Tarasova, Natalia Pavlovna Approximate word search

In June 2014, a new structure appeared at the Rus Medical Center - an ENT clinic.

In June 2014, a new structure appeared at the Rus Medical Center - an ENT clinic. Tarasova Natalya Valerievna, Doctor of Medical Sciences, professor, otorhinolaryngologist of the highest category, was invited to lead the clinic. The choice of the head is not accidental, since the image of the head determines the face and activities of the clinic.

Natalya Valerievna Tarasova from a medical family. main role in the formation of her medical profile had her father Chistyakov Valery Pavlovich - a military otorhinolaryngologist, colonel of the medical service, a highly educated person and a unique surgeon. It was he who showed her the beauty of otorhinolaryngology and instilled in her a love for patients. From her student days, Natalia Valerievna sought to learn the basics of her specialty, and then, having already entered the clinical residency in otorhinolaryngology at the department of Samara Medical University, she became an otorhinolaryngologist under the guidance of the head of the department of diseases of the ear, nose and throat, academician of the Russian Academy of Medical Sciences Igor Borisovich Soldatov. His personality became the second powerful stimulus and guide to the world of otorhinolaryngology. Under his guidance, N.V. Tarasova completed and defended her Ph.D. thesis in 1997. active medical and scientific activity combined with teaching activities at the department as an assistant to the department. The need for professional growth as a doctor, surgeon, the need for improvement as a scientist stimulated Natalya Valerievna to further development, and in 2001 she successfully defended her doctoral dissertation in two specialties - human anatomy and diseases of the ear, nose and throat. The area of ​​her scientific interest is rhinology, rhinosurgery, treatment of diseases of the nose, paranasal sinuses, she proposed, implemented and successfully applied methods of operations for empty nose syndrome, frontal sinusitis, ethmoiditis and other diseases.

Since 2002, N.V. Tarasova has headed the multidisciplinary department of clinical medicine with courses at the Samara Medical Institute "REAVIZ", her activity in this capacity as the organizer of the educational and methodological process, based on the results of the institute's work for 12 years, has been recognized as very successful. According to the results of 2 accreditations, the department was recognized as the best in the institute.

Natalya Valerievna Tarasova is an otorhinolaryngologist recognized in the Samara region and in Russia. She owns all modern methods of treatment of diseases. respiratory tract and ear. The level of her medical skills attracts patients from all regions of the country and abroad. The talent of a teacher and lecturer allows her to train doctors as part of postgraduate education at advanced training courses in clinical residency, internship, and postgraduate studies in otorhinolaryngology. N.V. Tarasova is the author of 146 printed scientific works and has 7 patents for inventions. She participates in All-Russian, regional and city educational programs for general practitioners, therapists and pediatricians. Scientific and practical conferences, round tables, seminars, lectures for doctors and pharmacists held in Russia and abroad have become an integral part of her work.

In 2013, Natalya Valerievna became the Woman of the Year in the nomination "Woman Scientist" in the Samara Region.

Reception schedule:

n/a - no data. Most likely there is no acceptance.

Making an appointment with a doctor:

To make an appointment with a specialist Tarasova N.V. (obstetrics and gynecology (zhk39 pr.prosveshcheniya, 99)) you must go to the page of the medical institution Polyclinic No. 86 Women's consultation No. 39, in the "Doctor appointment" tab, select suitable date and appointment time and enter patient data.

1 review about the doctor:

After visiting a doctor, subject to an appointment with him through our website, the patient is invited to leave a review about the visit. Thanks to this approach, you can get acquainted with reliable reviews only of real patients of specialist Tarasov N.V..

I first encountered the professionalism of Natalya Vladislavovna when she became pregnant. And, as a rule, the unknown is always scary, given that before that, in the part of gynecology, I was always treated by another doctor. And then there is the first pregnancy. All at once, in general. All my fears began to develop when I found out from two of my colleagues that they had previously been pregnant with this specialist and since then they can only speak positively about her. And so my acquaintance with Natalya Vladislavovna began. And from myself I already want to say that this is really a professional in his field. Yes, it may seem to someone that she is quite strict, but the doctor should not lisp with you, after all, we are adults. For me, especially in such a crucial period as pregnancy, the professionalism of my obstetrician-gynecologist comes first, and I am really grateful to Natalya Vladislavovna that she is ready to share this professionalism. I am very fortunate to have such a kind and caring professional.

