The language of dance. dance vocabulary

Existing since time immemorial. Its distinctive brightness and emotional message leave no one indifferent and involve in its action everyone who wants to join the multifaceted world of art.

Russian dance - a wealth of national traditions

It's no secret that Russian folk dance is the progenitor of all areas of domestic dance art, which has been formed over many years on its basis. Constantly changing fashion and the rapid passage of time could not influence him in any way, much less influence his complete disappearance from Russian soil. This type of creativity proudly carries the entire history of our people. Each generation preserves the memory of its distant ancestors like a shrine and reverently preserves everything that reflects their life.

What does Russian dance reflect?

Being a bright and colorful creation, Russian folk dance reflects an emotional, artistic and characteristic representation of its centuries-old history. He embodies all the creative imagination of the people, the depth of their thoughts and feelings. This type of art carries a specific idea, which is very accurately reflected in the productions. They contain: a dramatic plot, a plot, and intricate artistic images that are born thanks to the variety of plastic movements and conceived designs. The performing image is perceived by us through associations.

Dance vocabulary

The content of dance vocabulary is closely related to the character and rhythm of the melody. It is the most pronounced means in a dance number. Its component tools are: plastic gestures, facial expressions, mise-en-scène, movements of arms and legs, head and body. Russian folk dance reflects vocabulary in a concentrated form and in direct combination with national flavor. It helps determine which place of residence the production belongs to.

Types of folk vocabulary

Russian folk dance combines four types of dance vocabulary:

Figurative. With its help, an emotional-imitative association with the proposed image is created. For example: spruce, hare, deer, bird, and so on.
Natural. The action itself suggests the plasticity developing in the dance.
Traditional. A technique that has been developed over a long time and is in a constant process of development. Modern productions of stylized dances differ from ancient ones in their expressiveness, performance technique and variety of dance movements.
Intonation. This is an example of a pronounced combination of the nature of the emotional state with the rhythm of the work. For example, the same movement, which is performed in different rhythms, reflects a completely different mood of the performer: a fast tempo expresses joy, a slow tempo emphasizes a note of sadness and dreaminess.

Russian folk dance "Barynya"

Russian folk dance "Barynya" is an improvised dance. It is performed differently in each region, but the musical time signature (2/4), lively tempo and cheerful mood remain the same. The name of the dance performance comes from the words of the song's chorus. “The Lady” is performed solo, in pairs or simply by the whole ensemble together. It is characterized by several established dance figures that echo dance interpretations.

Russian folk dance "Kalinka"

The Russian dance “Kalinka” has become the hallmark of our athletes at gymnastics and ice dancing competitions. Also, famous folk groups begin their performances with it. Our national Russian dance is loved and performed all over the world. Her drawings contain: a combination of calm and fast movements, the breadth of the scope of her native spaces, and a strong connection with folk traditions. Folk dance will always be needed by people, and that is why it has existed for centuries. It vividly reflects the life of ordinary people: their workdays, thoughts, feelings, mood swings, skills and creativity. Russian dance is necessary for people as a form of national art that supports the traditions of the people and creates spiritual beauty with original and expressive plastic and musical means.

Friends! Let's repeat the terms of classical dance? Are you ready to test yourself? Over time, what is not used in practice is forgotten, so it is worth periodically doing such intellectual exercises. Or maybe some of you will learn something new!

Adajio [adagio] - Slow, slow part of the dance.
Allegro [allegro] - Jumping.
Aplomb [aplomb] - Stability.
Arabesque [arabesque] - It is called the flying pose, and the name of the pose comes from the style of Arabic frescoes. In classical dance there are four types of “arabesque” poses No. 1,2,3,4.
Assemble [assembly] - Connect, collect. Jump with outstretched legs collected in the air. Jump from two legs to two legs.
Attitude [attitude] - Pose, position of the figure. The leg raised up is half bent.
Balance [balance] - Rock, sway. Rocking motion.
Pas ballonne [pa balloon] - Inflate, inflate. The dance is characterized by progression at the moment of jumping 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 coude pied.
Pas ballotte [pa ballotte] - To 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.
Balancoire [balanceoire] - Swing. Used in grand battement jete.
Batterie [batri] - Drumming. The leg in the sur le coude pied position makes a series of small striking movements.
Pas de bourree [pas de bourree] - A chiseled dance step, stepping with slight advancement.
Brise [breeze] - To break, to crush. Movement from the section on jumping with skids.
Pas de basque [pas de basque] - Basque step. This movement is characterized by a count of ¾ or 6/8, i.e. triplex. Performed forward and backward. Basques are a people in Italy.
Battement [batman] - Sweep, beat.
Battement tendu [batman tandu] - Abduction and adduction of the extended leg, extension of the leg.
Battement fondu [batman fondue] - Soft, smooth, “melting” movement.
Battement frappe [batman frappe] - Movement with a blow, or shock movement.
Frappe [frappe] - Beat.
Battement double frappe [Batman double frappe] - Movement with a double strike.
Battement developpe [batman devloppe] - Swing, open, remove the leg 90 degrees in the desired direction, pose.
Battement soutenu [batman hundred] - To withstand, support, movement with pulling the legs in the fifth position, continuous movement.
Cabriole [cabriole] - A jump with one leg kicking the other.
Chain [shen] - Chain.
Changement de pieds [shazhman de pied] - Jump with a change of legs in the air.
Changement [shazhman] - Change.
Pas chasse [pa chasse] - Drive, drive. A ground jump with advancement, during which one leg kicks the other.
Pas de chat [pas de sha] - Cat step. This jump is reminiscent of the soft movement of a cat's jump, which is emphasized by the bend of the body and the soft movement of the arms.
Le chat [le sha] - Cat.
Pas ciseaux [pa siso] - Scissors. The name of this jump comes from the nature of the movement of the legs, thrown forward in turn and extended in the air.
Coupe [coupe] - Jerky. Knocking. Jerky movement, short push.
Pas couru [I smoke] - Jogging through the sixth position.
Croisee [krause] - Crossing. A pose in which the legs are crossed, one leg covering the other.
Degagee [degage] - To release, to take away.
Developpee [devloppe] - Taking out.
Dessus-dessous [desu-desu] - The upper part and the lower part, “above” and “under”. View pas de bourre.
Ecartee [ekarte] - Take away, move apart. A pose in which the entire figure is turned diagonally.
Effacee [eface] - Expanded position of the body and legs.
Echappe [eshappe] - Break out. Jump with legs opening to the second position and collecting from the second to the fifth.
Pas emboite [pa ambuate] - Insert, insert, lay. A jump during which there is a change of half-bent legs in the air.
En dehors [an deor] - Out, from the circle.
En dedans [an dedan] - Inside, in a circle.
En face [en face] - Straight, straight position of the body, head and legs.
En tournant [en tournan] - Rotate, turn the body while moving.
Entrechat [entrechat] - Jump with a skid.
Fouette [fuette] - To whip, whip. A kind of dance turn, fast, sharp. During the turn, the open leg bends towards the supporting leg and opens again with a sharp movement.
Ferme [farm] - Close.
Pas faille [pa faii] - To cut, to stop. Weakening movement. This movement is fleeting and often serves to prepare the springboard for the next jump. One leg seems to cut the other.
Galloper [gallop] - Chase, pursue, gallop, rush.
Glissade [glide path] - Slide, slide. A jump performed without lifting the toes off the floor.
Grand [big] - Big.

