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Literature: -
Charles, T.C. Modern Techniques of Vocal Rehabilitation. 3rd ed. USA, 1977
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Lauri – Volpi, Dž. Vokālās paralēles. Rīga, 1972
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Garsija, M. Dziedāšanas skola. Maskava, 1957
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Dmitrijevs, L. Vokālās metodikas pamati., Maskava, izd. Mūzika, 1963
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Čaplins, V. Vokālās pedagoģijas jautājumi., Maskava, izd. Mūzika, 1969
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Leviks,B. Aizrobežu mūzikas literatūra, Latvijas Vlasts izdevniecība, 1963
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Galacka, V. Aizrobežu mūzikas literatūra, Latvijas Valsts izdevniecība, 1964
A wide range of score materials from the funds of J.Vītols Academy of Music and the National Library are used.
The Name of the Course: Stage Dancing
The Scope of the Course: 448 practical classes in 4 years (7 terms).
Type of Assessment: A Bachelor’s Examination at the end of Year 4. 14 credit points.
III.The Author of the Course: lecturer Tamāra Ēķe
Preconditions for the Acquisition of the Course: Good health and good physical training, coordination, a sense of rhythm, musicality and flexibility. It is compulsory to attend all classes in dancing as their specific character excludes the possibility of their acquisition of the material without the teacher’s presence. Dance like any other physical class must be acquired on the regular basis without long interruptions. It is also important to learn about the physiology of the human body to avoid accidents.
The Content of the Course: The objective of the course is to be aware of one’s body as an instrument which participates in shaping the image on the stage. The body is capable of conveying any motion the same as the word. Movement and dance are a complete synthesis of rhythm, flexibility and coordination. Its acquisition is the objective and the duty of each drama actor.
It is not an easy task as dancing is usually acquired in childhood when the body lends itself to specific exercises which lie at the basis of the acquisition of the art of dance. It calls for bigger efforts at students’ age. However, it is a must as it is one of the striking features in the art of the theatre to be able to present movements, gestures and pose in order to express oneself without words. The theatre without movements is like a play on the radio.
Thematic Planning:
THEMES
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Week
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Type of classes and hours
| TERM I |
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Exercises at the bar:
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Foot positions: I, II, III, V and IV later.
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1
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L2;L2
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Positions of arms: preparatory position, I, III, II.
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L2;L2
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Demi – plies, Position I, II, III, V and IV.
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L2;L2
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Grands plies, Position I, II, III and V, Position IV in Term 2.
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| L2;L2 | -
Battements tendus:
from Position I to the sides, front, back;
with demi – plies from Position I to the sides, front, back;
from Position V to the sides, front, back;
with demi - pliés from Position V to the sides, front, back;
with lowering of the foot to the ground in Position II, from Position I and V;
with demi - pliés from Position II without the transfer from the supporting leg and Position V with the transfer to the supporting leg; from Position I and V;
Passé par terre (the brushing of the foot from the front to back and return through Position I.
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L2;L2
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Battements tendus jetés:
from Position I and V to the sides, front, back;
with demi - pliés from Position I and V to the sides, front, back;
piqués to the sides, front, back.
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2
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L2;L2
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The first and the third port de bras.
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L2;L2
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preparation for rond de jambe par terre en dehors et en dedans.
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L2;L2
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Demi - rond et rond de jambe par terre en dehors et en dedans (at the beginning explaining what en dehors et en dedans means).
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L2;L2
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Rond de jambe pr terre en dehors et en demi-plié.
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3
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L2;L2
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Plié - soutenus to the front, sides and back. In Term 2 the raising at half point in Position V.
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L2;L2
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Position of legs sur le cou - de - pied to the front, back and by grasping one’s ankle.
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L2;L2
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Battements fondus to the sides, front, back. At the beginning with the toe on the floor, in Term 2 - at 45°.
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L2;L2
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Battements soutenus to the sides, front, back. At the beginning with the toe on the floor, in Term 2 - at 45°.
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L2;L2
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Battements retirés sur le cou – de - pied, later - at 90°.
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4
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L2;L2
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Petits battements sur le cou – de – pied.
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L2;L2
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Battements frappés to the sides, front, back. At the beginning with the toe on the floor, later- at 30°.
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L2;L2
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Battements doubles frappés to the sides, front, back. At the beginning with the toe on the floor, later- at 30°.
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L2;L2
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Rond de jambe en l’air en dehors et en dedans.
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L2;L2
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Battements relevés lents at 45°, later at 90° from Position I, later Position V to the sides, front, back.
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L2;L2
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Battements dé veloppés: to the sides, front, back,
Passés in all directions.
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L2;L2
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Grands battements jetés from Position I and V to the sides, front and back.
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5
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L2;L2
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Relevés at half point Position I, II, V from stretched legs and from demi - pliés.
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L2;L2
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Tilting back, later to the sides (facing the bar).
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L2;L2
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Pas de bourrées suivi without a movement to the sides (facing the bar).
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L2;L2
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Half turns in Position V at the bar and from the bar with shifts of feet at half point (beginning from stretched legs and from demi - plié).
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6
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L2;L2
| TERM II |
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L2;L2
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Exercises in the middle of the hall.
The main attention is paid to the correct pose and precise movements of hands and legs.
Demi – pliés in Position I, II, III, V.
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L2;L2
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Grands – pliés in Position I, II, V.
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7
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L2;L2
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The body position in épaulement croisé et effacé.
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L2;L2
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Poses - croisée, effacée, écartée to the sides and back.
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L2;L2
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I, II, III arabesqłes.
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L2;L2
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I, II, III port de bras.
