, petit batman, botu. The right one, bent with a slightly straightened foot, is located above the ankle of the other leg, touching it with the outer part of the foot. Fingers are pulled back.

The position sur le cou de pie is performed in front and behind. In both cases, the knee of the bent leg should be “turned out” and directed exactly to the side along the line of the shoulder.

Sur le cou de pied

(basic position of the foot is on the ankle in front)

Sur le cou de pied

(basic position of the foot is on the ankle behind)

Batman frappe consists of bending the working leg into the position sur le cou de pied and extending it onto the toe at the initial stage of training, and as it is mastered, in a downward position in groups UTG-2,3, and in groups UTG-4, SS, VSM - on half toes with lowering in various poses to the toe or downward position.

First, the exercise is learned by extending the leg to the side, then forward and later back, facing the support at a slow pace. It is necessary to monitor the maximum “eversion” of the leg in the hip, knee and ankle joints.

When flexion and extension of the leg in all three directions is mastered, the leg flexion will be performed from the beat with an emphasis on leg extension.

Musical size – 2/4, the pace is average.

First, only the position sur le cou de pied in front and behind is learned. The leg from fifth position is fixed above the ankle of the other leg and lowered again to fifth position. It is recommended to practice this exercise facing the support. It is necessary to monitor the maximum “turnout” of the leg in the hip, knee and ankle joints, maintaining correct posture and the center of gravity of the body on the supporting leg.

As you master the position of the foot on the ankle in front and behind, you learn to change the position in front and behind at a slow pace, and as you master it, at a fast pace. To learn double frappe in groups UTG-3, UTG-4 on half-toes and in combination with demi-plie poses.

The position of the foot on the ankle (sur le cou de pied) to perform batman fondue. This exercise consists of bending the leg into a sur le cou de pied position with an extended “lift”, simultaneous half-squatting on the supporting leg and extension of the working leg to the toe or downwards in one of three directions.

Sur le cou de pied

in front (conditional position of the foot on the ankle in front)

Sur le cou de pied

from behind (conditional position of the foot on the ankle behind)

First, only the position sur le cou de pied is learned in front, then behind. After this, a half-squat on the supporting leg and extension of the working leg, first to the side, then forward and backward, facing the support, are learned.

Musical size – 2/4, the pace is slow. The movement is very smooth.

It is necessary to monitor the “turnout” of the legs and the distribution of the center of gravity of the body on the supporting leg. Once the movement is well understood, various hand positions can be introduced, especially when performing exercises in the middle of the gym. In the UTG-3 group, the batman fondue double is learned, and in the UTG-4, SS, VSM groups, the exercise is performed on half fingers.

PASSE (TRANSLATIONS – “EVERYTHING” POSITION OF THE BENT LEG IN FRONT, TO THE SIDE AND BACK, TOE AT THE KNEE).

DEVELOPMENT (FLEXION AND EXTENSION OF THE LEG 90° AND HIGHER)

The exercise develops “turnout” in the hip, knee and ankle joints and is a lead-in exercise for performing development.

Passe to perform development forward

Stand on the left, the right is bent at the knee with the toe in front.

Passe to perform development back

Stand on the left, the right is bent to the side, the toe is at the back of the knee.

Passe to perform development aside

Stand on the left, the right is bent to the side, the toe at the knee to the side.

If the leg extends forward, then from the starting position it is transferred from the position sur le cou de pied in front. If the leg is extended back, from the position sur le cou de pied from behind.

Then the working leg slides upward along the supporting leg (but without touching it) and opens in the required direction. If the leg is extended to the side, then, without bringing the toe slightly to the knee of the supporting leg, it must be moved to the inside of the supporting leg and then straightened.

When performing, it is necessary to monitor the “turnout” of the hip, the tension of the instep and fingers.

When the passé is well mastered, the second part of the movement is introduced - extension of the leg in one of three directions forward, sideways, backward. First, the developer learns to the side, then forward and later back. Sideways and backward leg extension is learned facing the machine. The movement is performed smoothly. It is necessary to monitor the “turnout” of the leg during its extension and return to its original position. The musical size is 3/4, 4/4, the tempo is slow. When performed in the middle, various rotations of the torso and positions of the arms can be given. The passé position can also be used when moving the leg from one pose to another.

Development is performed from the fifth position in groups UTG-3, UTG-4, SS, VSM in the upward position, and as mastered, upward in three directions and on the half-toes, into poses in combination with elements of the chosen sport.