Jete entrelacee [jete entrelacee] - Transfer jump.
Entrelacee [entrelace] - Interlace.
Jete [zhete] - Throw. Leg throw on the spot or in a jump.
Jete ferme [zhete ferme] - Closed jump.
Jete passé [zhete passe] - Passing jump.
Lever [left] - Raise.
Pas [pa] - Step. A movement or combination of movements. Used as equivalent to the concept of “dance”.
Pas d'achions [pas d'axion] - Effective dance.
Pas de deux [pas de deux] - A dance of two performers, a classical duet, usually a dancer and a dancer.
Pas de trios [pas de trois] - Dance of three performers, a classical trio, usually two dancers and one dancer.
Pas de quatre [pas de quatre] - Dance of four performers, classical quartet.
Passe [passe] - Conduct, pass. Linking movement, holding or moving the leg.
Petit [petit] - Small.
Petit battement [petit batman] - Small battement, on the ankle of the supporting leg.
Pirouette [pirouette] - Yula, turntable. Fast spin on the floor.
Plie [plie] - Squatting.
Demi-plie [demi plie] - Small squat.
Pointe [pointe] - Toe, toes.
Port de bras [por de bras] - Exercise for arms, body, head; tilts of the body and head.
Preparation [preparasion] - Preparation, preparation.
Releve [releve] - Raise, elevate. Lifting on fingers or half fingers.
Releve lent [releve liang] - Slow leg lift at 900.
Renverse [ranverse] - To overturn, to turn over. Tip the body at a strong bend and in a turn.
Rond de jambe par terre [Ron de jambe par terre] - Rotational movement of the leg on the floor, circle with the toe on the floor.
Rond [rond] - Circle.
Rond de jambe en l'air [ron de jambe en ler] - Circle your foot in the air.
Soute [sote] - Jump in place in positions.
Simple [sample] - Simple, simple movement.
Sissonne [sison] - Has no direct translation. It means a type of jump, varied in shape and often used.
Sissonne fermee [sisson farm] - Closed jump.
Sissonne ouverte [sisson ouvert] - Jump with leg opening.
Sissonne simple [sisson sample] - A simple jump from two legs to one.
Sissonne tombee [sisson tombe] - Jump with a fall.
Saut de basque [so de basque] - Basque jump. Jump from one leg to the other with the body turning in the air.
Soutenu [soutenu] - To withstand, support, draw in.
Sur le cou de pied [sur le cou de pied] - The position of one leg on the ankle of the other (supporting) leg.
Temps lie [tan lie] - Bound in time. Connective, smooth, united movement.
Temps leve soutee [tan leve soute] - Jump in the first, second or fifth position on the same leg.
Tire-bouchon [tire bouchon] - Twist, curl. In this movement, the raised leg is bent forward.
Tour chainee [tour shene] - Linked, tied, chain of circles. Fast turns, one after another.
Tour en l'air [tour en lair] - Aerial turn, tour in the air.
Tour [tour] - Turn.
Eversion - Opening of the legs at the hip and ankle joints.
Coordination - Compliance and coordination of the entire body.

FOLK CHOREOGRAPHIC CULTURE AS A PHENOMENON OF FOLK ARTISTIC CULTURE

CHOREOGRAPHY, CHOREOGRAPHIC ART(from ancient Greek χορεία - round dance, round dance + γράφω - to record, write) - the art of composing and staging dance.

The art of dance has existed since ancient times. Religious, labor, hunting and other rituals were accompanied not only by playing musical instruments and singing, but also by dancing. Extensive dance performances, often associated with religious ceremonies, existed in Ancient Egypt, India, China, Greece, Rome and other countries.

ETHNOCHOREOLOGY, ETHNOCHOREOGRAPHY(ancient Greek ἔθνος “people” + χορεία “round dance, round dance” + λόγος “word”) is a branch of folkloristics that studies folk dances.

THE FIELD OF RESEARCH IN ETHNOCHOREOLOGY INCLUDES:

1. The emergence and development of traditional dance

o genesis of dance (origin);

o description of the dance in the context of calendar and everyday rituals;

o mutual influence of dance traditions (interethnic contacts);

o study of the cultural and historical specifics of the emergence of genres and forms of dance of a particular ethnocultural population, etc.

2. Theory and methodology for studying the dance culture of ethnic groups:

o study of dance morphology (form, structure, dance elements);

o study of the semantics of dance (the meaning of dance at different historical stages)

FOLK DANCE- folklore dance, which is performed in its natural environment and has certain movements, rhythms, costumes, etc., traditional for the area. Folklore dance is a spontaneous manifestation of feelings, mood, emotions, performed primarily for oneself, and then for the viewer (society, group).

The characteristic features of pan-Slavic culture began to take shape in the distant past, this applies to songs, dances, clothing and even hairstyles. The first dances arose as a manifestation of emotional impressions from the surrounding world. Dance movements also developed as a result of imitation of the movements of animals, birds, and later - gestures that reflected certain labor processes (for example, some round dances). The original dance, like the song, played a magical role, therefore, among the calendar-ritual dances, the most archaic features have been preserved.

The connection between Russian folk dance and rituals was characteristic of many round dances and some types of dance. Single dance, re-dance and quadrille were not associated with rituals.

Russian folk dance is performed in its own way depending on the locality. In the North - sedately, majestically. In the Central part it is sometimes calm and lyrical, sometimes lively and cheerful. In the South - cheerfully, with daring. At the same time, there are common features of Russian folk dance, due to a large extent to the national character of the people. Men's dance is distinguished by its extraordinary cheerfulness, humor, scope, and respectful attitude towards partners. Women's dance is characterized by smoothness, sincerity, femininity, and nobility, despite the fact that sometimes it is performed lively and cheerfully.

DANCE DRAWINGS

A dance pattern is the sequential alternation of different positions of the dancers and the trajectory of their movements. Along with choreographic text, plastic expressiveness and facial expressions, tempo and rhythm of movement, composition, spatial drawing is an expressive means of folk dance and is subordinate to its idea and image.

