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Plastic acrobatics

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Have you ever wanted to show the wonders of flexibility? Be very careful. There are many advantages to plastic acrobatics. Here are the most important ones:

  • That, probably, you will be one of those who will not suffer from osteoarthritis in old age.
  • That when you grow old you are more likely to look much better than your peers.
  • What medical research shows is that acrobats not only have higher resistance to daily stress, pain and illness, but their overall health is excellent and they live significantly longer than people in other professions.
  • What if you suffer from Ehlers-Danlos syndrome, which is considered a genetic disorder of connective tissue, then you are likely to get a result much faster than a healthy person, but at the same time, you will feel less symptoms. The body structure of people also determines how far you can go and what to do. In most cases, this only means that some things will be a little more difficult to learn, while others will come easily. The most important thing is to train every day.
  • That your strength will grow
  • That your range of motion will improve significantly
  • What is the most natural and inexpensive way to train that exists. It will not cost you a dime. All you need is some space and your furniture.

Have you decided yet? You should do it, because it will be the best pastime in your life.

Single Plastic Acrobatics

A characteristic feature of this type of acrobatics is all kinds of bending the body back. A sharp deflection in the back without touching the floor with your hands - the so-called back fold - and a deflection with emphasis on the hands - a bridge.

Handstand with bogen, deflection in a stand with support on the teeth, deflection of saw cuts in arabesque, as well as various twines - all these basic elements are many times varied and complicated by performers. In the old circus, all the children taken to school certainly developed flexibility. On the posters, such numbers were called "Man Without Bones", later they advertised "gutta-percha" boys, and when rubber came into life, resourceful circus directors vividly responded to the novelty and began to call artists of this plan "rubber" people. The name "rubber" for the designation of plastic acrobatics numbers has been preserved in the professional environment to this day. At the arena of today's circus, single plastic acrobatics is performed mainly by women.

In each person, the degree of elasticity of the body is purely individual and depends on the mobility (or, as they say, on spring properties) of the intervertebral cartilage. Natural data are of great importance here. With appropriate training, they can be developed to such an extent that the flexibility of the body becomes out of the ordinary. For a long time, the performers sought to show only the achieved degree of flexibility, which made the rubber an uninteresting number. Around the 40s. numbers of this kind began to receive a different solution: their composition was built as an organic combination of body flexibility with expressive plastic movements and postures in strict accordance with the musical rhythm. This significantly raised the artistic level of the rooms. One of the first artists to have a certain influence on the style of single plastic acrobatics was Stephanie Morus.

Her followers sought to create a plastic image, to present the entire performance as a kind ballet-acrobatic suite. The numbers of this type of plastic acrobatics began to include the programs of the Moscow and Leningrad circuses (previously, artists performed with numbers "rubber" only in peripheral circuses). The main position of another kind of plastic acrobatics is to bend the body forward.

In the circus, it is called the term "cliche". This name came from the name of the English artist Eduard Klishnig, who in the 40s. of the last century for the first time showed a number built on the so-called front folds.

I must say that clichédism in many of its elements does not look quite aesthetically pleasing. Unnatural bending of the body, turning the head 180 degrees or laying legs behind the neck, behind the back - all this causes a feeling of pathology. Therefore, solo cliche as an independent number has not been seen in our circus for a long time. However, individual cliche tricks (front fold, “frog”, etc.) in combination with other elements of plastic acrobatics, included in a thoughtful composition, became the basis of the numbers that were successfully performed by our artists (the Crihelli brothers, the Ignatov brothers - the pseudonym Oswald ", Pchelnikov and Serebryakov, Zuev and Tertichny and others .. In addition, the cliche, presented in the form of comedy screensavers, has long and firmly entered the clown repertoire.

Pair Plastic Acrobatics

Paired plastic acrobatics in the circus is called "Acrobatic sketch".

Numbers are usually built on the principle of classical ballet: the lower acrobat, most often the man (although women have recently played a part in this role), provides support in which the upper (usually a woman) shows elements of rubber, acrobatics and ballet. The trick base of acrobatic sketches, usually performed at a smooth, somewhat slower pace, respectively a musical theme, consists of arabesques, twines, bogenes, braces, handstand with a deflection.

