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INTERNATIONAL SEMINAR OF ARTISTIC ROLLER SKATING ROCCARASO 2010 THE CHARM OF STYLE by Carol Buelloni

INTERNATIONAL SEMINAR

OF ARTISTIC ROLLER SKATING

ROCCARASO 2010

THE CHARM OF STYLE

by Carol Buelloni

CHOREOGRAPHY

APPLIED TO THE BASIC MOTOR SCHEMES

Carol Buelloni CHOREOGRAPHY APPLIED TO THE BASIC MOTOR SCHEMES S.I.P.A.R. Scuola Italiana Pattinaggio Artistico a Rotelle

S.I.P.A.R. Scuola Italiana Pattinaggio Artistico a Rotelle

Introduction

This essay, which is part of studies for the International Seminar of Artistic Skating held in Roccaraso in 2010, is a first work of choreography related to skating.

As initial work it refers to the motor schemes described in the essay "basic motor scheme" (*) namely to the concept of body axis, bending-stretching, bending-extension to the movements of torsion-rotation and to the function of arms, applied to the choreographic gesture.

The aim is to give the basis to create full skating athletes, able to express themselves in the athletic gesture, in a proper and pleasant way, athletes who can give emotions and externalize their personality because they have the tools to do it in the best way.

Behind every artistic expression there is a work of study and applied knowledge that make easy and perfect every gesture: this must culminate in an artistic form that will be appreciated and will elevate our sport to high levels, but only if we will be so humble to begin with the basis, not to omit anything, to study every detail, proposing it at a top level.

Only in this way we could give vent to our artistic ambitions, without sounding ridiculous or inappropriate and we will be appreciated by those who love sport and art and we could let everyone understand how beautiful the artistic skating is.

I want to thank Carol, who so patiently undertook this adventure with us, sharing her great experience.

Special thanks to Raniero Corbelletti for his beautiful photos.

Sara Locandro

Responsible of the Italian School of Skating

* Text of Sara Locandro and Paolo Colombo, written fort the International Seminar of Artistic Skating 2008

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THE CHARM OF STYLE IN ARTISTIC SKATING

This essay wants to give an introductory knowledge of styling applied to the basic motor schemes for artistic skating athletes.

We will analyze the setting out of the body, the posture, the relation between bending- stretching, flexion-extension, torsion-rotation (as basic positions that give rise to technical difficulties), the stage presence and “port de bras” combined with the footwork.

It is very important to suggest a lesson of didactic choreography, that could be a surrogate for the study of classical dance (practiced by very few athletes) to develop the artistic ability, knowledge of the body scheme and to allow the use of choreographic movement as a mean of expression and communication.

Together with the essay we have realized an explaining DVD of the discussed subjects; the exercises to improve the technical and choreographic gesture could be countless: we have suggested only some of them.

I thank the Italian Federation for Hockey and Skating, Sara Locandro, Responsible for SIPAR, for effective collaboration.

Thank you also for the exquisite availability Marina Maggioli, Fabio Armani, Ezia Signorini Valentina Cecchetti, Silvia Armani, Tiziana Cattozzo and Daniel Morandin for the admirable patience.

I dedicate this work to my father, who opened for me the doors of the universe "MUSIC".

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Carol Buelloni

S.I.P.A.R. Scuola Italiana Pattinaggio Artistico a Rotelle

THE CHARM OF STYLE IN ARTISTIC SKATING

1.SETTING OUT OF THE BODY

2.POSTURE

3. BENDING - STRETCHING FLEXION-EXTENSION TORSION-ROTATION

4. “PORT DE BRAS” COMBINED WITH BASIC MOVEMENTS

5. STAGE PRESENCE

- STRETCHING FLEXION-EXTENSION TORSION-ROTATION 4. “PORT DE BRAS” COMBINED WITH BASIC MOVEMENTS 5. STAGE PRESENCE 4

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SETTING OUT OF THE BODY (Concept of the body axis)

Intended as a basic body posture of the theater and court choreography, the uprightposition, in French "aplomb" is nothing else than the alignment HEAD- CHEST-EMPLOYED FOOT along a vertical axis perpendicular to the ground, on which all steps, choreographic attitudes and technical difficulties of our sport are governed.