Considered to be the most ancient circular drawing. It is found in the dances of the first civilizations. The circle personifies the movement of heavenly bodies, the cycle of substances in nature, being an important symbol of almost all pagan beliefs. The most common patterns are: a circle, a circle within a circle, a semicircle, several circles located side by side.

Each subsequent step in the development of civilization was reflected in the dance pattern: the emergence of agriculture, the development of military art, the development of new crafts. In addition to circular patterns, linear patterns appear: lines, columns, diagonals, square formations.

Human exploration of space is accompanied by the emergence of new movements and patterns in dance: the simplest movements in place are complicated by moving along lines; linear movements turn into a drawing on a plane, then a vertical dance pattern appears and, finally, a three-dimensional perspective asymmetrical dance pattern construction.

An example of a dynamic linear drawing that takes into account perspective in dance is the “little book” drawing: two horizontal lines rotate around their axis in different directions, touching the edges, while characters appear from the center.

The drawings reflect the logic of construction: they develop from simple to complex. A simple design is a circle. Its modification can be considered the “figure eight” pattern - two circles flowing into each other. An even more complex circular pattern is “shen”: two circles (one inside the other) move in opposite directions along a zigzag path.

Another example of the development of a simple drawing: from one horizontal line two are formed, moving towards each other; then a cross is formed from two counter-rotating lines, which again transforms into one line, etc.

LANGUAGE OF DANCE. DANCE VOCABULARY

Facial expressions, gestures, gaze, posture are the clearest means of communication. The transition from one pose to another, changing body positions produce movement. Movement is the basis of dance.

Each nation has developed its own traditional plastic arts, its own methods of correlating movements with music. The language of dance consists of generally accepted gestures, positions of the head, arms, legs, body, greetings, farewells. It is determined by the characteristics of age and social relationships. The impact exerted by the language of dance is much brighter and more emotional if the form of the dance corresponds to its content, and the character of the people is conveyed quite reliably.

The language of dance was formed in accordance with the way of life of the people, their social and historical past. The character of the people and the peculiarities of their thinking are reflected in the language of dance.

Dance vocabulary arises on the basis of generalization and specifically dance implementation of expressive human movements. A choreographic work as an artistic whole is woven from dance vocabulary. Individual dance movements themselves do not carry choreographic imagery. But in the context of a particular dance, they represent a whole arsenal of expressive possibilities that embody the collective image of the people.

Dance vocabulary fills the dance pattern with content, and the dance pattern, in turn, shapes the vocabulary. The logic of constructing a musical phrase, the image born of music, allows you to find the necessary choreographic solution and create the appropriate dance vocabulary.

The logic of the development of movements from the simplest to the most complex (with exposition, beginning, steps before the climax, the actual climax and denouement) suggests the use of the principle of contrast (linear construction is replaced by a circular one, a dance phrase of halftones is replaced by a technical passage).

Dance is measured in the same durations as music. The development of vocabulary can look expressive and fresh by complicating the rhythm using rhythmic accents, syncopation: simple fractional tapping - syncopated fractional tapping. The correctly chosen perspective of the performer is of great importance, helping to perceive the dance composition and reveal the image. For the greatest expressiveness of the choreographic image, plastic polyphony is used, when the soloists are accompanied by the movements of the other performers. Here it is important not to distract the viewer’s attention from the main image, but to concentrate it around the soloists with movements and patterns that enhance perception.

Dance speech consists of dance combinations - combinations of several dance movements that reveal the character of the performer. Dance combinations are arranged into a dance phrase corresponding to a musical phrase expressing a choreographic image. A dance etude consists of several dance phrases and is aimed at developing technical performance skills. A choreographic number has an idea, content, action, is subject to the laws of dramaturgy, and reveals the choreographic image. A choreographic canvas is a large-scale choreographic work staged by a choreographer according to all the canons of stage action.

DANCE COMPOSITION

Works of folk choreography, as a rule, do not have a specific author, but are a product of collective creativity and are carefully honed subsequently by many generations. The simplicity and laconicism of a small-form work, created in the process of joint creativity by several folk craftsmen, allow us to reveal the beauty, breadth, emotionality, and lyricism of Russian dance.

Russian folk dances

The dances of the Russian people have their own original, centuries-old features, which are still practiced in various regions of Russia. “The Northern Russian does not dance like the Little Russian, like the Southern Slav...” noted N.V. Gogol in “Petersburg Notes of 1836.” In turn, Russian dance culture influences the dance of neighboring peoples. It is through the interaction and mutual influence of dance cultures that the originality, uniqueness, and uniqueness of each of them is especially clearly manifested.

Russian folk dances have a number of characteristic features. The manner of their performance is distinguished by its breadth, simplicity, and accessibility, because people danced them at weddings, family celebrations, and folk festivals.

Russian folk dance is rich in a variety of specific designs: baskets, collars, books, curtains, snakes, wattles, streams, combs, cabbages, walls, pillars, etc.

Russian folk dance is performed differently in different territories of Russia. In the North - majestic, sedate, proud. In the Central part it is sometimes lyrical, sincere, sometimes fun and playful. In the South, the style of dance is perky, mischievous, and daring. However, despite the differences in the nature of dance performance in one area or another, there are common features of Russian folk dance, due to a large extent to the national character of the people: poetry, lyricism, strength, breadth, dexterity, prowess, virtuosity of movement, simplicity, modesty and at the same time, a great sense of self-esteem in the manner of performance. Men's dance is distinguished by its extraordinary cheerfulness, humor, scope, and respectful attitude towards partners. Women's dance is characterized by smoothness, sincerity, femininity, and nobility, despite the fact that sometimes it is performed lively and cheerfully.

One of the indispensable conditions for the existence of Russian dance is improvisation. The next performing feature is the extraordinary expressiveness of the dancer’s hands. Hands, fingers, shoulders, as well as the face and head are means of expression that allow one to reveal the individuality of the performer. Finally, the manner, the “antics” of each participant in the dance performance is distinguished by its originality, uniqueness, certainly reflecting the personal qualities and mood of the dancer, and is always the bearer of the local flavor of the dance.

In the scientific literature, there are many approaches to the classification of Russian folk dances. Some researchers subdivide them depending on the songs to which they are performed. For example: “And I’m in the meadow”, “Kamarinskaya”, “Seni”. Others divide dances according to the number of performers: “Six”, “Naparochka”, “Seven”. There is also a division in accordance with the dance pattern: “Cabbage”, “Snail”, “Wicket”, “Circles”, “Vorottsa”, “Star”;

by dance movements: “Drobushechka”, “Stomp”, “Interception”; by the nature of the performance: “Mad”, “Crazy”, “Blizzard”, “Snovukha”. The classification can also be based on labor processes reflected in the dance: “Lenok”, “Kostelya”, “Mowers”, “Tolkusha”, “Spindle”. The systematization by the name of the character depicted in the dance is also of interest: “Swan”, “Bear”, “Fish”, “Crane”, “Gander”. The famous choreographer, folklorist and creator of extraordinary stage interpretations of folk dances in the Pyatnitsky choir, People's Artist of Russia T.A. Ustinova, along with round dances and square dances, highlights improvisational dances and play dances. Researcher of Russian folk dance, organizer of numerous folklore expeditions, founder of the school of Russian folk dance, People's Artist of Russia, Professor A.A. Klimov classifies Russian folk dance according to the genre principle, highlighting round dances and dances, which, in turn, are divided into types. This approach seems to us the most appropriate.

