What is “a ballet class“?
Often say that “ballerinas work for the machine to the seventh sweat“. What the machine such is? How on it to dance? Actually, any beautiful variation in the ballet is preceded by daily training in a ballet class. The performance is a report on the done work of the ballet dancer. And daily routine - in the mirror hall at the machine.
The hall for occupations by the classical ballet represents the room revetted with mirror panels with a deal floor and crossbeams at mirrors. These crossbeams - no other than notorious “machines“. It is a wooden bar with a metal pole in the center. The machine can be figurative, for example, for display of elements of a class at open lessons when walls take out on a scene, but most often the machine rigidly fastens to a wall and a floor. The bar goes at a certain height that the hand lying on the machine was not lifted up strongly up, but also it was not necessary to bend down to reach a crossbeam. Therefore most often at the machine 2 crossbeams - on any growth.
An ideal floor covering is the board. For prevention of dust formation and the best coupling of footwear with a floor the last periodically during occupation is sprayed by water.
Any occupation has standard blocks: warm-up, machine, “middle“, jumps. The lesson to the teacher begins and comes to an end with obligatory general bow. It is an equivalent to how at usual school children get up when the teacher enters a class.
Further students disperse in the places at the machine. Depending on the level of skill of the pupil it can stand in different parts of the hall: on the center - the most successful and talented, are closer to the central places of sidelines - the places “seeking“ for training, further are distributed between the others. In the course of training it is possible to change the place as in the best, and for the worse.
At first go of exercise on a warming up of feet and the case . It is carried out facing the machine, both hands on a crossbeam. In principle, a warming up at the machine - concept conditional since before arrival of the teacher pupils are obliged to be warmed at full scale. There are also special suits for a warming up which or are put on all body, or only legs.
Further there is a basis classical (and not only) dance - an exercise . The list of exercises settled and is absolutely identical in Russia, Japan, the USA, Australia and any other place of the globe long ago. At first exercises are done from the right leg, the left hand on a crossbeam, after the termination - changes a leg and a hand, and all at first, but already from other leg.
Names of exercises come from French: Pli é - a plie, Battement - a battement, Rond de jambe - rond zhamb. At the same time each type of exercises there is some more, for example, Demy of a plie, gran a plie, a battement tandyu, a fondue battement etc. The technology of performance of these exercises is very important for future ballet dancer since it is the alphabet of dance. It is impossible to learn to read, without knowing letters. Also it is impossible to learn to dance correctly, without knowing an exercise. Technical skill of the actor depends executions of these Basic Elements. Before any jump Demy of a plie becomes, practically the actor strikes any pose through any battement. The majority of rotations begins also with a battement. Therefore the machine is not passed by any soloist even of the most Bolshoi Theatre.
Further, after the machine, there is “middle“. The actor`s position since the central machine costs in the first line is here too important. Pupils leave in the center of the hall and repeat basic elements of an exercise, but already without support and without change of legs, and most often in combinations. Also here poses of hands, position of the case are fulfilled, new terms appear: Port de bras - port of a sconce, Attitudes - attityud, Arabesques - arabesques. At this stage there is also a working off of rotations, or “rounds“, on the place.
After that jumps begin. At first low, work of foot, the correct beginning and end of a jump since there is no advance are important here. By the time of transition to big jumps pupils are displaced to a corner of the hall there is a work “on diagonal“. Big jumps are made of one corner of the hall in another on diagonal and in turn. There is already an emphasis on jump height, hanged also flight length.
Also “on diagonal“ there is a working off of rotations in the movement.
The listed schedule of occupation is the basic and there are everywhere equally, whether it be initial occupations to kids or rehearsals in the leading theater of the country. The same technique is the main in work of national collectives where in the same way there is the “national“ machine where all elements just the same, just with color of any country: for example, the grandee a battement to a zheta becomes with “eight“, characteristic of Hungary, a hand.
Daily occupations perfect skill of the actor, and - Odile the high arabesque and technical by a fouette is added to a spiritual component of an image of Odetta.