Group Plastic Acrobatics

Group plastic acrobatics in the practice of our circus received the name "Art acrobatic group".

It is based on building acrobatic pyramidssimilar to pyramids executed in power acrobatics. But the manner of presentation, the style and configuration of the pyramids are somewhat different. All these components, first of all, are subordinate to the theme of the number, musical design and the plastic image created by the artists.

In our circus, such a composition is widespread - three men and one woman. This composition is the most convenient and advantageous for the artistic arrangement of the number. The performance of artistic acrobatic groups consisting of some women is also practiced. Slightly inferior to men in the complexity of tricks, women's groups, but they have a significant advantage in plastic expressiveness.

Rooms of this type are mostly served in a theatrical form. For example, such a number was distributed. Doric columns and altars were placed on the arena. Having completed the pyramid, artists in white wigs and underpants froze on a special pedestal with a rotating circle in sculptural-plastic poses borrowed from ancient reliefs. The slowed-down rhythm of movement in the rays of the spotlights created the impression of living marble statues. In the finale of the issue, during the construction of the most spectacular pyramid, fountains beat from the pedestal.

The number of artists Magdasyan was originally decided in the Armenian circus group. In accordance with the centuries-old traditions of the Armenian circus, the artists demonstrated "live sculptures", depicting various moments of the battle of ancient warriors. The performing manner of the artists was characterized by national identity. The dramatic filling of the number was expressively conveyed not only by means of acrobatics, but also by plastic pantomime. Covered with bronze paint, under multi-colored spotlights, muscular athletes on a pedestal decorated with a national pattern were an artistically perfect sight.

Plastic acrobatics presents great opportunities for thematic theatricalization, for creating plot scenes and other artistic and spectacular forms. Moreover, a large group of artists can participate in them.

In the 30s. in our circus, large numbers were successfully played - "Forest Tale" (group led by II. Nikitas) and "Forest Idyll" (group led by V. Volzhansky). Combining the most advantageous elements of "rubber", clichés, manual balance and ground acrobatics in a harmonious composition, the artists: created an impressive picture.

How to comprehend this art?

So, in order to learn how to do acrobatic tricks you will need:

  • A wish.
    This is an important point in the "study", because without a desire, you will never achieve good results.
  • Qualified trainer.
    It is a good acrobatics trainer who will be able to choose for you precisely those lessons or exercises that will beneficially influence the development of your “weak points”. And if you think that your movements are too clumsy, and you can’t do even the simplest exercises, then only thanks to a well-trained trainer will you be able to do something you could not even dream about before, and it doesn’t matter if you are 25 years old or 35.
  • Do not listen to anyone.
    There is an opinion that acrobatics is a very traumatic art. In reality, this is not at all the case, and the probability of getting any kind of injury is practically absent. As a rule, lessons for beginners include exercises that are aimed at a thorough study of individual elements, and the simplest ones that everyone can comprehend. And only when the exercises are brought to automaticity, the trainer begins to give more complex lessons, and if he is not sure that you are completely ready for them, then he will not endanger you.

That's all the basic rules that need to be considered, for people who seek to comprehend this art. Believe me, there is nothing difficult to learn how to make individual elements, carefully studying the lessons of acrobatics for beginners. These exercises will help you not only bring your body into good physical shape, but also get rid of numerous fears, gain confidence, develop a vestibular apparatus and have new skills in this area.

Get ready for difficulties

Circus performer - an unusual profession. Surely among your immediate environment there will be people whom your choice will surprise, some may even discourage you. In addition, circus art is a rather dangerous occupation, it is associated with injuries that inevitably haunt some representatives of this area of ​​activity. You must be prepared for all this, devote yourself to this profession completely and love your work.

Choose direction

There are many different areas of circus activity. To become a circus artist, you need to have skills and talent in at least one of them. This can be, for example, acrobatics, clowning, dressing up, etc. Any of these areas has its own difficulties; they cannot be mastered in a few days. You will need patience and quite a lot of time to acquire the necessary skills. If you have experience in any kind of sport, for example, gymnastics or have you ever been involved in sports dancing, this will greatly help you in the future. To get the necessary training you can also take special training at the school of circus art.