Thus, the main types of Russian folk dances are: round dances (including circular, ornamental, game); quadrilles (including types of dances of later origin - lance and polka); dances (single female and male dance, pair dance, group traditional dance, mass dance) and re-dances (male, female, mixed, group).

ROUND DANCE

The most popular genre of Russian folk dance is round dance. The plastic expression of a song, illustration of the lyrics, effectiveness, entertainment, expression of the image of the song, conveying character, mood - this is not a complete list of the main tasks of a round dance.

Round dances depicting ornaments, patterns, figures, lace are called ornamental round dances . A feature of ornamental round dances staged by the people, which distinguishes them from the productions of professional choreographers, is:

A small number of drawings;

Strict adherence to form: the round dance genre is consistent both musically (the number of verses and repetitions can be unlimited) and plastically (the movements of the dancers are simple, taking into account the involvement of uninitiated performers in the round dance; the figures of the round dance flow from one another, are subordinated to the logic of the traditional activities of the people - weavers production, agriculture, home improvement.

- performance to round dance songs describing the beauty of Russian nature, depicting labor processes, and the life of the people.

The songs to which ornamental round dances are performed are called round dance songs. They act as musical accompaniment.

Round dances that express dramatic action are called play dances. Songs for game round dance are distinguished by a more pronounced rhythmic character and an effective beginning. Such songs are played out by performers. It is no coincidence that round dances were called a folk game: “A round dance is a folk game - the movement of people in a circle with singing and dancing, as well as a general ring of people holding hands - participants in some kind of game, dance.”

The expressiveness of the play round dance is achieved not only through the acting skills of the leading performers of the action being played out, but also through the use of props, often very conventional (scarf - pillow, bed; wreath - marriage ties; stick - horse, sword, crutch; whip - humility), as well as through playing various musical instruments and dressing up.

Distinctive features of the game round dance:

In a game round dance, a limited number of dance patterns are used; formations are much simpler and easier to remember;

- the main figures are circles or lines (in the center of the circle the action is played out, in a linear construction two opposite lines conduct a dialogue);

The role of the ringleader of the round dance is changing, from whom what is required is not the ability to invent figures, but acting skills and good vocal abilities.

Despite all the similarities, round dances in each region of Russia are performed in their own way, in their own manner, at different tempos, with different composition of participants.

The typical performance of northern round dances is a proud, solemn manner, a slow, stately gait, smoothness and restraint in movements. The construction of ornamental round dances is mainly linear, in ranks. Procession along the lines accompanied by lingering slow songs (it’s not for nothing that they say that in the North round dances “sing”). Round dances are performed only by girls and are called “khodechi”, “khod-tsy”, “khodyugi”, “pillars”, “zastenok”. Mostly round dances were performed by girls, sometimes boys were invited. The slow round dances of “Petrovshchina” consisted of three parts: “dungeons”, “pillars” and “circles”. The ornamental round dance “Oblique Pillar” involves alternately moving the second pair around the first and vice versa. The fast round dances “Basket”, “Snake”, “Cabbage” depict the named figures and are performed at a faster pace. Playful round dances in the North are usually mixed. Thus, the round dance “Scoundrel” (Arkhangelsk region) “tells” in a humorous manner about the relationship between husband and wife.

In the South of Russia, round dances “play”: they act out the content of the song and decorate the singing with all sorts of choruses and echoes. The performers' costumes are traditionally brightly colored and shortened, which allows for more technical movement and gives greater freedom of movement to the body, shoulders, arms, legs, and head. Ornamental and playful round dances in the South are mixed, performed by both women and men. The pace of the round dance accelerates. However, along with fast-tempo performances, there are medium and slow round dances. Leg movements become more complicated, dancing, fractions, and jumps appear. The rhythmic pattern is decorated with syncopations.

The central part of Russia bears the imprint of the influence of cultural traditions of the North and South. Even the folk costume of the middle zone combines the warmth and brightness of southern colors and the laconicism of the northern silhouette.

Round dances consist of two parts - slow, turning into fast. They combine the smoothness and melody of northern round dances in the slow part and the enthusiasm and effervescence of southern round dances in the fast part.

Specific drawings of ornamental round dances of Central Russia: “circle in a circle” - “There is a forge” (Ryazan region); “open circle” - “snail” or “cabbage” - “Snake” (Ryazan region).

In game round dances there is a kiss, “breech”. Often the action is played out in the center of the circle, where everyday scenes are depicted: choosing a bride and her relatives - “The gentleman was walking” (Tver region), courtship “Drake” (Moscow region), asking riddles - “Along the meadow” (Moscow region).

Round dances with “reasonings” are distinguished by the peculiar gesticulation of the performers leading the dialogue, depicting and “commenting” on the text of the round dance song - “Like on that grass” (Vladimir region).

The dance culture of the Russian-Belarusian borderland is also distinctive. Among its features are the following:

Interweaving of features of Russian and Belarusian folk art;

Women's folk costume of bright warm colors (red, orange), decorated with embroidery, short (to mid-calf), complex headdress (kokoshnik, slap and bandage), on the legs are white stockings, bast shoes, tied crosswise with frills;

The songs are sung in dialect;

Round dance magnifications are used;

Mixed round dances, including participants of all ages;

The tempo of round dances is medium and fast;

The body of the performers is very mobile, there are sharp turns, shoulders and arms “dance”;

Dancing and dancing are mandatory for all participants in the round dance.

Ornamental round dances (“Walking around the bank”, “Luka”, “Weave the fence”) and playful round dances (“About the priest”, “Kostroma”) are common.

It is typical for the Russian-Ukrainian borderland that the round dance here is called “tanok”. Dance tank is the most common form of round dance. Tank songs are decorated with peculiar choruses (Oh-leli, leli; Ali-leli-leli). Round dances involve performers of all ages, some of them only women. Tanks are performed very temperamentally.

Two types of tanks are known: with complex designs, executed in one place; with even more complex patterns (a circle in a circle in advancement), consisting of several figures performed in dynamics. For example, the “Loop” tank, “Tank with belts” (Kursk region).

