How to dance soul

How to dance to northern soul | Life and style

Like any good student, I am telling my teacher how I think something should be done differently. “How about,” I say to my northern soul dance instructor, Sharon Sullivan, “I miss out the tricky shuffle part of this dance step you’re trying to show me and just slide my foot along the floor instead – it’s basically the same thing, right?”

“No,” cries Sharon in horror. “That’s dad dancing! And if I catch you dad dancing on a northern soul dancefloor, I’ll track you down and slap you!”

She’s joking (I think). But she’s also got a point: dancing to northern soul music may be a joyful, cathartic experience, but doing it properly is a serious business. Patience, practice and – initially at least – heaps of concentration are behind the effortless spins and elegant footwork you see at northern soul all-nighters across the country. it simply won’t do to just turn up drunk and jump about.

To understand the dancing you have to understand the music. The northern soul scene blossomed in the 1970s, when DJs would hunt down rare black American soul 45s and bring them back to play in venues across the north-west of England. The music – inspired heavily by the Motown sound, with fast tempos and a simple 4-4 beat – was a dancer’s dream.

Because the scene embraced competitiveness, with DJs trying to outdo each other by playing the rarest vinyl, so too the dancefloor became a showcase for audacious moves: spins, backdrops, high kicks.

Mastering even the most simple steps is no mean feat: there are no formal rules, but the general gist involves gliding across the floor – sliding one foot and swiveling the other – while maintaining good posture and looking straight ahead.

Sharon was a regular on the original scene, but it was only eight years ago that she realised this naturally evolved dance could be broken down into component parts and taught, like any other. She spends three hours with me and Helen Jane, my wife, guiding us through a couple of simple steps: first we learn to position our feet; next we slide along the floor instead of stepping; finally we progress to swivelling one foot as the other one slides.

Certain elements, such as shifting your weight from leg to the other, or quickly taking two steps in the space of a single beat – feel unnatural at first, but Sharon explains that only when these foundations are committed to memory can you transfer your mental energy to expressing yourself on the dancefloor. “The most important thing is, it has to be fun,” she says. Having fun, it seems, takes serious practice.

I’m thrilled by how much we pick up in one lesson. Sharon is a fantastic teacher and by the time we leave, we can (with a bit of concentration, admittedly) perform the two basic steps she’s taught us and also have a few tricks – handclaps, a small spin – up our sleeves to mix things up.

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The next night, I don some suitably authentic baggy trousers and we head for the Sheffield City Hall soul night. It should feel daunting – there are enough dancers from the original scene there to remind us where we stand in the pecking order. Yet, being surrounded by fellow northern soul fans on a proper dancefloor is liberating. Towards the end of the night – both of us drenched in sweat – I find myself switching between the two step patterns we learned without realising I’m doing it, leaving me free to lose myself to the music. I even throw in a few 360 spins and – improbably – a high kick.

Whether we eventually master backdrops and splits, or just remain gliding along in ecstasy to the music, I know one thing is certain: I won’t dad dance again.

Tim stayed at Jurys Inn, Sheffield

For information on northern soul dance lessons with Sharon, or to buy her DVDs, visit

Three of the best soul nights

King George’s Hall, Blackburn

Celebrating Wigan Casino’s 41st anniversary – 27 September

Rolls Royce, Derby

Probably the UK’s best-attended monthly soul night – 3 October

Kings Hall, Stoke

The country’s main gathering since 1996 – 4 October

For more information on northern soul nights around the country, visit goldsoul.

Four moves to practise

1. The backdrop

Drop backwards to the floor on to one or both hands – come back up quickly on the beat.

Illustration: Gary Calton

2. The spin

Make this move your own: pull your arms in or raise them high; spin slow or as fast as you can.

Illustration: Gary Calton

3. The kick

Think martial arts style – keep your balance, but if you topple, turn it into a new move.

Illustration: Gary Calton

4. Shuffle

Move your feet quickly back and forth while heading forwards or backwards.