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L2;L2
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Battements tendus:
form Position I and V in all directions,
with demi - pliés from Position I un V in all directions,
with the lowering of the heel Position II.
with demi - pliés from Position II and IV with and without the transfer from the supporting leg,
in poses: croisée, effacée, I and II arabesque,
passé par terre.
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8
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L2;L2
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Battements tendus jetés:
from Position I and V in all directions,
with demi – pliés from Position I and V in all directions,
piqes in all directions.
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9
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L2;L2
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Plié – soutenus in all directions.
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L2;L2
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Battements frappes with a toe on the floor, later - at 30°.
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L2;L2
| -
Preparation for rond de jambe par terre en dehors et en dedans.
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L2;L2
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Demi – rond et rond de jambe par terre en dehors et en dedans.
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L2;L2
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Battements fondus with the toe on the floor, later - at 45°.
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10
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L2;L2
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Battement soutenus with the toe on the floor, in all directions.
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L2;L2
| -
Petits battements sur le cou - de - pied.
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L2;L2
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Battements relevés lents in all directions at 45° and 90°.
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L2;L2
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Battements développés in all directions.
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L2;L2
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Grands battements jetés from Position I and V, in all directions.
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11
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L2;L2
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Relevés at half point from Position I, II and V from stretched legs and demi – pliés.
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L2;L2
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Pas de bourrée suivi en face moving in place and moving to the sides.
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L2;L2
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Pas de bourrée with a change of feet en face and finishing the movement with épaulement.
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L2;L2
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A turn at half point in Position V.
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12
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L2;L2
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Temps lié par terre to the sides and back.
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| -
A half turn in Position V with a change of feet at half point, beginning form stretched legs and demi - plié, later with a full turn.
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L2;L2
| TERM III |
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L2;L2
| -
Jumps – allegro
Temps sauté Position I, II, V.
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13
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L2;L2
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Changement de pieds.
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L2;L2
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Pas échappé Position II.
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L2;L2
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Pas assemble by opening a leg to the sides.
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L2;L2
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Pas glissande.
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14
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L2;L2
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Pas balancé.
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L2;L2
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Sissonne fermée to the sides.
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L2;L2
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Sissonne simple.
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L2;L2
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Petit pas chassé en face to the front.
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15
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L2;L2
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Pas jeté by opening a leg to the sides.
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L2;L2
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Springboard jumps Position I and II.
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16
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L2;L2
| -
After certain skills in movements, rhythm and coordination have been acquired the students learn the simplest dance steps: polonaise, gallop, later waltz and polka. They also learn historical dances from the previous centuries, their simplest designs and steps.
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L2;L2
| YEAR II, TERM I |
|
| -
The practical training of classical dance are continued: teaching of elements by creating combinations at the bar and coordinating movements of legs and hands.
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1,2,3,4,5
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L2;L2; L2;L2; L2;L2; L2;L2; L2;L2
| -
The performance of classic elements in the middle of the hall creating combinations that include various steps of classical dance. The following poses are used in the combinations: croisée, effacée, écartée, and I, II, III, IV arabesques, thus teaching the students to feel and play with their stand from various angles.
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6,7,8, 9,10, 11
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L2;L2; L2;L2; L2;L2; L2;L2; L2;L2; L2;L2
| -
Incorperating various jumps in Allegro combinations by using intermediary steps pas glissade, pas chassé.
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12,13,14,15, 16,
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L2;L2; L2;L2; L2;L2; L2;L2; L2;L2
| TERM II |
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| -
Practicing of turns pirouette, tours chaines. Exercises on the floor are continued that help to develop flexibility and the step effectively. Steps of waltz and polka together with a partner performing more complicated versions of waltz and polka.
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17,18,19,20,21,22
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L2;L2; L2;L2; L2;L2; L2;L2; L2;L2; L2;L2
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The students learn and practice historical dances from different centuries elaborating more complicated designs, rhythms and steps.
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23,24,25,26,27,28
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L2;L2; L2;L2; L2;L2; L2;L2; L2;L2; L2;L2
| -
The acquisition of steps of various national dances. At first a practical class of character dance at the bar, later to the middle in combinations and fragments of dances. The learning of the elements of jazz dance.
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29,30,
31,32
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| -
Rock`n roll steps in various combinations.
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| YEAR III |
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| The transition to more complicated combinations of movements in the practical classes of classical dance. Different speeds and rhythms are used. The main classical jumps and turns are practiced. The creation of small dance fragments by using different poses, steps and rhythms. |
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| -
Elements of partner dances, lifts, holds and the performance of joint dance steps and combinations. The creation of fragments of partner dances.
|
|
| -
When acquiring historical dances great attention is paid to the manner of conduct and performance of each century. Fragments and dances are already created from the acquired steps in classes of character dance, stressing the character and peculiarities of each nation. The acquisition of contemporary rhythms are still continued in modern and jazz dance.
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| YEAR IV, TERM I |
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| -
Applying the previously acquired combinations dances are created for the final examination in winter. At the same time before and after the final examination the students learn movements and dances for the performances of the Bachelor’s Work. Fragments and dances are created from the acquired steps in classes of character dance stressing the character and peculiarities of each nation. The acquisition of contemporary rhythms are continued in modern and jazz dance.
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1,2,3, 4,5,6, 7,8
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L2;L2; L2;L2; L2;L2; L2;L2; L2;L2; L2;L2; L2;L2; L2;L2;
| To create dance combinations for the final examination. |
9,10, 11,12,13,14,15,16
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L2;L2; L2;L2; L2;L2; L2;L2; L2;L2; L2;L2; L2;L2; L2;L2
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