Nikolay Tarasov is one of the founders of the department of choreography at GITIS, who has worked at it for a quarter of a century. Tarasov taught composition at first, and then the technique classical dance, becoming a professor and artistic director of the pedagogical department of the ballet master faculty of GITIS - now Russian Academy theatrical art.
Tarasov is a hereditary ballet dancer (his father also danced at the Bolshoi Theater). Nikolai Ivanovich was a multi-talented person. Passion for the art of ballet, supported in the family, led him to the choreographic school.
We know a lot about Tarasov's personality from memories People's Artist USSR, professor RLapauri-Struchkova. An outstanding ballerina and teacher, who knew Nikolai Ivanovich closely, writes the following about his personality: “Charming, witty, cheerful, unusually tactful, intelligent, he knew how to gather around him interesting people; for example, composers, performing musicians, writers, and artists gathered on the Thursdays he organized.
And I must say, whoever came to this house - a famous artist or an unknown artist, he felt free and natural here. Intelligence here was felt in everything - such were the owners of this hospitable apartment.
This intelligence, moral upbringing, culture of communication manifested itself everywhere and in everything: at rehearsals and lessons, at home and at meetings, in disputes with friends and in conversations with students.
The students loved their teacher, they could come to him at any time with their sorrows, doubts, questions, and for everyone Nikolai Ivanovich found an opportunity to be as useful as possible. N.I. Tarasov was very fond of books, he collected a good library. He himself loved to read poetry, was engaged in painting and sculpture, played the piano well.
In addition to his unique pedagogical talent, Tarasov was also a subtle psychologist. He carefully studied the students, knew their physical characteristics, Creative skills, artistic abilities, endurance, temperament, character traits, addictions, everyday habits. He knew how to quietly cheer up an insecure student, to stop impudent self-confidence. And in Tarasov's lessons, as a rule, there was an ideal discipline. The students understood him perfectly.
Tarasov, as a person, never hid his interest in people, in the work of his younger comrades. So, having seen some combination worth from his point of view, composed by a young choreographer, he immediately used it in the lesson. He followed the work of young choreographers not out of duty, but out of creative interest. The birth of the new stimulated its own growth.
Tarasov's work, as time has shown, was innovative, and the search was progressive. After all, a detailed, technically equipped, diverse dance (primarily classical) was for him the main material of ballet, the main weapon of the choreographer, the language of the actor.
1. Keeper of the best progressive traditions of Russian ballet.
Nikolai Ivanovich Tarasov is a representative of the Moscow ballet, a Muscovite by birth, character and artistic passions. His whole life is connected with Moscow. He rarely left his beloved city. In these rare absences, he lived by her rhythm, her interests, he everywhere felt her breath and life-giving mood. He worked up to last days life. He pondered and argued about ballet pedagogy, was invariably interested in new premieres and the ballet scene. He did not bother anyone with his physical ailments, did not require care or pity. He left life epically calmly, courageously, beautifully, as he lived.
Nikolai Ivanovich Tarasov was born on December 19, 1902 in Moscow into the family of a Bolshoi Theater dancer. There is every reason to believe that the father was the first to notice his son's ability to dance and thus determined his fate. In 1913, Tarasov was admitted to the Moscow Choreographic School. Nikolai Ivanovich considered N. Domashev and N. Legat to be his teachers.
Describing the performing style of Tarasov, A. Darman, the oldest soloist of the Bolshoi Ballet, said that Tarasov had an excellent balloon, brilliant drifts, clarity, masculinity and sculptural plasticity.
N.I. Tarasov scientifically summarized and methodically recorded the achievements in the field of male classical dance. His work "Classical Dance" was the result of many years of fruitful activity, a thorough study of the specifics of male performance. The book is a valuable contribution to the development of Russian and world choreographic art.
On January 6, 1920, Nikolai Tarasov became a ballet dancer at the Bolshoi Theatre. Perfectly trained, handsome, with enviable external data, from the very first seasons he took the position of the leading soloist of the ballet troupe. And somehow his repertoire was immediately determined - Siegfried in Swan Lake, Basil in Don Quixote, Albert in Giselle, Solor in La Bayadère, Phoebus in Esmeralda, Franz in Coppelia, Jean de Brienne in Raymond, the Prince in The Nutcracker, Colin in Vain Precaution.
Performances with such famous ballerinas as E. Geltser, M. Semenova, V. Krieger, talented peers - M. Kandaurova, A. Bank, V. Kudryavtseva, N. Podgoretskaya, A. Abramova contributed to the improvement of skills, the acquisition of virtuoso stage skills.
Directly colliding with A. Gorsky, V. Tikhomirov, K. Goleizovsky, A. Arends, Y. Fayer, the young artist acquired not only practical skills. His artistic intellect matured, his ideas became clearer and clearer. life goals.