Illustration: Gary Calton

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The Dance - Soul Force

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Modern Harmonic is proud to give The Dance’s complete catalog a reissue, most of which despite its ‘80s NYC panache and its NME buzz, has never been released in the States. In Lust (1981) and Soul Force (1982), both of which were originally released internationally on Statik Records, finally make landfall domestically. Joining those two coveted post-punk platters is Do Dada, which takes its name from a cult classic track on their Dance For Your Dinner (1980) EP. Do Dada compiles all of their early EPs and joins them with unissued cuts from the bands personal stash.

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Emerging at the turn of the decade from punk’s three-chord nihilism, whose idea of dancing was to jump up and down or bang heads, The Dance brought a free-wheeling, jagged, dissonant art-funk stomp you couldn’t help but move your body to, ushering the migration from downtown clubs like CBGB and Max’s to the uptown Hurrah, Danceteria and Peppermint Lounge, where DJs now held forth between live sets, with a return to self-invented fashion. The Dance also surfed the emerging post-punk No Wave scene around them, along with the B-52s, DEVO, Bush Tetras, Arto Lindsay’s DNA, ESG, the Lounge Lizards, James Chance, Lydia Lunch, the Slits and PiL. Showing their pedigree, The Dance even covered Stevie Wonder’s pre-Talking Book “Do Yourself A Favor” on their second album, Soul Force. They got the beat alright.

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It is not the body that dances, the soul dances

Who among us does not like to dance? There are very few such people. No matter how, no matter where, but we are constantly dancing, expressing our emotions and feelings with the help of this. They also dance at the Polytechnic. And professionally. On this occasion, on September 13, the dance studio PolyDance held the seventh Dance-marathon, determining the composition of new dance groups.

Fact: Dance Marathon takes place annually in September and February. The purpose of this event is to acquaint students with dance styles and with trainers who teach in the studio. During marathons, students participate in master classes, watch performances of already formed dance groups and sign up for new groups.

We managed to talk with the founder and head of the studio, Anna Perebillo, and learn interesting facts about PolyDance and the Dance Marathon.

Natalia (N): Anya, how long does PolyDance live?

Anna (A): PolyDance was created at the Polytechnic University in 2009. At that time, I was a 2nd year student. In February of this year, Polidancesik will turn 9 years old. Like every year, a big celebration will be held, where we will dance from the heart.

N: Do you dance? How long ago?

A: I have been dancing professionally for 20 years. Now I continue, but for myself.

N: Who teaches in your studio?

A: Qualified dancers work with the guys in our studio. They put on choreography for their students, teach various dance styles and just dance for their own pleasure.

N: How long did you prepare for the Marathon? What does he give students?

A: A week maximum. We have been holding this event for 7 years in a row, usually in September and February. At the Marathon, newcomers are recruited into groups. Then our choreographers work with these groups: they train and prepare the guys for performances.

Interesting: PolyDance dance studio performs at various events, both its own and university: Dance-Marathon, ArtCamp, HalloweenParty, DANCES. Polytech, STU Dance Cup, Latin Party, PolyDance Birthday, Movement Language, Mister and Miss Polytech, Polytechnic star.

N: Did many people want to join you on September 13th?

A: 450 people were recruited.

N: How is the Marathon going?

A: According to the standard program. The marathon is a series of master classes by our teachers that show small ligaments. Then the entire audience learns these chords and dances them. We choose a couple of the best and reward with gifts. And after the master class of each of the coaches, the guys sign up for the one they like.

N: How many coaches took part and scored teams at the Marathon?

A: This year, all the PolyDance coaches were at the Marathon, and there were 8 of them. They recruited groups for themselves. Their exact number will be known by the opening of the studio. And before that, we will process the lists and prepare the program for this year.

N: When do you plan to start teaching? How often will they take place?

A: The studio will open on September 25th. We will work every day except Sunday. Classes usually took place in the evening, after school. We think there will be no change over time.

