Wyniki wyszukiwania - Biblioteka Nauki

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The Effect of Different Types of Warm-Up Protocols on the Range of Motion and on Motor Abilities of Rhythmic Gymnastics Athletes and Ballet Dancers

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Zaggelidou E. , Malkogeorgos A. , Zaggelidis G. , Galazoulas C.

Central European Journal of Sport Sciences and Medicine

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2023

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tom 42

31-44

EN

The aim of this study was to examine the short-term effects of different types of warming up on the range of motion and on motor abilities of rhythmic gymnasts and ballet athletes. Twenty-five athletes participated in this study (11 ballet dancers and 14 rhythmic gymnasts), aged 14,72±1,43. All participants followed an intervention consisting of two warm-up protocols, one with static stretching exercises and the other with dynamic warm up protocol. The two protocols were implemented on two different days for one week. Range of motion (ROM) and hop test measurements were carried out before and after each warm-up session. For the statistical analysis, non-parametric (Wilcoxon) tests and Friedman test were used, and the level of significance was set at p < 0.05. The results showed that both warm-ups had positive effects on ROM and on motor abilities. After applying both protocols, significant differences were observed in all joints. In conclusion, both types of warm-up routines resulted in almost the same level of improvement in ROM and motor abilities; however, it was observed that after the dynamic warm up there was a slightly increased improvement in motor abilities, but it was not statistically significant.

2

Technika teatru w teatrze w wybranych baletowych konkretyzacjach

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Ziemba M.

Postscriptum Polonistyczne

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2015

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nr 1(15)

181-189

EN

Two ballet performances are being analysed: Pietruszka by Igor Strawiński and Dama Kameliowa choreographed by John Neumier. The author discusses a metatheatrical character of the two performances, which reveals itself through a concept of “a theatre within a theatre”. The analyses presented in this article are rooted in a (slightly modified) methodological approach defined by Marcin Gmys. The analysis leads to the conclusion that the three subcodes (dance, music and drama) determine the functionality of the concept of ‘a theatre within a theatre’ in both performances.

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Supplementary Low-Intensity Aerobic Training Improves Aerobic Capacity and Does Not Affect Psychomotor Performance in Professional Female Ballet Dancers

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Smol E. , Fredyk A.

Journal of Human Kinetics

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2012

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tom 31

79-87

EN

We investigated whether 6-week low-intensity aerobic training program used as a supplement to regular dance practice might improve both the aerobic capacity and psychomotor performance in female ballet dancers. To assess their maximal oxygen uptake (VO2max) and anaerobic threshold (AT), the dancers performed a standard graded bicycle ergometer exercise test until volitional exhaustion prior to and after the supplementary training. At both these occasions, the psychomotor performance (assessed as multiple choice reaction time) and number of correct responses to audio-visual stimuli was assessed at rest and immediately after cessation of maximal intensity exercise. The supplementary low-intensity exercise training increased VO2max and markedly shifted AT toward higher absolute workload. Immediately after completion of the graded exercise to volitional exhaustion, the ballerinas' psychomotor performance remained at the pre-exercise (resting) level. Neither the resting nor the maximal multiple choice reaction time and accuracy of responses were affected by the supplementary aerobic training. The results of this study indicate that addition of low-intensity aerobic training to regular dance practice increases aerobic capacity of ballerinas with no loss of speed and accuracy of their psychomotor reaction.

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ВАРИАНТ ИСТОРИИ ДОН ЖУАНА В УКРАИНСКОЙ КУЛЬТУРЕ (АРХЕТИП ЛЕСИ-ДОЛОРЕС В БАЛЕТЕ КАМЕННЫЙ ВЛАСТЕЛИН ВИТАЛИЯ ГУБАРЕНКО ПО ДРАМЕ ЛЕСИ УКРАИНКИ)

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Драганчук В.

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nr 5

63-74

EN

Lesya Ukrainka created a version of Don Juan’s history in Ukrainian culture. The poet introduced in the drama the Dolores image who loves Don Juan. Dolores became a symbol of the love archetype in the art work. Vitaly Hubarenko’s work in great academic ballet genre is one of best artistic interpre-tations of this drama. Ballet style is an allusion to S. Prokofiev’s style. Dolores image gets characteristic by genres of lullaby and prayer. Tenderness of character is embodied by penetrating sound of violins in the high register. The transformation of love theme shows us another facet of the Dolores personality who committed a self-sacrifice act for the sake of a loved one. Dolores in the ballet represents the female essence of love as a creation, thus the term „Femin-personalism” is offered in this article. The understanding of the term is defined by analogy with the philosophy. P. Bowne, E. Mounier, N. Berdyaev and other thinkers have shown an archetype of personality as a person which has a divine source.

