BASIC PRINCIPLES AND METHODOLOGICAL APPROACHES TO TEACHING THE CHOREOGRAPHIC COMPOSITION IN TRAINING THE CHOREOGRAPHERS IN CULTURE AND ARTS INSTITUTES
UDC index:
792.8
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Information about authors: Davydov Viktor Petrovich, Professor of Department of Classical and Modern Choreography of Kemerovо State University of Culture, Deputy Artistic Director of Moscow Region State Theatre “Russian Ballet,” Honorary Artist of the Russian Federation (Moscow, Russian Federation). E-mail:davip02051964@mail.ru
Annotation: The most important task in the preservation of dance art is the education of a new generation of choreographers for choreographic collectives and troupes of various directions. The author of this study is a professional ballet dancer and choreographer with many years of experience of teaching the choreography in culture and arts institutes. In this paper, he shares his ideas and methodological approaches to training the future ballet choreographers. Recognizing and summarizing the expertise accumulated by his predecessors, he argues that the current development of the choreographic art requires that training should be based on dance vocabulary, and that students should be taught how to create a choreographic text which serves as the basis for the narrative of a piece of choreography. For this reason, a choreographer training should focus on improvisation. The author argues that, unfortunately, theoretical works by choreographers give little attention to improvisation. To fill the gap, the author suggests an original method of using the improvisation in choreographer training. Its didactic significance lies in the gradual build-up of skills of composing the choreographic text. The main methodical principle is spontaneity of composing the dance combinations consisting of simple movements that students come up with using their imagination. The author believes that the unpredictability of the group improvisation process can lead to the creation of most unexpected combinations that can hardly appear in an individual dance composition. By improvising in a group, students accumulate choreographic material which they can use in their future work.
Keywords: improvisation, choreographic composition, art of a ballet choreographer, choreography, dance creation, art pedagogy, ballet pedagogy, choreographic education, educational program, ballet, dance, art.
DOI:
Article ID in the RSCI:
Article file: Download
Information about authors: Davydov Viktor Petrovich, Professor of Department of Classical and Modern Choreography of Kemerovо State University of Culture, Deputy Artistic Director of Moscow Region State Theatre “Russian Ballet,” Honorary Artist of the Russian Federation (Moscow, Russian Federation). E-mail:davip02051964@mail.ru
Annotation: The most important task in the preservation of dance art is the education of a new generation of choreographers for choreographic collectives and troupes of various directions. The author of this study is a professional ballet dancer and choreographer with many years of experience of teaching the choreography in culture and arts institutes. In this paper, he shares his ideas and methodological approaches to training the future ballet choreographers. Recognizing and summarizing the expertise accumulated by his predecessors, he argues that the current development of the choreographic art requires that training should be based on dance vocabulary, and that students should be taught how to create a choreographic text which serves as the basis for the narrative of a piece of choreography. For this reason, a choreographer training should focus on improvisation. The author argues that, unfortunately, theoretical works by choreographers give little attention to improvisation. To fill the gap, the author suggests an original method of using the improvisation in choreographer training. Its didactic significance lies in the gradual build-up of skills of composing the choreographic text. The main methodical principle is spontaneity of composing the dance combinations consisting of simple movements that students come up with using their imagination. The author believes that the unpredictability of the group improvisation process can lead to the creation of most unexpected combinations that can hardly appear in an individual dance composition. By improvising in a group, students accumulate choreographic material which they can use in their future work.
Keywords: improvisation, choreographic composition, art of a ballet choreographer, choreography, dance creation, art pedagogy, ballet pedagogy, choreographic education, educational program, ballet, dance, art.