N: Is it possible to sign up with you during the year?

A: Yes, but only at the discretion of the coaches. Most recruiting takes place in September and on Polik's birthday in February.

N: What would you wish to dancers and beginners in this field?

A: I wish you not to be shy, train and remember that only practice gives results. Some people think that everything will work out the first time. But this is a rarity. Only those who do not give up and continue to train win. I want to encourage everyone to strive to make their dreams come true. After all, nothing is impossible.

We thank Anna for the detailed interview and wish the PolyDance dance studio creative success!

The material was prepared by Ivanashko Natalia, 3rd year IPMEiT

The dance that the soul dances

А. А. Motoshina

Russian Institute of Theater Arts — GITIS,

Moscow, Russia



The article is dedicated to the professor of the Department of Choreography of the Ballet Master Department of the Russian Institute of Theatrical Art Semizor Lvovneka, People's Artist of the Russian Institute of Theatrical Art. The author of the article (a student of N.L. Semizorova) reveals the philosophical aspects of the choreography of the prima ballerina of the Bolshoi Theater N.L. Semizorova. This work traces the creative path of the People's Artist, focuses on the importance of spirituality, artistic imagery, expressiveness of female performance in classical dance, notes the continuity of the traditions of the Russian classical school, the influence of the legendary dancers G. Ulanova and M. Semenova on the formation of N.L.'s own dance aesthetics . Semizorova.

The views of N.L. Semizorova for contemporary ballet.

Keywords: Semizorova NL, prima ballerina, Bolshoi Theatre, classical dance, choreography, art, artistic image, expressiveness, spiritual purification, romanticism, repertoire, contemporary ballet.

A. Motoshina

Russian Institute of Theater Arts (GITIS) Moscow, Russia



The article is devoted to Semizorova Nina Lvovna, ex-prima ballerina of the Bolshoi, People's Artist of Russia, a professor of the ballet dancing department of GITIS. The author of the article, Nina Semizorova's student, reveals the philosophical aspects of her choreography. The article traces Nina Semizorova's creative career. It is also focused on the importance of the spirituality, artistic imagery of the female performance in a

classical ballet dance. Moreover, it marks the continuity of the Russian classical ballet school traditions; legendary ballet dancers G. Ulanova and M. Semenova's influence for the Semizorova's dancing esthetic. Nina Se-mizorova's view on the contemporary dance is also described in the present article.

Key words: Semizorova N.L., prima-ballerina, the Bolshoi theatre, classical dance, choreography, art, artistic image, expressiveness, spiritual cleansing, romanticism, repertoire, contemporary dance.

Every person's life is a mirror image of his soul. If the soul is pure and bright, then a person carries goodness and beauty all his life.

The patroness of the art of dance, Terpsichore, appeared to the ancient Greeks not by chance. In this very name one can hear the imprint of rhythm and grace, it is associated with a certain divine gift and a mythical miracle. Muse and dance are a figurative reflection of the world, the result of a thoughtful contemplation of Nature, where everything moves in rhythm according to unwritten laws, regardless of us and our presence.

Not every dance has a soul, but classical dance —


“To understand the spirit of the dance, it is enough to immerse yourself in the rustle of dense foliage. Without leaving the branches, the leaves dance and sing, giving birth to a symphony of green hues that enchants the eye and ear. It is enough to look at how the clouds dance in the sky, taking thousands of fantastic forms one by one... In the end, it is enough just to be able to read that open book, the pages of which life turns every day before us...”

The whole life of Nina Ltvovna Semizorova is dedicated to serving the muse of dance, classical dance. She is a Ballerina, and the soul and body of which dance in a single burst of eternal harmony.

Her whole life is an interweaving of stage and teaching skills, a life devoted to Russian classical ballet.

From the very beginning, the talented girl was surrounded by masters of classical dance, adherents of the great Russian school of A. Vaganova. “One school, one galaxy. Later, I realized how important this is, ”recalls Nina Lvovna.