Glide path(from glisser- slide) - a sliding jump with movement behind the opening leg to the side, forward or backward. Serves as preparation for big jumps.

Grand Batman(from fr. grands battements) - leg throw to maximum height

Grand plié(from fr. grand plie) - deep squats in positions with heels lifted off the floor.

Batman tendu jeté(from fr. battements tendus jeté) - leg throw 45°.

Batman tendu(from fr. battements tendus) - pull, pull out.

En face(from fr. en face- straight) - straight position of the body, head and legs.

Degagé(from fr. degage- extracted, released) - abduction of the leg to the desired height (according to the principle of battements tendus) and subsequent transition to it with the transfer of the body

Demi plie relevé(from demi-plie- half-bent + releve- rise) - two movements that make up an inextricable whole; half-squat followed by lifting on half-toes or fingers.

Jete(from fr. jete) - throw, throw. The term refers to movements performed by throwing a leg

Parterre(from fr. parter) - on the ground. A term indicating that a movement is performed on the floor

Plie(plier- fold, gently bend) - demi plié - slight squat.Grandplier.

Port de bras(from fr. por de bra) - hand movements involving turning or tilting the head and body

Releve(from fr. releve) - lifting onto half-toes, fingers.

Sote(from fr. saute- jumping) - a jump from two legs to two while maintaining position in the air and landing. In elementary school, he learns at a slow pace, checking positions and the moment of return after a jump. In high school it is performed at a fast pace.

Flick-flick(from fr. flic-flac) - one leg is supporting, and the other is working. With the balls of the foot, the working leg moves along the floor from the supporting leg and returns to it. The movement can be performed to the side, forward and backward.

Frape(from fr. frappe) - strike. Hitting the other leg and returning it to its original position

Fouette(from fr. fouetter- whip) - a rapid whipping rotation, in which the leg in the air is sharply thrown to the side and brought to the knee of the supporting leg with each revolution

Shazhman de pied(from fr. changement de pied- change of legs) - jump from V position to V with change of legs in the air. Can be performed on a small jump, as well as in Grand changement de pied.

Eshape(fr. Échappé) - jump from two legs to two. It starts with a demi plie V position in the legs, while jumping the legs are extended tightly pressing against each other, then in the air they open into the second position. Landing occurs in the II or IV position in demi plie.

Ballonne. Jump on one leg or jump onto your toes while moving behind the working leg. The working leg, stretching out during a jump or hop, returns to the position of the extended foot of the working leg on the ankle of the supporting leg at the moment of a half-squat (demiplie) on the supporting leg.

Rhythmic gymnastics is a sport that is amazing in its facets: both severe technique and graceful batman tandu are demonstrated here. Successfully intertwining strength and endurance, gymnastics also cultivates aesthetic taste in a girl, teaches choreography and musicality. Rhythmic gymnastics is based on dance and sport, so choreography plays a huge role. And for the uninitiated it will be difficult to immediately understand the terms, features and rules.

Batman tandu - battement tendu

Choreography lessons in rhythmic gymnastics are present everywhere - both in warm-ups, and in training, and in every combination of numbers. Of course, the numbers can be performed in different styles - from modern to historical, but the basis of each movement is classical dance. It is the classics in choreography - with its Batman Fonya, Batman Frappe, Batman Hundred and other terms - that are the result of many years of practice, the experience of great choreographers and the basis for dancing in rhythmic gymnastics.

Any choreography training begins with staging movements at the barre. Such movements train skills, hone ease and clarity of execution. One of these basic movements is batman tandu. The word batman itself (French “Battement”) means the movement of a raised, abducted and bent leg. In this movement, the athlete rests on one leg - with the whole foot or just the toes - and the second, working leg performs the element.

Batman tandu (battement tendu) literally translates as “tense, tense.” In this batman, the leg is alternately moved back, to the side or forward, while the toes of the working leg are pointed to the floor. When the foot moves forward or backward, the angle between the body and the leg should be 90 degrees. When the leg moves to the side, it should be at the same level as the shoulder line. When performing the movement, both legs are tense and extended.

Another variety of batman tandu is battement tendu jeté. Here everything is performed similar to the first movement, however, the leg needs to be raised by 45 degrees (at the beginning of classes, lifting only 25 degrees is permissible). The leg torn off the floor must be held in this position for a few seconds, and then first return the foot to an extended distance, and only then bring the working leg to the supporting leg.

Batman tandu jete strongly develops the leg muscles and their endurance in the air. When performing the movement, it is very important that the body is collected and calm, and that the shoulders do not rise. Whatever direction the working leg moves, the throw should occur exclusively in a straight line. And regardless of whether the leg is thrown to the right side, forward or backward, the height should always be the same.