5

Gdy literatura spotyka się z tańcem, czyli o baletowych inscenizacjach Piaskuna E.T.A. Hoffmanna

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Narewska A.

Ogrody Nauk i Sztuk

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2015

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nr 5

601-607

PL

Punktem wyjścia do stworzenia niniejszego artykułu stało się opowiadanie niemieckiego pisarza E.T.A. Hoffmanna Piaskun, wpisujące się w nurt czarnego romantyzmu. Na jego podstawie powstał popularny do dziś balet Coppelia, którego twórcy zdecydowali się przedstawić jego treści w formie komedii baletowej, na plan pierwszy wysuwając wątek miłosny. To z kolei zainspirowało współczesną choreografkę Maguy Marin, do postawienia własnej choreograficznej diagnozy relacji damsko-męskich, występujących w obecnym świecie. Niniejszy referat ukazuje interesujące zabiegi i ich konsekwencje, jakie na tekście Hoffmanna dokonała sztuka baletowa.

EN

The starting point of this paper was influenced by E.T.A. Hoffmann’s Sandman (1816), which belongs to the dark romanticism period. In 1870, on the basis of this story, a very popular ballet called Coppelia was introduced to the ballet world. The creators decided to present its content in the form of a comedy ballet, focusing on the aspect of the love story. This classical version inspired many choreographers to create their own versions, including contemporary artist Maguy Marin. She introduced her own choreographic diagnosis of male-female relationships based on 20th-century life. This paper reflects on the interesting changes made through the use of dance towards Hoffmann’s text.

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Mise en corps des «gueules» de «Ferdydurke»: le ballet grotesque d’Anna Hop à la lumière de l’œuvre de Gombrowicz

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Bocianowski C.

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2017

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tom LXXII

183-195

EN

This article examines Anna Hop’s 2015 ballet, based upon Witold Gombrowicz’s novel Ferdydurke, created at the National Polish Ballet, analysing the interaction between the choreography and literary language to demonstrate the choreographic specificity of Hop’s treatment of Gombrowicz’s text.

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Religijny wymiar miłości na przykładzie baletu Bhakti Maurice’a Béjarta

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Narewska A.

Roczniki Kulturoznawcze

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2016

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tom 7

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nr 3

215-224

PL

Maurice Béjart (1927-2007) był jednym z najsłynniejszych choreografów XX wieku, który traktował balet jako sztukę nowoczesną, aktualną, która jest w stanie skłonić współczesnego człowieka do refleksji nad otaczającym go światem. Wypracował on własny styl choreograficzny, rozpoznawalny na pierwszy rzut oka, dzięki któremu prezentował widzom niebanalne balety o głębokiej, filozoficznej treści. Jako człowiek szeroko wykształcony, wrażliwy, inspiracji dla swoich dzieł często szukał w kulturze Wschodu, w mądrości Starożytnych Indii. Dowodem na to jest spektakl Bhakti z 1968 r., w którym Béjart za pomocą tańca przedstawił tytułowe zagadnienie, będące określeniem szczególnej formy miłości i przywiązania do boga, odmiany wyjątkowej pobożności i religijności. Analiza i interpretacja tego baletu pozwala nie tylko na zapoznanie się z fascynującą i bogatą kulturą Indii, lecz także prowokuje człowieka z cywilizacji zachodniej do nowego spojrzenia na fundamentalne wartości i ideały.

EN

Maurice Béjart (1927-2007) was one of the most famous choreographers of the twentieth century. He perceived ballet as a present day art and had the power to induce the modern day man to reflect on the world around him. Béjart created his own choreographic style which was recognisable from first sight and through it, he showed audiences around the world interesting ballets that contain deep, philosophical content. Béjart often sought inspiration from the Eastern cultures for his works, especially India. One prime example was the ballet Bhakti (1968). In this performance, Béjart explains the issues of bhakti through the body of his dancers only. Bhakti specifides the form of love and devotion to God. The analysis and interpretation of the ballet allows us to familiarise ourselves with the fascinating, rich culture of India, and it also provokes new insights on fundamental values and ideals.

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Oб особенностях профессиональной речи артистов балета XXI века

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Hикульцева B. B.

Studia Rossica Gedanensia

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2016

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nr 3

31-44

RU

Современная речь профессиональных артистов балета значительно отличается от речи советских артистов балета. В ней наблюдаются такие изменения, как усечение терминов французского происхождения, сокращение терминологических сочетаний, неблагозвучная аббревиация и мн. др., а также активно идёт процесс жаргонизации и обсценизации.

EN

The language of the contemporary professional ballet dancers significantly differs from the language used by the Soviet ballet artists. The author notices such changes as syncopation of the terms of the French origin, reduction of terminological combinations, disharmonious abbreviation, etc. Ballet artists’ language in 21st century is also characterized by the active processes of jargonization and vulgarization.