Before choosing the direction in which you plan to work, you need to answer your question about your fears. For example, if you are afraid of heights, acrobatics is not suitable for you, if you are afraid of animals, training is also not your direction. Determine which direction in circus art you like, and whether your fears will hinder its development.

Kneading neck muscles

We get straight, feet shoulder width apart. Now we begin to perform circular movements of the neck clockwise, then counter. The number of repetitions is 10 times.

Without changing the initial position, we tilt our head forward, then back. Now left and right. The number of repetitions is 10 times in each direction.

Physical training

Each circus artist, regardless of the direction in which he works, must have good physical training. For example, acrobats must have good body flexibility to perform their tricks, and for gymnasts the physical power of the upper body comes to the fore, so they must constantly engage in gyms. Even clowning, which, it would seem, does not require exhausting physical training, cannot be effective without proper preparation.

Kneading the muscles of the arms and shoulder girdle

We become even, we lower the handles down and squeeze them into fists. Then we begin to wave each hand separately, the opposite should remain below.

Without changing the starting position, we bend the handles in the elbow joint, and put our palms on the chest. Now we move the elbows back, first in a bent position, then in an unbent position. The number of repetitions is at least 15 times.

We become even, we lower our hands down and relax them. We make circular movements with the shoulder joint, first in one direction, then in the opposite.

Knead the muscles of the body

We become even, legs are bred at shoulder level, and we put the handles on the belt. We begin to make turns with the body one way, then the other. This should be done carefully, with a gradually increasing amplitude of motion and speed. The number of repetitions - at least 20 turns in each direction.

Without changing the initial position, we make tilts to the right and left, and you still have to reach with your hand in that direction, which we bend, for example, we bend to the right and stretch with our left hand. The number of repetitions - at least 10 slopes in each direction.

We put the legs together and try to reach our toes with our hands. We begin to do this exercise carefully and slowly, then gradually increase the pace. The number of repetitions is not less than 20 slopes.

We become even (if you do at home, you need to stand near the wall or cabinet, in which case you can stick) and bend one leg in the knee joint. Now take the heel with your hand and pull it to the buttocks. Then we change the leg and do the same thing. The number of repetitions is 10 times per leg.

And in the end, we stand on socks, raise our hands up and stretch as high as possible. We descend to the starting position and rest. The number of repetitions is at least 10 times.

Exercise "Birch"

Remember the physical education lessons. Surely at each of them you did this exercise, thanks to which you can develop muscle tissue of the arms and back. It will help you learn such techniques as a stand on your head and hands, and will also become basic for those who want to practice on a pylon.

In order to fulfill this element, you need to lie on the floor (if you are at home, you can put a fitness mat on for comfort), and with weak shocks we throw our legs up, while holding the back with our hands. Keeping balance, we keep our legs level and fix this position for several seconds, after which we slowly lower it and relax the body.

Exercises "Flip-flops and rolls"

There are several options for rolls:

  1. We sit down evenly and place the legs wider than the shoulders, clasping them with palms under the knees. We fix this position. We roll over on one side, continuing to hold our legs. After that, we roll from side to back and to the other side, without releasing the arms. Then we return to the starting position.
  2. This coup has been familiar to us since childhood. However, for its implementation it is necessary to have a good physical shape. If you are not confident in your own abilities, then it is better not to do this trick. We stand straight, lean forward, trying to reach the floor with your fingers, while your knees can be slightly bent. We tilt our heads forward and begin to move so that the blades are in contact with the floor surface. In the process of a somersault, you need to try to stay in position on your back, after which with a sharp movement forward we return to the starting position.

Twine Exercise

These tricks are known to many, but not everyone knows how to master it. It is not difficult to make it at all, however, in order to sit on the twine, you need a lot of time and diligence. For its execution it is necessary to choose a slippery surface, parquet, tile or linoleum is perfect.

We part until you feel painful sensations (but not strong ones), after which we fix the position for 10 seconds, after which we return to the starting position. By repeating such lessons every day, you will soon be able to sit on the twine.

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