Nikolai Ivanovich Tarasov began to study pedagogy almost from the first years of his life in art. In 1923, he first came to the ballet class as a teacher. But pedagogical activity the artist actually began not at the School, but in the rehearsal rooms of the Bolshoi Theater. He led training sessions in classical dance with the leading soloists of the troupe until 1936. In his class daily polished their skills, developed the technique of A. Messerer, A. Ermolaev, M. Gabovich and others. In addition, from 1923 to 1960, Nikolai Ivanovich continuously taught classical dance at the Moscow Choreographic School.
For almost forty years of teaching, Tarasov has brought up more than one generation of ballet dancers. But during these forty years, he not only educated and shaped future dance masters, but also improved his teaching methods, he lived the life of a school. And more than once his selfless love for art, a great sense of civic duty brought the school out of difficult situations, contributed to creative ups.
It fell to Tarasov to be the artistic director and director of the school in the most difficult war and post-war years. Nikolai Ivanovich repeated the feat of A. Glushkovsky, who during the Patriotic War of 1812 evacuated the Moscow school in the most difficult conditions and thereby saved it, in fact, from collapse. Concern for the preservation of the school during the years of the Great Patriotic War completely fell on the shoulders of Tarasov. In Vasilsursk, overcrowded to the limit with evacuees, where the school moved, Nikolai Ivanovich had to find a room for classes, a boarding school for students, housing for teachers. Tarasov was always known as a precise, collected, cordial and kind person. But no one suspected that he also possessed an amazing organizational talent, the ability to find a way out of the most difficult situation and, it would seem, a hopeless situation.
Giving all his professional energy, the warmth of his generous heart to the school, Tarasov often thought about the future of ballet art, for which the school is the foundation and the basis of searches. By this time, Nikolai Ivanovich had an already established pedagogical system and methodology. Its main principles are inextricably linked with the traditions of the Russian school of classical dance, with the requirements that the theater of each era makes for a choreographic school. Of course, Tarasov, in a creatively transformed form, used a lot from the experience of N. Domashev, N. Legat, V. Tikhomirov. But it would be the greatest mistake to consider his pedagogical methodology as a synthesis of the experience of his predecessors. Tarasov's technique is very peculiar and rests mainly on vast personal experience.
Over the years of training, his pupils acquired the ability not only to master the technique of classical dance, but also to impart awareness, inner meaning, figurative completeness to plasticity. Dance technique for Tarasov did not exist in isolation from the artistic beginning and complex acting tasks.
The education of professionalism for Tarasov was inextricably linked with the education of consciousness in students. And he brought up this awareness from the first lessons, gradually including in them more and more complex requirements. It was important for him not only to attend classes accurately, to accurately complete assignments. He accustomed to full dedication, to the ability to think within the limits of the studied material and to feel the professional necessity of each lesson, each combination. Tarasov was a strict teacher, but his lessons were always dominated by an atmosphere of goodwill and work enthusiasm.
With internal organization and artistic completeness, Tarasov's lesson resembled a ballet performance. Lessons sometimes ended with etudes for classical and contemporary music. Their themes were most often sublime, heroic-patriotic. Etudes became, as it were, a link between cool combinations and future ballet parts.
Tarasov attached great importance to the musical structure of the lessons. He forbade concertmasters to play excerpts from famous operas, ballets, films, and forbade them to improvise on the themes of popular songs and romances. The lesson was accompanied by new, unknown music. She, as a rule, had a clear rhythm, which did not adapt to the students, but led them along. The introduction and finale of the piece of music that accompanied the lesson were always very clear, as was the plastic drawing.
Nikolai Ivanovich always remembered that creative life many ballet dancers ends with pedagogy. That is why in the senior classes he analyzed with us not only individual combinations, but the whole lesson, taught us to think pedagogically.
The authority of Tarasov both at school and at GITIS was indisputable, it was the result of a lot of work and knowledge that convinced for a long time and deeply.
Tarasov repeatedly took part in the creation of classical dance programs and teaching aids. A supporter of evidence-based pedagogy and a unified teaching system, Nikolai Ivanovich always stood up for a teacher-creator who knows how to refract this methodology in his own way. The book “Methodology of Classical Training” accurately formulates this idea: “The unity of the system should by no means fetter the pedagogical individuality of teachers. The correct methodology cannot prevent the manifestation of the creativity of the teacher, it does not eliminate the need for every teacher of dance art to be an artist himself.
In 1945, at the State Institute of Theater Arts named after A.V. Lunacharsky, a ballet master faculty was opened, and a few years later, a faculty that trained teachers in choreography. For the first time in the history of world ballet, higher choreographic education was established.
