优秀人才培养的必由之路——以于航成长为个案的芭蕾教学探索

The Only Path Toward Excellent Talent Training A Case Study of YU Hang's Growth and Implications for Ballet Teaching

本文以对在一系列国际芭蕾舞比赛中斩获金奖的尖子学生于航的培养过程为个案,对作者多年的芭蕾舞教学经验进行了总结和思考,强调:因材施教、夯实基础是学生专业腾飞的基石;在基础能力和乐感的训练以及身体局限的矫正方面的教之有方是使学生成长的根本保证;而舞蹈感觉和舞台意识以及从课堂到舞台贯穿的培养,则是学生真正成为"会跳舞"的人才的关键。

In dance education, ballet teaching is known for its scientific nature and normative requirements. Taking the training process of YU Hang, a top student who has won gold medals in numerous international ballet competitions, as a case study, this article summarizes and ruminates about years’ ballet teaching experience of the author.First of all, solid foundation is the cornerstone of rapid professional development in later stage. Reviewing the growing process of YU Hang, who is the prize winner of Prix de Lausanne and Adveq scholarship, as her instructor, the author further recognizes the importance of the solid foundation in ballet teaching. Over the years, the author has been teaching students according to their aptitude in classroom. On the one hand, her teaching is according to the syllabus and based on teaching materials,and she explains the details of each movement(direction, rhythm) patiently to the students. On the other hand, she defines the goals for each stage clearly and strives for them unremittingly.Secondly, teaching with proper methods is the guarantee of talent growth. Training excellent ballet talents consists in helping them overcome the inherent limitations. For example, YU Hang has knock-knees. How can the author help her correct it? Based on indepth teaching research, the author gradually finds the most suitable training method for her. Starting from the barre work, the author requires YU to rotate her legs to the limit, keep the hip joint straight and turn it out, rotate the inner thigh muscle outward, and contract and tighten the hip and abdomen muscles, aligning the thighs, knees, and feet. At the same time, the center of gravity must be placed on the three balance points and the dancer shall not push his/her knees back. In the classroom training, starting from the first move, the author asked YU to use the correct leg training method to make the latter accustomed to this way of exertion. Over time, it has formed the muscle memory, and then it becomes a habit, which is slowly changing YU’s leg shape. YU does not have perfect feet condition for high arches. The author asks her to consciously train the ankle strength both in and after class, for example, spending more energy and time in practicing échappé relevé(for the strength of both legs), relevé(for the strength of single leg), single posture repeatedly(e.g., sur le cou-de-pied, passé, attitude, arabesque), and sauté with single leg. The stronger are the ankles, the easier is the en pointe.To train YU’s sense of music, the author logically divides the whole movement sequences in terms of time. Then the author chooses three to four specific movements and asks YU to execute them exactly in accordance with the time of music and finish each one in the rhythm of the music. While practicing a variation, they adopt the similar method: practice each posture of the divided movement sequences, patterned them, and finally integrated into a complete variation. It is very effective to practice the movement sequences by the 'breaking down-combining' method and match them with the tempo.Thirdly, it is the key of talent training to transit the practice in classroom to performance on stage. In terms of training theatrical talents, it is very important to nurture the students’ sense of dance. Since YU’s junior year, the author has been guiding her to project her understanding and expression into the dance postures. For example, even for the first position, the author requires her to present her sense of dance rather than merely learn the movements. The sense of dance postures needs to be continuously instilled and nurtured by the instructor from the freshman. In the classroom, the instructor should continue to guide the students so that they could execute the movements and postures with emotions—all the movements should be danced with breath and eye expression, performed with heart and emotion. Another essential point in ballet teaching consists in training the students’ awareness of theatrical performance, for stage practice is very crucial for students. Classroom training is greatly different from stage performance. With larger space, dancers should extend the range of motion. The instructors should require the students to express with extended and enlarged postures and movements and seek more opportunities for the students to practice, rehearse, and perform on stage to increase their stage experience. From classroom training to stage performance, and finally back to the classroom—after practicing repeatedly, it will enable the students to be familiar with and enjoy performing on stage, turning them from loving dancing to excelling at dance. In addition, the instructors should inspire the students to integrate classroom training with stage performance. Of course, this requires that the instructors have a profound understanding of the repertoire, comprehend the connotation of dance movements accurately, and in particular, continuously improve their own aesthetic taste and artistic literacy. Only in this way can they guide the students properly while correcting and demonstrating the movements for the students.