Stage career began in Kyiv in the last years of the Kyiv Choreographic School, then leading roles in the Opera and Ballet Theater: "Sleeping Beauty", "Swan Lake"; shooting in the film-ballet "Walpurgis Night".

And then the Bolshoi... G. Ulanova herself invited young Nina here, noticing her talent at the International Ballet Competition in Moscow.

So the great Ulanova became Nina's teacher, and the Bolshoi's prima ballerina Nina Semizorova became the last student of the legendary Soviet dancer.

“I worked with Galina Sergeevna Ulanova from the very beginning and as long as she was in the theater until the last day...”

immaculate, bring spiritual purification, paying special attention to the dramaturgy of the image and acting skills.

Nina Semizorova managed to learn from Ulanova all the cherished secrets of her mastery, and above all the expressiveness of the dance. She learned to understand and accept, to pass through herself, to live the created image. “Ultimate composure, responsibility for every step, every movement, the most serious creative approach to everything that happens, strict internal discipline, general mobilization of mental and physical forces” [9].

For 20 years of work on the stage of the Bolshoi Theater, Nina Semizorova managed to perform almost all the leading parts of the theatrical repertoire. She was the soft Giselle and the iron Mistress of the copper mountain, the Sleeping Beauty and the bravura Kitri from Don Quixote. Nina Semizorova went down in history as one of the best dramatic dancers in Russian ballet. It is no coincidence that she was called the "face of the Bolshoi Theatre".

"Big is our everything, it's more than work, it's a whole life"[8], Nina Lvovna believes.

A significant, one might say, a landmark event in the creative biography of Nina Semizorova was a meeting with another great ballerina and an outstanding teacher - People's Artist of the USSR Marina Timofeevna Semenova.

“Already the first meeting with M.T. Semenova revealed to me the richness of classical dance... All movements intertwined with each other, alternating with various transitions, complemented by bends of the body, enriched with hand movements and head turns. The musical accompaniment was built in such a way that in a given pattern, movements created nuances from melodiousness to their performance in eighth or sixteenth notes” [10, p. 55] - recalls Nina Semizorova.

Filling Vaganov's traditions with life and a vivid sense of time, M. Semenova taught how to create memorable images on stage: regal posture, refinement in every movement, virtuoso technique...

to sound the classical form in a modern way, to fill the romantic role with a fresh sound. M.T. Semenova emphasized the inseparable connection between the expressiveness of the body and the works of ancient Greek sculptors. In female images, this is primarily a theme of beauty: soft femininity, graceful poses, subtle spirituality of the image. M. Semenova taught me to see this beauty, absorb it into myself and convey it in dance” [ibid., p. 56].

Having absorbed all the lessons of the great mentors, N.L. Semizorov has his own approach, his own system of views on the classical genre and choreography in general. Expressiveness, which N. Semizorova is fluent in, underlies her dance - a dance that can give rise to a “flight filled with the soul”, in which will, emotion and passion are merged on the basis of a perfected dance technique. All her choreography expresses a spiritualized human impulse upward, an active aspiration to the unknown and the sublime.

For many centuries, thinkers were concerned about the question "Man as a spiritual unit." In our case, we are talking about a man of art,

his spiritual destiny. Expressing their opinions, philosophers converged on one thing: a person of art is different, he is more perfect.

According to F. Schiller, artists - "sons of harmony" as unchanging creators of culture are distinguished by their original spiritual and spiritual nature. A work of art, including a choreographic one, is a unity of meaning and image, infinite and finite, conscious and unconscious. In a work of art, in a concrete-sensual image, the absolute unity of a person with the world is expressed, therefore the soul of the world becomes the soul of art [11].

GWF Hegel also believes that art is one of the necessary phenomena of a person's spiritual life [3, p. 9].