GITIS began a new and very significant page in Tarasov's biography. Officially, he was listed as the head of the course "Composition of classical dance." In reality, he led and directed all disciplines related to classical dance. Nikolai Ivanovich made sure that daily classical dance classes turned into a creative laboratory, replenishing the artistic palette of future choreographers.
A talented and experienced methodologist, Tarasov created a program for the course "Composition of classical dance", accurately defining the objectives of the subject and the methodology of its teaching. He seemed to have a presentiment that this subject would soon take an honorable place in the curriculum of the choreographic faculties of the institutes of culture and institutes of the arts. This program is effective, modern and today.
Today, in almost all choreographic schools of our country, in many foreign countries, graduates of the pedagogical faculty of GITIS, students of N. I. Tarasov, teach. Today, Nikolai Ivanovich lives in his students, and they sacredly keep his testaments and, like him, are devoted to art.
The first edition of the book Classical Dance, published in 1971 during the author's lifetime, is Tarasov's last tribute to his native art. And this book is unique.
In 1975, Nikolai Ivanovich Tarasov was awarded the USSR State Prize for the book Classical Dance.
2. Teachers and mentors N.I. Tarasova. Creative and pedagogical activity.
His teachers were A.N. Domashev and N.G. Legat, from whom he graduated in 1919. Having received an excellent school, Tarasov immediately becomes the leading soloist of the Bolshoi Theater. He performed in the classical repertoire, dancing in "Swan Lake", "Giselle", "The Nutcracker", "Don Quixote", "Coppelia", "Raymonda" with famous ballerinas - E. Geltser, V. Krieger, M. Semenova, L. Bank, M. Kandaurova, N. Podgoretskaya and others.
Both school mentors gave their pet solid knowledge, brought up a conscious approach to the art of dancing. Having become an artist, and then a teacher, Tarasov managed not only to organically cross the traditions of the Moscow and Petrograd schools, but also to create a new one that meets the times both in performing skills and in pedagogy. It seems that the formation of Tarasov, a teacher, and at first an actor, had big influence in V. D. Tikhomirov, who gave the male dance a complete and new form.
From 1923 to 1960, Tarasov worked as a teacher of classical dance at the Moscow Choreographic School at the Bolshoi Theater, being a teacher in the senior and graduating classes, and for several years - in a difficult war time- worked as its director and artistic director in collaboration with brilliant teachers, whose names are the pride of the national choreographic school - E. Gerdt, M. Kozhukhova, M. Leontieva, M. Semenova, A. Messerer, A. Rudenko, A. Zhukov, G .Petrova, M.Vasilyeva-Rozhdestvenskaya and others.
For thirteen years, Tarasov led training classes for the leading dancers of the Bolshoi Theater. A. Ermolaev, M. Gabovich and many other famous masters of Russian ballet studied with him. .Zhdanov, Ya. Sekh and others.
At the Bolshoi Theater, Tarasov worked in creative collaboration with famous ballet masters of the Moscow School, such as A. Gorsky, V. Tikhomirov, K. Goleizovsky, with conductors A. Arends, Y. Fire and others. In addition to wonderful performers, Tarasov brought up a whole galaxy of choreographers in male classical dance.
Among his students are well-known teachers A. Lapauri, E. Valukin, Ya-Sekh, G. Pribylov and teachers of the Moscow Choreographic School at the Bolshoi Theater, such as P. Pestov and A. Prokofiev. The leading choreographers were his students G. Vala-mat-Zade, V. Grivitskas, A. Chichinadze, O. Dadishkiliani, M. Martirosyan, E. Changa. In Germany, Hungary, Yugoslavia, the Czech Republic, Mongolia, teachers and artistic directors of theaters, former pupils of Tarasov, are actively working.
In the pre-war years, a book was published, written by N. Tarasov together with V. Moritz and A. Chekrygin, “The Method of Classical Training” (1940). It was the first textbook on the methodology of teaching classical dance.
Nikolai Ivanovich Tarasov, together with Agrippina Yakovlevna Vaganova, developed material for educational film"Classical dance technique", filmed at the Moscow studio documentaries in 1947.
In 1971, the book by N. Tarasov “Classical dance. School of male performance”, which concentrated the master's vast creative experience as a dancer and teacher-choreographer.
In the first part of the book, Tarasov outlines the basic principles of the school of male performance, as well as the methodology of classes, taking into account their planning, as well as the progress and creative growth of students, in the second part, elementary movements of classical dance, positions of the legs and arms, postures and dance steps, jumps and drifts, turns and rotations, etc.
The teacher Tarasova Legat - "the last of the Mohicans" of the Russian school of classical dance - jealously guarded its traditions. He defended traditions as a performer, as a choreographer and as a teacher. And although these three aspects of his multifaceted activity were unequal, they all left a mark on the work of his students, influenced the fate of the ballet theater of the 20th century up to the present day.
Legat wrote: “The Italian school was magnificent in itself. When she was brought to Russia, she was a revelation to us. We accepted it, decorated, ennobled this school. We made it more flexible, more obedient, thinner, more individual. We subordinated it to the characteristics of a creative genius. We poured the rich, life-affirming, inspiring power of the “Russian soul” into the Italian school. In these few words of mine, the history of the highest development of Russian ballet is set forth.