With this meaning we arrive at 1900, the century which amplifies the presence of postures and movements built on accentuated balances of chest more than of legs and on suppleness and elasticity, that the dynamics of dancing assume over the time.

In fact, the vertical alignment of head-chest-employed foot guarantees not only the foothold, but also the adherence of the feet on the ground stimulating the sensation of the soil as waste point of energy as well as stimulator of dynamics.

All historical texts on dance explain how the body is crossed by an "imaginary line" that passes vertically through its center: it is the same rule repeated peremptorily in all technical combined sports: diving, synchronized swimming, rhythmic gymnastics or Artistic Skating.

To maintain the “aplomb” or alignment of the body axis, it is fundamental to search the highest structural tension in the abdominal-dorsal muscular contraction.

The need to stabilize the trunk by balancing the body segments makes movements more active and effective, with a timely coordination of all parts of the body.

The Russian school, following the classical tradition, gives to the trunk a fundamental value in basic positions: shoulders-hips focused downward and aligned with each other as four points on a plane, solar plexus forward, arms extended outward or upward, not rigid, but in tension or allongèe or outlining a soft oval. Hands outstretched, slightly staggered to give light (pull an imaginary line), head aligned with shoulders - hips high and natural, chin extended forward up to give to the eyes direction and importance.

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BALANCE

Speaking of "alignment" we introduce another fundamental concept: the "balance" which is nothing but a continuous search for stability through a postural adjustment. The balance functions are controlled by automatic centers that reside in the cerebellum which, for every gesture, sends very rapidly, involuntary impulses of change and structural adjustment.

Completing the thematic analysis of the setting out of the body, we can say that the alignment and balance are connected when an athlete or a dancer, by a proportionate muscle contraction, perform an athletic or choreographic gesture, maintaining posture and movement control in dynamic different situations; the concepts above mentioned can be applied at the maintenance of postures or poses, that create graceful and harmonious lines, basis for a stylistic setting out.

So for skating:

"It is important in the setting out of the skater to respect the concept of body axis, taking as reference the imaginary body axis and to cure the alignment of its parties ." ( from the essay "Motor basic schemes” P. Colombo – S. Locandro S.I.P.A.R. Roccaraso 2008).

In fact, in artistic skating, as in many other disciplines, the control of the body axis lets seem even the most complicated movements performed with ease and confidence, as there were no energy losses and strenuous compensation movements.

INCLINATION

The control of the body axis generates the introduction of the concept of inclination of the body, that will allow us to draw on the rinks a series of curves, that travelled with ease and speed will be very effective also in terms of choreography:

what in our Sport is defined as "skating on edges" is merely the result of this control work of the body axis in its lateral movement.

POSTURE (Moving of the body in the space: Line and Direction)

Once we assimilate the concept of body axis, it's time to move our body in space, and then we introduce the concept of line and direction. The line is another element in particular pointed by choreographic activities and by the great academic tradition.

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All movements, slow or fast, create shapes or draw lines with different body parts. Even combinations of them, whether they are “adagio” or “allegro” more or less long or elaborate, limit spaces and draw the space. The combination of the arts characterized the choreography between the end of '700 and the first half of the '800 leading to the creation of new shapes and to the experimentation of "alternative equilibrium”, placing among the key assumptions the research of the vision of the public and the relation of the body with the stage.