According to Aristotle, everything beautiful is good. He calls beauty and beauty internal virtues, which include justice, kindness, courage, compassion, etc. “Only that which gives disinterested and contemplative pleasure, being high in moral and ethical terms, is beautiful.” Aristotle associated the impact of tragedy on the audience with the concept of "catharsis", that is, "purification". When contemplating a tragedy unfolding on stage, in the face of ongoing evil and suffering, a person is freed from his opinions, petty desires, everyday fuss and for a moment becomes attached to the eternal, unchanging meaning of the world, that is, to the Absolute. At this moment, his mind and feelings seem to clear up, “cleared” of everything ordinary, vain, and all his spiritual forces turn into “a kind of spiritual center” [1].

Isn't this the plot of any classical ballet? This is the phenomenon, such a great mission of ballet art, N. L. Semizorov in one of his interviews. “Every time I go on stage, I have to forget everything, let an image through me, maybe a completely different character than I am, and give it away. And if after the performance there is silence in the hall or a storm of applause, if the viewer is in no hurry to leave the temple of art and comes out with tears in his eyes, then I managed to convey the main thing, to give some part of my soul. Then both the soul and the body are overflowing with feeling from consciousness.0004

that the viewer understood me, thought about it, believed in the best, maybe decided something or doubted something. And in these moments, in my opinion, the actor is like a priest who, after a sermon, tired, but satisfied with his good deeds, returns to his cell and gains new strength for the next exit. This is the spiritual cleansing that classical dance carries. This means that this is high art, which means that we work and live not in vain. “Art must be permeated with purification. I looked - and as if I drank living water. [9].

Every accomplished actor goes through all these facets, and whether he wants it or not, they leave an imprint on his life, on his actions, there is an internal education and spiritual enrichment, which is of great importance in our life. And yet, a real ballet dancer must have a high intellect, because the inner emptiness is incompatible with the stage and our creativity. The audience cannot be deceived by perfect technique and external beauty. The Russian ballet has always been famous for its spirituality.

“The dancing body is a direct tool of the idea, for the viewer with imagination the dance becomes a mystical and divine interpretation of the universal life and our innermost essence” [6] — these words of the French poet and prose writer S. Mallarme perfectly characterize Semizorova’s dance. Nina Lvovna Semizorova asserted with her dance, and now teaches the younger generation the ability to convey, to convey to the public everything morally lofty and aesthetically beautiful.

Semizorova's dance throughout her life was affirmed in close connection with theatrical practice and is a continuation and development of the traditions of Russian classical ballet. Developing the best properties of the Russian dance school: cantilena, harmony, spirituality, her work is aimed at improving the technique and expressiveness of classical dance. The ballerina subordinated her virtuoso technique to figurative expressiveness, to an inner plan, thought out in every detail. Her dance, light and airy, graceful and graceful, poetic and mysterious, is distinguished by the harmonic beauty of the lines, and besides,

“from role to role her face changed beyond recognition,” wrote contemporaries. The choreography of Nina Semizorova is characterized by national coloring, that is, Russian flavor, romanticism and the embodiment of an unattainable dream of beauty, the image of an unearthly creature personifying the ideal.

N. Semizorova attaches great importance to the musical accompaniment of the dance. If music is a symbol of freedom, then dance provides an opportunity to feel this freedom, to live it. It is the music that imposes a certain expressiveness on the performance. “Any sound: soft, quiet or loud, dynamic, must be reflected in the dance, you must learn to understand the music you perform” [7].

“The role of music in ballet is great and profound,” says Nina Semizorova, “it is a source of inspiration, an assistant in understanding choreography, especially at the beginning of work on a performance. And when you go on stage, the music feeds you emotionally, supports you until you grow up. And with this support, the mind and body — everything begins to behave more harmoniously, together, in unison with the direction of the production” [ibid.].