3. Special methods for studying the movements of male dances.
Tarasov's performing style has absorbed the best traditions of the Russian school of classical dance - masculinity, breadth of gestures, the desire for a realistic interpretation of images. Tarasov, first of all, sought an understanding of music from his pupils. They did not perform a single movement, not a single jump or rotation mechanically. He brought up in his wards discipline, respect for the profession, composure and dancing.
In the senior classes, N. Tarasov never reloaded combinations. Very clearly, he singled out the main movement that was being trained. His combinations were always convenient, logical, one movement followed from another. M. Liepa recalled that N. Tarasov in a creatively transformed form used a lot from the experience of N. Domashev, N. Legat, V. Tikhomirov. But his methodology is very peculiar and rests mainly on a great personal experience. But this personal experience is vitally connected with the life of the theater, with that qualitatively new thing that the stage introduces into the choreographic vocabulary, into the professional image of the actor.
Over the years of training, his pupils acquired the ability not only to master the technique of classical dance, but also to impart awareness, inner meaning, figurative completeness to plasticity. Dance technique for Tarasov did not exist in isolation from the artistic beginning and complex acting tasks. Tarasov wrote: “Classical dance as an academic subject does not aim to study the basics of acting. Nevertheless, classical dance lessons (from the first to the last grade) are inextricably linked with the development of expressive means, on which the skill of a ballet dancer is based. And the more firmly the technique of classical dance is studied, the closer the student comes to the knowledge of the expressive gesture of the ballet theater actor.
In 1946 at GITIS them. V. A. Lunacharsky opened a ballet master faculty, then a department that trains choreography teachers. For the first time in the history of world ballet, higher choreographic education was established. The organizer of the faculty is the outstanding choreographer R.V. Zakharov managed to find faithful companions and assistants who are able to conduct classes at such a complex faculty and become authors of programs in individual disciplines, organizers of the educational process.
Ballet figures associated with the Bolshoi Theater and its school, N. Tarasov, M. Vasilyeva-Rozhdestvenskaya, T. Tkachenko, A. Shatin and others, became like-minded people of Zakharov.
N. Tarasov was the founder and soul of the new faculty. He developed a general curriculum and program for teaching classical dance. N. Tarasov's book "Classical Dance" interprets the school of classical dance as a method, as a system of education and training of the future professional dancer of the ballet theater.
The purpose of his technique is the stage interpretation of classical dance movements as elements of the organic language of the characters acting in the ballet. Therefore, according to the author's memoirs, from the first element of the exercise, the machine did not have simple movement, but it was the participation of the entire performing apparatus of the dancer in the task proposed by the teacher. The core of the male class is allegro, which Tarasov himself remembered and reminded the students from the first minutes of the lesson.
Approaching the part of the lesson that is devoted to jumping, Tarasov, as it were, took off the emphasis on these elements of the dance, believing that in this part of the lesson they should work themselves out. Perhaps the main methodological task of teaching in this section of the lesson is the implementation of the combinations themselves, or rather, their skillful construction, or, more precisely, in Taras’s way, then the saturation of the type of jumps in which this moment is the main educational focus.
Tarasov's method in teaching jumps consisted in preparing and working out during the lesson all the elements of the leitmotif of this movement during the combination, in developing it in different angles, combinations and rhythmic patterns, providing its technique and stage form with verified postures, movement of hands and head. N. Tarasov interprets the concept of "school" in this way: "In order to master the high performing skills of classical dance, it is necessary to know and assimilate its nature, its means of expression, its school."
The author puts forward a whole system of requirements for the performance skills of a dancer. The book seriously analyzes the components of the dancer's musicality and suggests methods for its formation in the process of teaching classical dance. There is no such field of training and education of a dancer that would fall out of Tarasov's field of activity as a teacher. It touches on such rarely discussed issues as orientation in space, the development of coordination, psychological readiness for dance and its artistic tasks.
N. Tarasov is one of the brightest and deepest figures in the ballet theater, a teacher and thinker who had a huge impact on the development of classical dance in the second half of the 20th century. Russia is the only country on the ballet map of Europe where not only the traditions of male performing art have been preserved, but also the technique of male classical dance has been developed.