In '900 this aspect was very appreciated and through the strong influence of the modern dance, it was very thorough in relation to the body structure and to the "own" physical and emotional space of the artist. To orientate the body means to direct to a particular reference point of the space, the center of the trunk, namely the central point of the basin (navel) and of the chest (triangle solar plexus-sternum), coordinating eyes-head, shoulders- hips: the orientation of the trunk is not only a key element in building poses, edges, angles, but can also be a system to solve in a simple way many technical problems, improving in the meantime the stability and quality of body movements. In skating this concept, i. e. to give a reference to the body in space, can be referred to any single movement or to the body that follows a precise direction also performing a series of movements (steps diagonally etc.) Normally in music programs, the choreographic construction counts on a front, (either judges, or public or both), to which the movements are primarily oriented.

THE PRINCIPLE OF “EN DEHORS”

Invoking the concept of body axis, and referring to the ballet, we introduce the concept of “en dehors” (outward), which is also very important in artistic skating. In this position legs should show to the public their inside, thigh must rotate outside 90° regarding the body axis. You get this position through the rotation of the hip joints, tightening the muscles that form the abdominal belt and the buttocks, maintaining perpendicular the longitudinal axis of the body, to maximize the spine straight. Head should be positioned on the same vertical line of the feet in a natural position. The “en dehors”, is the necessary basis to give to the legs of the dancer and of the skater, freedom of movement in all directions. The position is obtained after years of study and is linked to the physical conformation of each dancer. It is also important that the posture of the trunk should always be erect, shoulders should be kept low, the neck outstretched and the shoulder blades flat. It is important to place the shoulder line always in line with the hips, the abdominal muscles and the contracted buttocks.

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EN DEHORS – mobility and motion widness

EN DEHORS – mobility and motion widness Francesca RONCELLI Pierluca TOCCO 8 Debora SBEI Andrea ARACU

Francesca RONCELLI

EN DEHORS – mobility and motion widness Francesca RONCELLI Pierluca TOCCO 8 Debora SBEI Andrea ARACU

Pierluca TOCCO

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EN DEHORS – mobility and motion widness Francesca RONCELLI Pierluca TOCCO 8 Debora SBEI Andrea ARACU

Debora SBEI

EN DEHORS – mobility and motion widness Francesca RONCELLI Pierluca TOCCO 8 Debora SBEI Andrea ARACU

Andrea ARACU

The technique of “en dehors” applied at artistic skating is crucial to obtain a fluid dynamics during the technical evolutions, whereas by applying the “en dehors”, movements will be flexible, muscles stretched and strengthened, balance improved. By applying this position we increase the mobility of the hips and we can thus improve the specific skating positions requiring increased amplitude of movements and better stability.

ARTICULAR MOBILITY WILL GIVE LIFE TO PERFECT POSITIONS

BENDING - STRECHING FLEXION – EXTENSION ROTATION – TORSION

The modern physical education as language of the body gives great importance to all gestures that are based and go together with music such as dance, rhythmic and artistic gymnastics, aerobics and its derivatives and artistic skating.

Common gestures such as walking, jumping, turning, bending, extending, running on

a

musical base, lose their daily life, integrate into figures, combine in relation

to

space and rhythm, gain power because they make the body an expressive vehicle.

The combination of bending, stretching, flexion, extension, rotation, torsion of the body, already widely discussed, give rise in skating to choreographic movements and to specific technical difficulties, jumps and spins. From basic skating to the take- off and landing of a jump to the perfection of the position of a spin, to the choreographic performance, everything depends on the proper use of the above mentioned movements.

Dynamic effects such as torsions and turns represent the sense of eternal return as it was a dancing philosophy of "becoming." The absolute ambition of the study of the bio-mechanics of dance is to gain the perfect lightness with a perfect fluidity of movements.