QUADRILLE

Quadrille is the youngest type of Russian dance. It is found throughout Russia with the exception of the Russian-Ukrainian borderland. It originates from French quadrille and English country dance. Having found its way into the secular salons of the Russian aristocracy at the beginning of the 19th century and being enjoyed not only by the nobility, but also by servants and serfs, quadrille, as interpreted by service people, underwent significant changes and was enriched by the Russian national style of performance.

New quadrille figures appeared, borrowed from Russian ornamental round dances. In this form, square dancing has been preserved in the national dance culture of the people, becoming an integral part of folk dance.

There are a number of distinctive features of Russian quadrille that make it possible to separate it from its original source - French quadrille:

The pattern of the Russian quadrille is richer (“basket”, “collar”, “star”, “comb”, “circle”);

In Russian quadrille there are from 3 to 14 figures (while in French quadrille there are 5-6 figures);

In Russian quadrille, the names of the figures clearly correspond to the content (“acquaintance”, “girls in great demand”, “roosters”, “breech”);

Russian quadrille absorbed elements of dancing and re-dancing; the figures of “re-dancing”, “lady”, “kamarinskaya”, “stomp with re-dancing” appeared in it;

Each figure is separated from the next one (by a pause, by announcing the name of the next figure, by a stomp, a clap or a bow of all performers);

New figures have appeared in Russian quadrille: “waltz”, “polka”, most of the figures end with a circle in pairs;

The names of the figures come from the name of the place where the quadrille existed (“Klinskaya”, “Shuiskaya”, “Pokhvistnevskaya”).

According to the compositional structure, square, linear, and circular quadrilles can be distinguished.

Square quadrille is sometimes called corner, as it is performed “in the corners”, by four pairs. The movements here are mainly between oppositely located pairs.

The most common corner quadrille is in the Moscow, Tver, Ryazan, Tula, Saratov, Samara, Nizhny Novgorod, Penza, and Tambov regions. Quadrille is performed with a simple, alternating or shuffling step; the changes in formation are very fast, dynamic, sometimes with fractional tapping. The figures in the corner quadrille are varied:

The movement of all pairs to the center and the departure to their places, circling in pairs;

Pairs from opposite corners change places, one pair forms a hoop, the other pair passes through them, everyone spins in place, then returns to their places;

Opposite pairs form a circle, move around the circle, move to the places of the opposite pair, then everything is repeated until they return to their places;

Two couples converge in the center, one of the performers gives up his partner and dances in front of the three spinning performers, then takes the girl and returns to his place.

In a linear, two-row quadrille, an even number of performers must take part - from four or more. Movement in pairs is carried out “wall to wall” - linearly towards each other

There is linear quadrille in the Urals, Siberia, the Lower Volga, the Astrakhan region, the North of Russia (Arkhangelsk, Vologda, Leningrad regions), as well as in the Yaroslavl and Kostroma regions.

The most popular figures are:

Moving towards two lines simultaneously or alternately;

Pairs through one approach opposite pairs, forming a circle, move counterclockwise, return to their place, passing through the gate formed by the pair with which they circled; the girls form a circle in the center, move around it while the guys dance in place, then the guys repeat all the girls’ movements, and the girls dance in their place;

Both lines move towards each other, one line passes under the goal formed by the other line, the pairs circle in other places, then return to their places in the same way.

Any number of couples can take part in a circular quadrille - both even and odd, but not less than four. All movements occur in a circle, clockwise, and the movements of one of the partners - counterclockwise.

Found in the Moscow and Samara regions, Siberia, and the Urals. The figures are varied:

All pairs move in a circle, then rotate around themselves, then everything is repeated in the opposite direction;

The girls move in a circle until they reach their partners, who are dancing in place; then the guys repeat all the girls’ movements;

The girls move to the center, form a circle, turning their backs to the center of the circle, dance in place; then they return to their places, go around their guys, spin around them; the guys dance on the spot, then repeat all the girls’ movements;

Guys and girls move in different directions in a circle until they reach their partners, spinning in place;

The pairs, one after another, go to the center of the circle, forming a “circle within a circle” pattern, moving in a zigzag manner, meeting alternately with the right and left shoulders of the pairs also moving in a zigzag pattern (“shen” pattern).

PEPLYAS

Pereplyas - one of the oldest types of Russian folk dance - was initially predominantly male. The semantic purpose of re-dancing is a competition in dexterity, strength, intelligence, and endurance. The winner was the one who “danced” his opponent, performed the most “knees”, and demonstrated the most complex tricks (crackers, jumps, fractions, rotations).

A traditional dance consists of a walk (reflecting the individuality of the performer, his emotional state) and the movement itself (“knee”) of the first performer, and then the walk and “knee” of the second performer. This continues until the complete victory of one of the opponents.

The rules of the re-dance are established in advance: they compete in the number of “knees”, or for endurance and equanimity during the re-dance with intense attempts by the audience to make the performers laugh, or each participant must first repeat the “knee” of his opponent, and only then perform his own “knee”. Duplicate elements do not count.

Spectators are participants in the competition, worry about “their own”, count the number of “knees”, encourage the opponents, maintain the desired rhythm with clapping and stamping.

The dance is performed to the accompaniment of folk musical instruments: accordion, accordion, domra, zhaleika, balalaika, horn, spoons, rattles. The tempo is moderate at first, then everything speeds up, and at the end of the dance it can be very fast. The movements towards the end of the dance become more and more complicated, the most unexpected and technical “knees” are “save” for the final and decisive fight of the opponents. It was in re-dancing that male Russian folk dance was formed and developed.

With the change in the way of life of the people, the emergence of handicrafts, the development of crafts, and subsequently industry, the influence of urban culture on traditional folklore increases. Women become more active participants in traditional festivities, and elements of solo dance appear in women's dance. Women performers of the re-dance bring a new spirit to the performance of the ditty. First, the passage is performed, then the ditty, and then the “kolentse”. In such a competition, not only strength and virtuosity win, but also wit. In women's dance there are a lot of fractions, steps with stomps, alternating steps with tapping, syncopation, and rotations.

Re-dances are performed to “Barynya”, “Kamarinskaya”, “Polyanka” and other popular melodies. In the Arkhangelsk region there is a re-dance “Toptusha”, in the Ryazan region - “Ryazanochka”, “Eletsky”, in the Saratov region - “Motanechka”, in the Bryansk region - “Oh, riva, riva”, in the Astrakhan region - “Rassy-Pooh”.

Vocabulary is one of the expressive means of dance. Vocabulary is a set of conditional expressions, it is plasticity, gesture, posture, movement. This is a dance language that changes and, changing, remains based on the previous positions introduced by the people. In order to express his thoughts more clearly, a choreographer, like a writer, has to work hard to find something that will help him. All dance movements must follow the intended image and correspond to it. The vocabulary must match the music. It depends on the tempo and pattern, characterizes this or that nationality, depends on the internal state of a person, what he wants to say and what motivates him.

