Basics of the basics. Positions of arms and legs in classical dance

The classical school of ballet is based on the basic positions, which serve as the support and beginning for all other ballet steps. From the basic positions many other dance positions are formed. Ballet positions are performed in a standing position, with all muscles gathered, the stomach retracted, buttocks tucked, and posture straight. In classical ballet, all leg positions are lined up in an inverted direction, while the legs should be turned out along their entire length, starting from the hips and ending with the feet. For an accurate description of all positions, let us turn to “Fundamentals of Classical Dance” by A.Ya. Vaganova.

These five starting positions of the legs are well known. There are five of them, because no matter how hard you try, you will not find a sixth position for turnout legs, from which it would be convenient and easy to move on. There are les fausses positions (reverse positions), with the toe facing inward, and there are semi-reversible positions - foot positions used in the study of historical dance. But les bonnes positions (reversals) are basic for classical dance.

For readers who do not know the dance, here is a description of the positions of the legs: I - both feet, turned completely inside out, touch only the heels and form one straight line; II - feet are also on the same line, but between the heels there is a distance the length of one foot; III - the feet touch (inverted) with the heels, which extend one after the other to the half-foot; IV - similar to V position, but one of the legs is extended in the same position forward or backward, so that there is a small step distance between the feet; V - the feet touch (inverted) along their entire length, so that the toe of one foot is adjacent to the heel of the other foot.

Hand positions

In her book, Vaganova describes three main hand positions; all other provisions, in her opinion, are their variety.

Preparatory hand position.

Both arms are lowered down, the hands are directed inward, close to one another, but not touching, the elbows are slightly rounded, so that the arm does not touch the body from the elbow to the shoulder, so that the arm does not rest under the armpit. All fingers are grouped completely freely and are soft in the joints; the thumb touches the middle finger; the hand is not broken at the wrist, but continues the general rounded line of the entire arm from the shoulder. If, from the beginning of the exercise, the thumb does not join the third, then in the process of exercise, from switching attention to the work of the legs, body, etc. it gradually moves away more and more, and the brush takes on a splayed appearance. The tip of the little finger and index finger is rounded. Subsequently, it is allowed to move away slightly from the grouping of the fingers; it is as if nature itself forced them, to give lightness to the hand, to move away in a natural order without tension, which gives the artistic coloring of the hand.

The arms are raised in front of the body slightly above the waist. They should be slightly bent so that, when opening to the second position, they can freely straighten and open along their entire length. When lifting to the first position, the arm is supported from the shoulder to the elbow by the tension of the muscles of its upper part.

The arms are moved to the side, slightly rounded at the elbow. The elbow should be well supported by the same tension in the muscles of the upper arm. You should never pull your shoulders back or raise them. The lower part of the arm, from the elbow to the hand, is kept level with the elbow. The hand, which involuntarily, as a result of this tension, falls and has a dangling appearance, must also be supported so that it also participates in the movement. By holding the hand in this position during the lesson, we give it the best education for dancing. At first it looks artificial, made, but the result will show later. You will no longer have to take care of your arm, the elbow will never sag, the arm will be light, responsive to every position of the body, will be alive, natural and as expressive as possible.

The arms are raised up with rounded elbows, the hands are directed inward close to each other, but not touching and should be visible to the eyes without raising the head. When lowering your hands and finishing the movement from position III through position II down to the preparatory position, this movement should be done quite simply: the hand itself will come to the proper position, reaching its final position at the bottom. It is necessary to carefully avoid the incorrect manner of some teachers who impose sugary plasticity: having brought the hand to the second position, they move it back a little and at the same time turn the hand palm down, breaking the line. The movement turns out to be broken, unnecessary complicated and mannered, the hand itself will turn naturally when necessary.

And finally, we will analyze in detail the position of the brush in positions, and the most common mistakes.

For better understanding of the material, a short video on this topic. Good luck to everyone in learning classical dance =)

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First position- NLP Perception of the world from your own point of view, associated; one of three perceptual positions. (See also: Second position and Third position) ...

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Our point of view; one of three mental positions: the first position is associated with oneself; second position from another person's point of view; third position from an external point of view in relation to all people in a given situation. Brief explanatory... ... Great psychological encyclopedia

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Position is the initial position taken by the boxer at the beginning of the fight and maintained by him throughout the fight between the moments of attack and defense. It must be said, however, that the position varies greatly depending on the individuality of the boxer; In addition, an experienced boxer will change his position to suit his opponent's characteristics.

The position aims to create the most advantageous position for attack and defense and to enable the boxer to maintain full mobility. Therefore, the correct position can only be called one that facilitates the rapid delivery of a blow and the movement of the boxer forward, backward and to the sides.

Typical position

Hand position. The left arm is half bent; part of the arm from shoulder to elbow protects the left side of the chest and heart; the forearm is directed at the enemy; the fist is a direct continuation of the forearm and is located no lower than the solar plexus and no higher than the left shoulder. The back of the fist is directed outward.

The right arm is half bent, the part of the arm from the shoulder to the elbow protects the right side of the chest, the forearm protects the liver and solar plexus, the fist is not lower than the left nipple and not higher than the chin. The back of the fist faces outward.

The correct way to hold a fist should also be pointed out. The thumb should be bent and the second knuckle pressed against the second knuckles of the index and middle fingers. The wrist should not be bent and the fist is always an extension of the forearm. Fists should be clenched loosely.

The muscles of the whole body are ready for movement, but not tense.

Head position. The head is turned half a turn to the left and slightly tilted down. The chin is lowered, but not pressed to the chest.

Advantages of a standard position. The advantages of this position are the following: the even distribution of weight and the free position of the legs allow the boxer to move quickly and unexpectedly in any direction. The left hand is ready for a direct blow, a hook or an uppercut.

The most vulnerable parts of the body (lower jaw, chin, solar plexus) are protected by the right hand.

Errors. Beginners experience the following errors:

a) body weight is distributed incorrectly; transferring body weight to the front leg makes it difficult to move forward, and to the back leg makes it difficult to move backward;

b) legs are too wide apart, or knees are too bent; it also greatly reduces mobility and stability;

c) the left hand is lowered, and thereby slowed down by the “straight” left hand;

d) the right hand is lowered, which causes the jaw to open;

e) the hands are pressed to the body, and the boxer is deprived of the opportunity to quickly strike;

f) the head is tilted to the left; this opens the jaw for the right hand. The fact is that in the indicated position, due to the position of the arms and the rotation of the body, the left shoulder is slightly raised and the right one is lowered; tilting the head to the left, towards the raised left shoulder, completely closes the left side of the jaw, but at the same time completely opens the right. In the above position of the head, the jaw is evenly protected by both shoulders;

g) the fists are tightly clenched, which causes tension in all the muscles of the arms and thereby deprives the blow of the necessary speed;

h) the heel of the back leg is not separated from the floor, which deprives the back leg of the role of a spring at the beginning of the blow.

The position we have described is a left-sided position, in which the left hand and left shoulder are turned towards the enemy. This left-handedness is explained by the following: most boxers have a right hand that is much stronger than their left, but their left hand is faster than their right. Therefore, the left hand is used for reconnaissance, deception, starting a battle and counter strikes when attacking the enemy. The right hand remains in reserve until the enemy’s mistake or the preparatory work of the left hand makes it possible to confidently and accurately strike an unprotected place. In order for the left hand to perform the tasks assigned to it, it needs to be as close as possible to the enemy.

Defensive position (crouch)