At the beginning of the 20th century, three major directions were identified in male performance: the first was the preservation of the academic traditions of male dance at the turn of the 19th century; the second is the revision of old dance steps and the composition of new ones with the introduction of a spontaneous, rebellious beginning, so characteristic of the time; the third is the improvement of the plastic expressiveness of the dance.
The development of male classical dance took place in the 20–40s of the 20th century in several directions that affected the section of jumps and rotations. Traditional pas became more complicated, new techniques for ending movements were introduced. Fundamental changes in the vocabulary of male classical dance occurred as a result of the activation of dance images in the drama Interest in modernity led to the enrichment and renewal of the dance vocabulary itself, staging principles, and the genre nature of a ballet performance.
Summing up, we can draw conclusions: - the study of the school of classical dance has great importance for those countries where ballet art is at the stage of development; - the concept of a school is not only a teaching methodology, academic features of dance, but also an artistic credo of art, its philosophical traditions and diverse life connections; the school develops classical dance as the main means of expression ballet and educates ballet dancers;
The Russian school is characterized by a perfect technique, a strictly academic style, a simple manner of movement, restrained and soft, free from external effects; - female performance in Russian ballet is associated with the names of Didlo, Blasis, Istomina, Sankovskaya, Ioganson, Pavlova;
The methodological basis was created by A. Vaganova; - male dance in the Russian school, as well as female dance, has gone a long way of formation and is associated with the names of Ioganson, Gerdt, Petipa, Cecchetti;
Male performance methodically took shape in the lessons of N. Legat, V. Tikhomirov, V. Ponomarev, A. Pushkin, A. Messerer, N. Tarasov, whose legacy is of great value to foreign ballet figures; - over the years of development of the Russian school of classical dance, the meaning and ratio of male and female dance in a ballet performance has changed.
If in the 18th century there was an equality of rights between the dancer and the ballerina, then in the era of Talioniv romanticism, the male dance lost its significance; - the situation began to change at the beginning of the 20th century, and by the middle of the century a new performing style with a clear heroic beginning was established both on the ballet stage and in teaching methods.
Ballet is a kind of art that relies on the aesthetic principles of harmony, beauty, logic and expediency of classical dance as the language of body movements. The ballet of our time is the art of new, technically equipped performers
Conclusion.
Ilze Liepa talks about the outstanding teacher of the Moscow ballet school - Nikolai Ivanovich Tarasov. A whole galaxy of brilliant artists of the Bolshoi Theater and a textbook scientific work called "Classical Dance" are associated with his name.
Ilze Liepa: It is no coincidence that we all remember our teachers - because for us they become parents in the profession. They can give us this profession, give it as a gift, teach us everything, or, alas, if we don’t happen to get into good hands, you can lose even a capable student. In my programs, I have already mentioned Vaganova, Pushkin, Pestov, Sakharova, Zolotova... But there are teachers who need to be discussed separately, because they are incredibly bright personalities. It's about about Nikolai Ivanovich Tarasov ... "
There were very different dancers among Tarasov's students. This is the absolute classic Yuri Zhdanov, who can be seen in the movie "Romeo and Juliet" paired with the incomparable Galina Ulanova. These are wonderful performers of a characteristic repertoire - the premieres of the Bolshoi Theater Alexander Lapauri, Georgy Farmanyants and Yaroslav Sekh. And also - dancers, who later became brilliant teachers themselves, created their own school and teaching methods - Pyotr Pestov and Alexander Prokofiev. And, of course, two artists whose names speak for themselves - Mikhail Lavrovsky and Maris Liepa.
Ilze Liepa: “Nikolai Ivanovich Tarasov created the Russian Moscow school, which was based on the correct classical education, but very great attention also paid attention to musicality and education of plasticity. He seemed to draw a line under the path that was before him. If in women's classical dance there is a teacher-legislator - this is Agrippina Yakovlevna Vaganova, then something similar in men's dance was done by Nikolai Ivanovich Tarasov.
Thanks to his experiences and trials, he became a trendsetter in the principles of educating dancers in classical ballet. All of them were subsequently reflected in a unique scientific work, which is called “Classical Dance”. Most of study guide is devoted to the method of teaching dance - postures, dance movements, jumps, turns in the sequence and in those combinations that have been tested by experience and ensure the assimilation of all, even the most complex movements of classical dance.
In his textbook, Nikolai Ivanovich consistently and in detail talks about the complex process of educating a dancer, explains the entire pedagogical process, from simple to complex, from particular to general, whole. Along with the famous Vaganova textbook, these two books have become a reference book for ballet teachers around the world…”