Any school, according to Semizorova, is a living organism, not a dogma. Nina Lvovna thinks a lot about contemporary ballet. In choreography, as in any art, there are no artistic techniques that are good and suitable for all time. Classical dance should not be treated as a canon worked out over the centuries. In the process of evolution and change of generations, classical dance also undergoes some changes, develops progressively, enriched with new trends. The age of speed, technological progress has touched all aspects of our life, including art. The people who come to the theater have changed, and their attitude to everything that happens on the stage is also changing. Opinions here are very contradictory both among critics of modern ballet and choreographers.

In her numerous interviews, N. Semizorova raises the question of some problems of contemporary ballet. Today there are many different schools. In modern ballet, there is a noticeable improvement in dance technique, even with an emphasis on acrobatics, the structure of our ballet began to include elements of rhythmic gymnastics, poetic everyday plasticity, there was less individuality and actor's imagery. Unfortunately, this is now a common occurrence. But dance is still an art, not a sport. “And no matter how many pirouettes an artist makes, no matter what jumps he shows, if it is not colored with expressive colors, if there is no soul in the dance, it loses all interest. The performance must be alive, we live by it” [9].

The main thing that has always distinguished all Russian theatrical art is that “thought and soul lived” in it. “Still, Russian ballet remains Russian ballet, unlike anything else. After all, what is Russian ballet? Russian ballet is a miracle!” exclaimed Boris Eifman [5].

There must be a development of the image on the stage, it is it that attracts the attention of the audience. “We have always danced our own unique repertoire, to our own music, and this is precisely what we were interested in abroad” [ibid.]. Today, many choreographers are increasingly looking to the West, staging performances that take place all over the world. “Do we need it? Why do we give up our individuality so easily? We live in a time when the dissonance of the outside world drowns out the quiet voice of the soul, we are often surrounded by screaming, aggressive music built on dissonances. I personally do not perceive the dance form, which is accompanied by disharmonious music, where everything is built on inflated intonations with incomprehensible action. The performances are filled not with acting game finds, but with purely visual effects. This is starting to look like a show! And it does not cause any empathy,” says N. Semizorova [10].

We all want and wait for beauty. Nina Lvovna believes that creating an atmosphere of poetry, purity and tenderness on stage, like Ulanova, is much more difficult than performing some kind of bravura-characteristic number. For the role of a villain, finding paint is a hundred times easier than for a lyrical character. Aggression can excite the hall, but only true beauty and spirituality fascinates. To do something for the soul, to purify a person, to elevate society a little, is hard work. Ballet is then interesting when it is performed on the verge of possibilities. If

If it doesn't exist, it doesn't reach the audience, it becomes boring. For the viewer to be interested, it is necessary to give everything both physically and emotionally.

The secret of the effect of dance lies in the power of expressing human daring, in conveying feelings of high intensity and excited elation, in distraction from everything petty and accidental. It is the dance that is inherent in the expressive ability to convey the subtlest states of the human spirit. The world of dance is absolute, valuable in itself, it can dissolve everything in itself: the motifs of real life included in the dance are rhythmized and formalized into a kind of “magic circle”, receiving a new metaphorical meaning. Dance is a visible illustration of eternity. Everything in the world moves in a harmonious rhythm and yearns for the spiritual enjoyment of beauty. When beautiful melodies sound, they awaken in our body the desire to move to the beat, in harmony and in proportion.

Ballet, due to its figurative specificity, comprehending certain spheres of objective reality, has its own laws inherent only to it. And above all, this is a special artistic re-creation of the world, objectively embedded in the system of its visual and expressive means.

Classical dance is the apogee of all choreography. The name itself speaks for itself - its foundations are unshakable. And this is a fact! There is nothing more beautiful and perfect than classical dance, which has retained its splendor through the centuries and centuries. “The classical school will remain the foundation of ballet and classical professional dance for a very long time, the foundation and basis of real choreography” [8], N.L. Semizorov.

I would like to compare Nina Semizorova with the Muse, when she dances and teaches to dance - every movement breathes grace. She seems to be walking through time, and this procession is a dance. Yes, Terpsichore is alive! She is embodied in ballerinas hovering over the stage, and in these moments the soul trembles and yearns for flight, time and space lose their frightening absoluteness, and fashion bashfully lowers its eyes in the face of what has always been, is and will be.