Both of these movements are performed with the gymnast standing in the 1st or 5th position.

Batman fondue - battement fondu

Batman fondue takes its name from the French word fonder - “to melt, melt.” This movement is considered more difficult. The supporting leg at the hip joint is bent to a demi-plie position, and the working leg is moved to the lifting position - le cou-de-pied. From this position, the legs are straightened, and the working leg is moved back, to the side, forward.

They begin to master this batman while facing the stick of the machine, then hold onto the stick with only one hand. During the first lessons, the foot should remain on the floor, and as the movement is mastered, the working leg rises to 45 degrees. This exercise starts from V position. At the beginning of mastering the movement, do no more than 4 repetitions in a row for each direction, and then alternate - 2 repetitions forward, 2 backward, 2 to the side. Batman fondue perfectly develops the elasticity of the legs and joints.

Batman development - battement developpe

Batman Devloppe takes its name from the French word developpé - “developed, expanded.” The movement incredibly trains turnout and increases gracefulness. The extended foot of the working leg takes a cou-de-pied position, and then begins to slide along the supporting leg, gradually reaching the middle of the knee. Then the working leg is moved to the side, maintaining a height of at least 90 degrees. At height, the leg is fixed, and then returns to the knee of the supporting leg, following the rules of another batman - releve.

The movement incredibly trains turnout and increases gracefulness.

Batman relevé lent - Battement relevé lent, in turn, dictates the following rules: the working leg is slowly moved to the side, forward or backward, and then rises to the level of 90 degrees and lingers at this point. Lowering to the floor, the foot takes the original 5th position, moving from the toe to the entire foot.

Grand battement jeté

This large batman is great for developing endurance and muscle corset. The Grand Batman Jett involves throwing the leg to a height of 90 degrees and even higher, but at the initial stage it is better to limit yourself to a right angle. The movement allows the body to tilt forward on the supporting leg when the working leg swings back, and vice versa - the body tilts back when the leg is raised forward. When lifting the leg to the side, the body should remain in the same position.

The exercise is performed from position 5. The working leg rises upward with a strong movement, being tense and extended. Then it lowers onto the toe, and only then the foot is brought to the foot of the supporting leg. It is permissible to lift the leg several times without returning it to the starting position.

They begin to study this movement while facing the machine stick. In this position, you can practice the Grand Batman Jeté to the side and backwards. Grand battement jeté forward is easier for beginners to train, already being sideways to the stick and holding onto it with one hand. First, this batman is repeated 8 times in a row in each direction, then alternate them 4 times.

Battement frappe

A variety of this batman is characterized by the word frapper, which translated from French means “to hit, to hit.” Batman Frape is based on a punching movement that perfectly develops the knee joints. It is recommended to master this movement while standing facing the machine.

Batman Frape begins from the starting 5th position, the right leg is brought forward. The working leg is brought to the 2nd position according to all the rules of the batman tandu described above. The heel of the working leg is raised, the toe is pointing down. Then the extended leg sharply reaches towards the supporting ankle, clasping it with the foot. The leg remains in this position for several counts, after which it is extended to a level of 45 degrees, freezes, and returns to hitting the ankle again. This batman can be carried out in all three directions.

The emphasis in this movement is always on the impact of the foot on the ankle. The gymnast’s hips and shoulders should be level, the body should be extended, and the supporting leg should be in the position of maximum eversion. It is easier to study batman by repeating each direction 8 times in a row, and then they can be alternated with each other, performing 4 times.

Batman Frape is based on a punching movement that perfectly develops the knee joints.

We can safely say that the entire effectiveness of the performance depends on the level of the gymnast’s choreographic training. The movements that form the basis of classical dances are able to surround a number with grace, tenderness and aesthetics. In addition, when performing these complex and sometimes tedious repetitions, the athlete is obliged to “keep her face,” and this is an additional development of facial expressions, posture and the need to monitor facial expressions. It is no secret that judges, when evaluating performances in rhythmic gymnastics, pay serious attention to the gymnast’s smile, her “experience” of the routine and emotions.

A set of movements from classical dance form the foundation not only for all choreography, but also for rhythmic gymnastics. Although this set does not have all the array that is studied in ballet schools, these few batmans and pliés are enough to develop dancing abilities in girls. After all, not only the legs are involved here, but also the arms, face, body - and the gymnast, stretched out to the bone, turns into a stately, graceful figure.