11. Characteristics of the forms of historical and everyday dance. Sacred farces are comedic performances with singing and dancing. Dances of religious content were also performed at feasts - between the dishes. Later, such dances began to alternate with secular dances. Gradually the sacred dances lost their religious content. Folk dances in palaces and castles turned into walking, solemn dances-processions, only remotely resembling the source of their origin. The overall style of the costume was lush and heavy. He tied, not giving freedom and ease of movement. Bass dances, that is, "low" dances, (pavane, courant, alemand), "high" dances, in which the dancers twirled (volta) and jumped (galliard). A common feature was a slight dependence on music. The dance technique of the 14th-15th centuries is extremely simple. Basically, these are promenade dances without a regulated pattern of hand movements, the absence of clearly established forms. Playful - bourre and farandole. In the Renaissance - a dance suite. The dances are more complex. Dances with a round dance and linear-rank composition are being replaced by paired (duet) dances “estampidas”, built on complex movements and figures. The feet in the dances were located in a straight line parallel to each other. Dance teachers appear. After the French Revolution, French dances of the 18th century are gradually forgotten. They are replaced by ecossaise, quadrille, polonaise, waltz, polka, mazurka become pan-European dances. ballroom dancing in the 19th century, it acquires a different style and manner of performance. They become more relaxed, lighter. Their pace is accelerating. The development of free, jumping and rotational movements contributed to the change in fashion, the lightness of men's and women's costumes. Moorish dance. Bass dances. Branle. Ball bran. Montagnard. Volta. Galliard or Romanesque. Sincpace. Pavan. Courant. Alemanda. Saltarella. Sarabande. Minuet. Passpie. Polonaise. Gavotte. Folk and household dance of France in the 16th-17th centuries. played an exceptionally large role in the development of ballet theater and stage dance. Professional choreographers of the Middle Ages raised the art of dancing to new heights with their skill. Dance masters create the canonical forms of dance, which are diligently and punctually studied by a privileged society. This is largely facilitated by textbooks, where movements are systematized and an attempt is made to fix dance compositions. The choreography of opera and ballet performances of the 16th, 17th and early 18th centuries consisted of the same dances that the court society performed at balls and festivities. Only at the end of the 18th century did the final distinction between everyday and stage dances take place. A number of movements on which the gavotte, galliard and especially the minuet are built formed the basis of the vocabulary of classical dance.