“All life is a DANCE that the SOUL dances” - these words are the meaning of existence and the life credo of the People's Artist of the Russian Federation Nina Lvovna Semizorova.

How quickly time flies, Through the years in eternal vanity. I would like to say thank you to the Great woman - fate.

Oh, Nina Lvovna! You are a ray of sunshine! In my heart I adore you, Batman, adagio and scherzo. I remember and thank you.

For unique talents To teach Your arts. It is not difficult for us to stand on pointe shoes, But it is difficult to sound like a flute

In a symphony of magical dance. You lit a fire in our souls From the passionate lines of an Italian, To the dances of fiery love.

You patiently taught us Manners, dances and love; We have honed taste and body, You created us - ballerinas!

And to you, all my curtsies, My lowest plie. It's a little pity that in the classic dance I won't become such a goddess.

References References

1. Aristotle. Poetics (VIII, 7, 4 - 6, pp. 1341 b32 - 1342 a 16) Aristotle. Poetika (VIII, 7, 4-6, pp. 1341 b32-1342 a 16)] [Aristotle. Poetics (VIII, 7, 4-6, pp. 1341 b32-1342 a 16)].

2. Ballet and opera. Forum.

Balet i opera Forum.http://forumbaHetMends.m/viewtopic.php?p=78121

[Ballet and Opera. Chat:].

3. Hegel G.W.F. Lectures on aesthetics. T. 1. P. 9.

Gegel G.V.F. Lektsii po estetike. Tom 1. P. 9.

[Hegel G.V.F. Lectures on Aesthetics. Volume 1, S. 9.].

4. Gusman D.S. —

[Gusman D.S.].

5. Konovalova E. N. Semizorova: “In Russian theatrical art, the main thing is thought”, 2010.

Konovalova Ye. Semizorova N. "V russkom teatralnom iskusstve glav-noe myslj" 2010 // [Konovalova Ye. Semizorova N. The Idea is the Main Issue in the Russian Theatrical Art". 2010 /].

6. Mallarme S. Poems /%D0%9C /mallarme-stefan/stihotvoreniya/1 // [Mallarme S. Stihotvoreniya. /].

[Mallarme S. Poems.] .

7. Motoshina A.A. Interview with Semizorova N.L. 05/19/2016

Motoshina A.A. Intervju s Semizorovoy N. L. 19.05.2016 [Motos-

hina A.A. An Interview with Semizorova N. L. 05/19/2016].

8. Motoshina A.A. Interview with Semizorova N.L. 03/15/2017

Motoshina A.A. Intervju s Semizorovoy N. L. 03/15/2017 [Motoshina A.A. An Interview with Semizorova N. L. 03/15/2017].

9. Pavlenko S. N. Semizorova: “Everything is visible on the ballet stage, as in a mirror.” 2003.

Pavlenko S. Semizorova N. "Na baletnoy stsene vse vidno kak v zerkale" 2003. http://www.krasrab .com/archive/2003/08/01/22/view_article

[Pavlenko S. Semizorova N. "All is Seen on the Ballet Stage as if in the Mirror" 2003. /2003/08/01/22/view_article].

10. Semizorova N.L. The teacher is an outstanding ballerina M.T. Semenova // Department of Choreography of GITIS. Methods of teaching choreographic disciplines. Issue. 2. M., 2003. S. 55-56.

Semizorova N.L. Uchitelj - vydayushajasja ballerina M.T. Seme-nova / / Kafedra horeografii. GITIS. Metodika prepodavaniya horeogra-ficheskih distsiplin. Vypusk 2. M., 2003. Str 55-56. [Semizorova N.L. The Teacher - M.T. Semenova, an Outstanding Ballerina. The Department of Choreography, GITIS. The Methodology of Teaching the Choreographic Subjects.

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