Vocabulary can be divided into 4 types:

traditional something that has been developed by the people over centuries
imitative-imitative something that the people or the choreographer himself invented, imitating the living world, nature, objects
associative something that is associated with a person’s imagination and thinking
technical or plastic is what a person does.

The vocabulary of any nationality consists of 10 group dance movements, which differ either in some element or in the technique of execution. Each group develops through 8 elements:

throw
jump
turn
jump
dismount
fingers

Groups of simple folk dance movements:

1. walking movements

2. ropes

3. pickers

4. jumping movements

6. tamping

7. winders

8. squats

9. crackers

10. rotation.

What is the difference between a dance movement and a combination?

Movement is a combination of the head, arms, legs, and body in a certain rhythmic pattern, which is based on a technique. This is a construction in the style and manner of this folk dance, performed on one main technique and developed through 8 elements, without a final point inside.

A combination of several movements that have a complete form is called a combination, which can be very voluminous and ultimately turn into a dance monologue.

All combinations are built according to the laws of drama. The principle of contrast and surprise plays an important role in the combination, but everything should be logical.

In combining combinations, there are a number of choreographer’s techniques:

doubling speed
acceleration
slowdown
contrast
change of music, character and tempo
moment of application
background must be valid
moment of interruption (using a pause to move the point of perception from one side to the other).
moment of fading and fading.

The combination performed by the artists during the choreographic performance should arise organically from the very development of the dance. The combination that exists in a mass production must be built in stylistic unity; it is intended to reveal imagery of a monologue or dialogue nature. In story dances, a combination can exist independently already in the exhibition. Basically, the combination appears in the development of the action, in solo pieces, emphasizing the characteristic individuality of the performer. The climax is built mainly on massive combinations.

Types of tricks:

traditional (Bedouin, Arabic, samovar, keg, etc.)
combination (acrobatic and strength)
tricks based on external data

Distinctive features of the tricks: increased technical complexity, catchiness, brightness, unusualness and virtuosity of execution, artistic capabilities, dynamics of construction. The trick depends on the logic of its existence in a semantic situation, on the choreographer’s technique used in the dance to enhance the solo piece, on the emotional state of the performer, on the game episode, on the development of the idea of the plot.

Techniques for a choreographer's work on a choreographic text.

The choreographer’s ability to create a series of choreographic actions testifies to his high skill in mastering the techniques of lexical combination. The principle of repetition, operating throughout the entire choreographic work, allows the viewer to capture, perceive and master the dance. When starting to compose a dance, the choreographer needs to select the main ones from a variety of movements, which will be the basis of the future image, its plastic solution.

Selection is the 1st stage of a choreographer’s activity. At this stage, when building a movement sequence, you can use the following combination methods:

1) a combination of traditional movements,

2) search for innovation in traditional movements,

3) composing your own movements,

4) use all previous methods at once.

Thus, selection is the most difficult stage of a choreographer’s work on a choreographic text.

Calculation - stage 2. Helps identify the main, important elements in a choreographic image (repeat the combination several times without connecting parts).

Splitting is dividing a combination into parts (one group performs the first part, the other the second and vice versa).

Variation - repetition of basic movements, but in a modified form, or showing movements from simple to complex.

Update - helps to create a holistic, dramaturgically complete work. It involves the introduction of new plastic motifs from elements that have not previously been encountered. Usually, updating the vocabulary heralds the beginning of the climax, since new movements should be brighter and more spectacular than the previous ones.

Complication - helps create a climax. This is a demonstration of movements in the most complex completed form. This is a great lexical richness of the combination, the complexity of combining movements and increasing the tempo of the rhythm.

Contrast (opposite) - a change in the tempo of the rhythm, a dance phrase in a whisper, replaced by volume, a fast beat with a sudden pause. Abrupt change in pattern. The choreographer’s task is not to use this technique mechanically, but to use it reasonably.

Rhythm and accent - a change in the nature of the same movement (rope - accent, shot - rhythm).

Lecture No. 10

(continuation of the lecture “Choreographic text”).

The word is the carrier of thought, and the absence of the word makes direct expression of thought impossible in dance. Dance embodies thought indirectly, indirectly, and at the same time the thought is deep. Dance is the main carrier of the figurative content of the performance. Dance has a distant, associative similarity with the expressive movements of a person in everyday life, in practical life. Dance language is based on concentration and generalization of a person’s expressive movements in life, and not on fixation and copying.

By comparing the definition of “dance vocabulary” with human speech or drawing an analogy with music or a song, we can derive a kind of conditional formula:

Word = motive = pa (movement) or compositional detail;

Phrase=musical phrase=a) dance phrase, combination; b) knee in folk dance;

Sentence = musical sentence = compositional characteristic fragment.

Dance vocabulary in its simplest form can be a phrase or an equivalent concept “Dance combination”, which can be defined as an organic combination of movements, gestures, poses, facial expressions in a certain, periodically renewed compositional structure, dramatic development, which has a temporary duration. Its structure must contain a main, dominant movement, a secondary, connecting, and a “final point”, which, under appropriate conditions, can be the beginning of the next dance phrase.

Let's look at some techniques for constructing dance combinations:

Straight, which is built according to the laws of development from simple to complex, has a beginning and an end, and reverse, mirror, which goes from end to beginning.
Reception of roll call or repetition– used for one movement, several or combinations.
Sequence technique (ladder) requires repetition at least 3, 4 times.
Reception "Wave" - faster sequences, repeated once.
Baso ostinato– repeating bass. Voices (movements) accompanying and soloing. Repeating the same movement, or pose, or combination. For example, the soloist dances, and the corps de ballet repeats.
Reception of subvocal polyphony consists of dance elements of soloists, acquires echoes and repetitions. Repetitions can be pure, unison or combined.
Homophonic device- there is a solo part, and the accompaniment plays its part. It shouldn't drown out the solo. Her movements should not be taken from the soloists' part.
Increase-decrease– there is an increase in voices from one to many and vice versa.
Expansion-compression- one movement (combination) is performed by several people (at least three). Everyone does it in different rhythms.
Imitation– repetition of the theme by other performers.
Variant imitation – repetition of the choreographic theme by other performers with some changes.
Unfortunate development - a thought-complete combination consisting of 3 or more movements, performed by one or more participants (in turn). The second and third participants can perform the combination in reverse order.
Delay or delay – delay in presentation of choreographic material by ¼ or 1/8 bar by subsequent performers. Most often used in short combinations.
Canon – one combination is performed by different groups with a sequential entry (when the first group reaches the middle of the combination, the second group enters and performs the combination from the beginning).