To narrow the search results, you can refine the query by specifying the fields to search on. The list of fields is presented above. For example:

You can search across multiple fields at the same time:

logical operators

The default operator is AND.
Operator AND means that the document must match all the elements in the group:

research development

Operator OR means that the document must match one of the values ​​in the group:

study OR development

Operator NOT excludes documents containing this element:

study NOT development

Search type

When writing a query, you can specify the way in which the phrase will be searched. Four methods are supported: search based on morphology, without morphology, search for a prefix, search for a phrase.
By default, the search is based on morphology.
To search without morphology, it is enough to put the "dollar" sign before the words in the phrase:

$ study $ development

To search for a prefix, you need to put an asterisk after the query:

study *

To search for a phrase, you need to enclose the query in double quotes:

" research and development "

Search by synonyms

To include synonyms of a word in the search results, put a hash mark " # " before a word or before an expression in brackets.
When applied to one word, up to three synonyms will be found for it.
When applied to a parenthesized expression, a synonym will be added to each word if one was found.
Not compatible with no-morphology, prefix, or phrase searches.

# study

grouping

Parentheses are used to group search phrases. This allows you to control the boolean logic of the request.
For example, you need to make a request: find documents whose author is Ivanov or Petrov, and the title contains the words research or development:

Approximate word search

For an approximate search, you need to put a tilde " ~ " at the end of a word in a phrase. For example:

bromine ~

The search will find words such as "bromine", "rum", "prom", etc.
You can optionally specify the maximum number of possible edits: 0, 1, or 2. For example:

bromine ~1

The default is 2 edits.

Proximity criterion

To search by proximity, you need to put a tilde " ~ " at the end of a phrase. For example, to find documents with the words research and development within 2 words, use the following query:

" research development "~2

Expression relevance

To change the relevance of individual expressions in the search, use the sign " ^ " at the end of an expression, and then indicate the level of relevance of this expression in relation to the others.
The higher the level, the more relevant the given expression.
For example, in this expression, the word "research" is four times more relevant than the word "development":

study ^4 development

By default, the level is 1. Valid values is a positive real number.

Search within an interval

To specify the interval in which the value of some field should be, you should specify the boundary values ​​in brackets, separated by the operator TO.
A lexicographic sort will be performed.

Such a query will return results with the author starting from Ivanov and ending with Petrov, but Ivanov and Petrov will not be included in the result.
To include a value in an interval, use square brackets. Use curly braces to escape a value.