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STROKING (Glide on skates)

The walk is a key aspect in the dance, ballroom dancing, ballet, rhythmic gymnastics or artistic skating: it incorporates all the precepts of posture, direction, weight transfer and rhythm. In ice skating the word "Stroking" means caress, smoothing the ice looking for the perfect glide; perception of caressing the floor is the “mood” of the fluid and smooth skating. Of course, this comes from the ability to bend and extend your legs from the tightness of the chest, from the application of motor schemes; all this gives a feeling of lightness and ease, that makes nice the gesture to those who watch and admire the result. In roller skating we often forget this: programs well choreographed and designed, created and processed, are spoiled by poor and annoying skating, as jarring notes in a concert and this removes the continuity of the program and makes it unpleasant.

PORT DE BRAS (Combined with basic movements)

“Port de bras” is the basis for the study of arm movements: perfect control and use of them give beauty in the lines and in the dynamic style. They are important during the movement in the coordination and artistic expression, to smooth and fluid the passages, also in harmony with the position of the head, with the eyes and expression, give even more elegance to the movement and the poses. From classical dance we can define the classical positions of arms:

dance we can define the classical positions of arms: Codified positions according to the RAD method
dance we can define the classical positions of arms: Codified positions according to the RAD method
dance we can define the classical positions of arms: Codified positions according to the RAD method
dance we can define the classical positions of arms: Codified positions according to the RAD method
dance we can define the classical positions of arms: Codified positions according to the RAD method

Codified positions according to the RAD method (Rapid Application Development) discussed by Royal Academy Dance, officially recognized.

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1

position - rounded arms forward at chest height.

1 position - rounded arms forward at chest height. 2 position - open arms sideways slightly

2 position - open arms sideways slightly rounded.

height. 2 position - open arms sideways slightly rounded. 3 position - one arm up ”au

3 position - one arm up ”au coronne” the other sideways in the second position

”au coronne” the other sideways in the second position 4 position – one arm up “au

4 position – one arm up “au coronne”, the other forward in the first position

up “au coronne”, the other forward in the first position 5 position - the two arms

5 position - the two arms are rounded “au couronne” (as a crown) up above the head

other forward in the first position 5 position - the two arms are rounded “au couronne”

Based on the tradition, the Russian school considers two key poses of arms, the basic pose “arrondiè” and the basic pose “allongè”. The pose “arrondiè” is a soft, slightly rounded pose, that the arm assumes in the canonical positions. The pose “allongè” is stretched and it is almost assumed by the arm in the arabesques and in the walk. The “port de bras” encoded by the Russian school do not cover all possible combinations of arm movements, but are models whose study allows to assimilate the expressive behavior of the upper limbs.

Countless are the positions that arms take in space following geometric rules, imaginary lines and planes with different rhythms of movement and degrees of energy. Combining the “port de bras” with the various basic steps of artistic skating

(progressive step, cross step, three, bracket, rocker, counter, etc

expressive dynamic general principle, that will produce a deeper and more accurate expansion and variety of gestural vocabulary. The expressive possibility of the body is infinite according to a narrative and emotional choreography.

),

we get

an

In skating, both according to pure and simple move with basic steps in space and performing intricate choreographies, arms linked to movements of the rest of the body, give the proper completion to the moving of the body in space and with the music. Then referring to their "give rhythm to the music”, you can really speak of a delightful union of forms and harmony that leads to high artistic form.