15. Fugue (running)- similar in principle to canon. Can be performed as a complete dance form in which there are three voices (three individual performers or groups of performers). Each performer has his own version of the main movement and its development, subject to the unity of the material.

16. Counterpoint– point versus point. The theme should be based on very contrasting material. The theme is divided into several short parts, and each part is performed sequentially by different performers, then they can change parts in different orders. In conclusion, it is possible for participants to perform different points simultaneously. This technique is often used in re-dancing.

17. Increasing and decreasing the dance space– the combination is performed on a small platform, and then the performers occupy a large space with their movement.

Dance steps are inextricably linked with music:

Dance to music: the rhythmic structure of the dance work and the choreography are the same, but this dance can be performed to any other music of the same rhythmic structure (for example, ballroom dancing).

Dance to music: the dramaturgy of music and choreography coincide; intonation (melody) and rhythmic coincidence. This dance is performed to this music, which cannot be replaced.

Dance around music: complete discrepancy between musical and choreographic images and dramaturgy.

Dance across the music: rhythmic and melodic images do not correspond to choreography, although they may coincide in dramaturgy and in a generalized image.

This definition is given by Bogdanov - Berezovsky. When they say that dance steps are associated with music, this should be understood as the synchronous interaction of two aesthetic categories: movement and sound. Syncretism (fusion, addition) of movement and sound is inherent in the very nature of aesthetic art. Simultaneity or uniformity here is determined by a single action in time for movement and sound. Any gesture is rhythmic, it is already musical.

Not unimportant in creating vocabulary for a particular dance or character are intonation, artistic measure, and artistic logic.

Intonation – it is an expressive means, or rather a set of expressive means. For example, the same movement performed at a different tempo will express a different state. The slightest change in a particular movement, just like intonation in human speech, will change the nature and content of the action.

Artistic measure – should always be in art. It manifests itself in the duration of the number, in the development of the drawing, in the vocabulary, in the logic of the development of relationships, etc. More doesn't mean better.

Artistic logic – this is a consistent (logical) development of feelings, the truth of relationships, image and theme through movements.

LECTURE No. 11

DANCE, DANCE.

One of the genres of Russian folk dance is dance, consisting of numerous and varied types. This is the most common genre of folk dance. Dance is not a frozen form; it opens up great scope for individual and mass creativity. The dance was created by the people under the influence of the surrounding world and everyday life. In ancient times, dances were mainly of a ritual nature, but over time, the religious content began to disappear from the dances, and they acquired an everyday character.

A characteristic feature of Russian dance is improvisation. It colors every element, expands the vocabulary, and creates uniqueness.

Men's dance is characterized by: breadth, scope, strength, prowess, virtuosity, dexterity, etc. Women's dance is distinguished by smoothness, majesty, nobility, sincerity, but is often performed lively and cheerfully.

The dances also differ in geographical location: northerners dance with their characteristic restraint, and southerners with their characteristic temperament and enthusiasm. Performed at different tempos and with different numbers of performers.

Each dance has content, a plot. The dance was born in a round dance and came out of it, breaking the round dance chain and providing scope for imagination and individual skill of the performers, complicating the technical basis, creating its own forms and designs, replacing the round dance song with a dance song, with various musical accompaniment. In dancing, the vocabulary becomes more complex, including technical fractions, squats, clappers, rotations, etc. In addition to enriching the vocabulary, dancing also provides an opportunity to complicate and diversify the pattern.

The most common musical instruments characteristic of accompanying dances are: balalaika, domra, accordion, button accordion, gusli, zhaleika, horn, pipes, flute, etc.

Single solo dance.

The individual dance most fully reflects the individuality, skill, ingenuity and acting talent of the performer. It reveals the soul of a Russian person. This dance is based on improvisation. Sometimes performers introduce movements associated with labor processes into a single dance, creating images of birds and animals. A single dance can begin by moving in a circle (walking) or by entering a circle. Both exits are an application for dancing.

Women's single dance.

This dance often begins with walking in a circle. The exit or the beginning is just an application for the dance, for the image being created. The step is simple, soft and floating. Often there is a handkerchief in hand. Usually the performer saves the most technically complex and effective dance combination or movement for the finale.

Men's single dance.

Most often it begins with execution, some kind of movement on the spot.

Pair dance.

Mainly performed by a man and a woman. The content of a couple's dance is a cordial conversation, a dialogue between lovers; such a dance does not have a strictly established pattern.

Mass dance.

It usually starts with the appearance of all the performers, either the men come out first and then the women, or vice versa, or the soloist appears, and then other performers. This dance necessarily includes solo combinations of men and women, pair combinations, general combinations, as well as solo trick combinations. Mass dances can be for men, women or mixed.

Danced around.

This is a competition in strength, dexterity, ingenuity, showing the performer's individuality, virtuosity and character. The dance, like mass dance, can be male, female or mixed.

LECTURE No. 12

QUADRILES.

Quadrille is a pair dance, but each area has its own composition. Different designs create endless variations of square dances. Quadrilles were performed to songs. The unique manner of quadrilling reflects the distinctive features of people's lives in each locality. This is a unique noble form of Russian dance. In terms of the number of performers, square dancing can be classified as a group dance, but its originality is based on a clear division into figures. Quadrille is danced all over Russia, only in the Kursk and Belgorod regions it is very rare. Quadrille takes its origins from French salon dance, which in turn goes back to English country dances and is their variety.

Counter dance is a folk dance of English peasants.

French quadrille became widespread in Russia in modern times. 19th century The dance culture of the Russian people had a huge influence on square dancing; it subordinated it to its national manner, style and character of performance. Among the people, square dance was modified and improved, it was called “kadrel”, “kadrelka”. The Russian people introduced round dance figures into quadrille (basket, star, collar, circle, etc.). The form of constructing the quadrille also changed; it began to be performed along lines, squares, and circles. From 2 to 8 couples take part in quadrille. If in a salon quadrille there are 5-6 figures, then in a Russian quadrille there are from 3 to 14. The name of each figure clearly characterizes this figure. The content depends on the name of the figure (“let’s take a walk”, “perky”, “let’s change”, etc.). Some figures included elements of such types of dances as single dance and cross-dance.

In the 19th century the square dance included ditties. In all quadrilles, pairs spin clockwise and move counterclockwise in a circle.

Quadrilles are divided into 3 groups:

Square or corner. As a rule, performed by 4 couples, it is more common in central Russia.

All pairs converge towards the center and return back,

2 opposite pairs go towards each other, changing places, the other 2 circle,

Opposite pairs go towards each other, form a circle in the center, move in a circle and, changing, return to their places,

Opposite couples exchange partners.

Linear. From 4 to 15 couples can participate in it. The row to the left of the viewer is odd, to the right is even.

Lines converge and diverge

Pairs of one and the other line go to other pairs, form circles that move, then the arriving pairs go through the gates and return to their places,

Girls form a circle between two lines of boys and vice versa,

2 lines meet and go into the goal.

Most square dances are performed at a moderate pace, emphasizing relationships in pairs.

Circular. An even number of pairs participate, arranged in a circle and moving clockwise. This square dance is danced in all regions of Russia, but is more common in Siberia and the Urals.

The boys stand still and the girls move around in a circle

Circle in a circle, m. in one direction, and d. in the other,

They come together in a circle, or separately and return back,

They make "shen".

A variety of quadrille-lancier (originates from English country dance). Lanciers appeared in Russia 60 years after quadrille. People call them “lunch”. The lancier most often has 5 figures, each of which is accompanied by its own melody, but the obligatory figure is the “shen”.

Lecture No. 14

Facial expressions, gestures, gaze, posture are the clearest means of communication. The transition from one pose to another, changing body positions produce movement. Movement is the basis of dance.

Dance composition

Creating a composition for a choreographic work is a creative process that requires

huge preparatory work. Its first step is the study of ethnographic, musical, visual, and historical sources on the topic of interest.

The second stage is dramaturgy or the content of the work (quite often there are choreographic numbers without a clearly defined plot line, but which carry a certain choreographic image). The content of dance, folk dance in particular, is subordinated to the main task - expressing the character of the people, conveying national flavor.

The third step in creating a dance is the selection of musical material. It often happens that it is music that inspires the creation of a choreographic work.

The fourth stage is the actual composition of the dance and its spatial expression, more precisely, the composition of the choreographic text and dance design.

Like all types of artistic creativity, choreography is subject to the basic laws of constructing a work. First of all, this relates to dramaturgy and is expressed in the obligatory correspondence of exposition, plot, development, climax and denouement to the idea.

This rule also applies to composing text and dance drawings. Even a small dance combination performed taking into account this rule will acquire logical completeness.

The preparatory process can be considered complete if it has led to the birth of the internal dance form. A person’s thoughts, feelings, and experiences give rise to choreographic images in his mind, which leads to the creation of a bright, expressive original work.

Russian folk dances

The history of the emergence of dance in Rus' is inextricably linked with music and song creativity. It is no coincidence that songs in Rus' “play”, “drive”, “walk”. A well-known researcher of the folklore of the peoples inhabiting the territory of Russia, Jacob Shtelin wrote in the 18th century: “In the whole country, among the common people, there has long been a custom of singing in the fields and dancing Russian dances to the singing of girls and women. ... In all the dance art of Europe, you cannot find a dance that could surpass the Russian village dance if it is performed by a beautiful teenage girl or young woman, and no other national dance in the world can compare in attractiveness with this dance" (Shtelin Ya Music and ballet in Russia in the 18th century / Edited by B.I. Zagursky, L., 1935, pp. 55, 150).

Russian folk dance is rich in a variety of specific designs: baskets, collars, books, curtains, snakes, wattles, streams, combs, cabbages, walls, pillars, etc.

Round dance

Round dances depicting ornaments, patterns, figures, lace are called ornamental round dances. A feature of ornamental round dances staged by the people, which distinguishes them from the productions of professional choreographers, is:

A small number of drawings;

- performance to round dance songs describing the beauty of Russian nature, depicting labor processes, and the life of the people.

The songs to which ornamental round dances are performed are called round dance songs. They act as musical accompaniment.

Round dances that express dramatic action are called play dances. The Russian composer, musicologist, academician B.V. Asafiev, known in the art world under the pseudonym Igor Glebov, describes game round dances this way: “A round dance is a dramatic action in which scenes are played out to the song, in accordance with its text, that reveal the most striking features of everyday life way of life" 4.

Songs for game round dance are distinguished by a more pronounced rhythmic character and an effective beginning. Such songs are played out by performers. It is no coincidence that round dances were called a folk game: “A round dance is a folk game - the movement of people in a circle with singing and dancing, as well as in general a ring of people holding hands - participants in some kind of game, dance” 5.

Distinctive features of the game round dance:

In a game round dance, a limited number of dance patterns are used; formations are much simpler and easier to remember;

- the main figures are circles or lines (in the center of the circle the action is played out, in a linear construction two opposite lines conduct a dialogue);

The role of the ringleader of the round dance is changing, from whom what is required is not the ability to invent figures, but acting skills and good vocal abilities.

4 Glebov I., Symphonic etudes. Pg., 1922. P. 59-60.

5 Ozhegov S., Shvedova N., Explanatory Dictionary of the Russian Language. M., 1998. P.867.

Despite all the similarities, round dances in each region of Russia are performed in their own way, in their own manner, at different tempos, with different composition of participants.

A generally accepted system in ethnography for dividing the territory of Russia into those that had developed at the beginning XX century ethnic zones (North Russian, Central Russian, South Russian, Russian-Belarusian, Russian-Ukrainian, Volga region, Ural, Siberia, Far East, Cossacks) most fully reflect the diversity of changes in dance traditions and seem to us quite organic for studying the regional characteristics of Russian folk dance.

Northern region: Arkhangelsk, Vologda, Leningrad, Novgorod regions, the north of Kostroma, Yaroslavl, Tver, Ivanovo, Nizhny Novgorod regions, part of the Pskov region, coastal areas of the Murmansk region.

Southern region: Kaluga, Oryol, Tula, Lipetsk, Ryazan, Tambov, Penza regions, eastern regions of Voronezh and northern regions of Volgograd regions.

Central region: Moscow, Vladimir, central and southern parts of Tver, Yaroslavl, Kostroma, Ivanovo, Nizhny Novgorod regions, eastern regions of Smolensk and southern regions of Pskov regions.

Volga region: Ulyanovsk, Samara, Saratov regions.

On the border with Belarus and Ukraine, other ethnic zones were formed: the Russian-Belarusian borderland (Bryansk region and the western regions of the Smolensk region) and the Russian-Ukrainian borderland (Kursk, Belgorod, southern regions of the Voronezh region).

Urals: Perm, Sverdlovsk, Chelyabinsk regions, eastern regions of Orenburg and western regions of Kurgan regions.

Siberia and the Far East are divided into Western Siberia (Altai Territory, Novosibirsk, Omsk, Tomsk, Kemerovo regions) and Eastern Siberia (Irkutsk Region, Khabarovsk, Krasnoyarsk and Primorsky Territories).

The Cossacks should be divided into twelve groups: Ural, Astrakhan, Orenburg, Kuban, Don, Terek, Siberian, Semirechensky, Transbaikal, Amur, Ussuri, Nekrasov Cossacks.

Let's consider some features of the construction and performance of round dances.