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Interpretation

Interpretation Pierluca TOCCO Davide ARACU

Pierluca TOCCO

Interpretation Pierluca TOCCO Davide ARACU

Davide ARACU

Tanja ROMANO
Tanja ROMANO

Tanja ROMANO

Tanja ROMANO
Andrea ARACU Annalisa GRAZIOSI Cristina TRANI Andrea BARBIERI

Andrea ARACU

Andrea ARACU Annalisa GRAZIOSI Cristina TRANI Andrea BARBIERI

Annalisa GRAZIOSI

Andrea ARACU Annalisa GRAZIOSI Cristina TRANI Andrea BARBIERI

Cristina TRANI

Andrea ARACU Annalisa GRAZIOSI Cristina TRANI Andrea BARBIERI

Andrea BARBIERI

PRESENTATION STAGE

The body must be able to move in relation to required targets as dexterity, quickness, flexibility, agility, strength and expressiveness. One should be able to move with elegance and ease in space, to choose the direction, to regulate an “élan” in intensity and in space, speed, grace, rhythm responding to each variation with a dynamism driven and seconded by thought and spirit: so technical movement and dance cannot be regarded only as a manifestation of the movement system (muscles and joints) but also the stimulation of many functions that affect the personality. For this reason, athletic movement takes on a personal aspect that can be evaluated and judged by those who see it; each individual expresses himself, distinguishing his movement from that of other athletes and adjusting it to the structure of his body, to his own ability, his sensitivity and intelligence, his attitudes, his tastes, his own character. The stage presence begins with the presentation to the public or to the judges of who we are and how we prepare ourselves to face the choreographic, technical- sport performance. Bras au public (balance in extension, opening of arms and hands as to offer oneself to the world). Our benchmarks are the public and the judges to which you draw any dance program. The positive attitude is vital as a perfect posture that helps to balance and to transfer the weight properly. Approaching with determination and patience the choreographic and stylistic field means to find a personal habit, that gives more grace and balance to the movement in general, creating lines that tend to infinity manifesting the own personality to communicate with people watching us.

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Stage Presentation

Stage Presentation Andrea BARBIERI Andrea ARACU 17
Stage Presentation Andrea BARBIERI Andrea ARACU 17

Andrea BARBIERI

Andrea ARACU

Stage Presentation Andrea BARBIERI Andrea ARACU 17

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Carol Buelloni

Carol Buelloni is costume designer and choreographer of national fame in the world of Roller Artistic Skating. Born in Modena, she attends the school of ballet and becomes a artistic skating athlete in the specialty of dance under the guidance of Dario Franzoso, Antonio Merlo (current national coach) and the late master Odoardo Castellari. In the immediate post competitive period she begins to coach in the competitive clubs of Modena and joins a show group of skaters SKATE ROLLER show with numerous tours and television appearances from "Domenica In" to "Bandiera Gialla". Discoverer of talented athletes, she has completely devoted herself to specific choreography for artistic skating after the Worlds 1995 in Colombia, when she begins to concern herself with costumes for sports and entertainment. Her artistic and tailoring activity, which also includes ice, is very broad. Her career is full of prestigious awards up to the appointment by the Federation Board in 2006 as choreographer of the national teams. Her eclecticism drives her to the conception of choreography direction, that has also starred as the Overture by “Yuri ,a life going on " issues 2007, 2008, 2009, 2010, the opening show of the "Bologniadi" 2009 in Piazza Maggiore in Bologna and the final show of the International Stage of Roccaraso 2008-2009-2010

2009 in Piazza Maggiore in Bologna and the final show of the International Stage of Roccaraso

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BIBLIOGRAPHY

Arte del Movimento – Libro & Quaderno

G. Grossi – M.Turci EDIZIONI LA SPIGA

Teoria della Danza Classica vol.1

F. Papacena GREMESE EDITORE

Manuale di propedeutica alla danza M.Salvetti-M.Susana-L.Venchi DEMETRA EDITORE

Storia della danza e del Balletto

A. Testa GREMESE EDITORE

Scuola Russa Oznovy Klassiceskogo tanca ( Le basi della danza classica ) A.Vaganova Leningrado 1934 trad. italiana DI GIACOMO EDITORE

Uroki Klassiceskolo tanca ( Lezioni di Danza Classica )

A. Messerer Mosca 1967 trad. italiana DANCE BOOKS LTD.

IL grande libro del ballo

G. Porciani GIUNTI EDITORE

Ballando come le stelle

A. Du Beke GREMESE EDITORE

The Code of Terpsichore

C. Blasis Londra 1828 Editing DANCE HORIZON N.Y.

Praticamente Sport

P. Del Nista – J. Parker - A.Tasselli EDIZIONI G.D'ANNA

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