Introduction

The emergence and development of the quadrille form. The word "quadrille" comes from the French word quadrille (from the Spanish cuadrille, literally - a group of four, from the Latin quadrut - a quadrangle).

The quadrille originates from the salon French dance, which in turn goes back to the English counter-dance and is a variation of them. Counter-dance is a folk dance of the English peasants that appeared in the 17th century. The French quadrille, having traveled a long way through the secular salons and dance halls of many countries, including Russia, began to spread in eastern Europe at the beginning of the 19th century. By the number of performers, the quadrille can be attributed to group dances. At one time in Russia, the quadrille stood out as an independent form of folk dance. Evolving over centuries, the dance culture of the Russian people, rich in its traditions, had a huge impact on the quadrille. She subordinated her to her national style, style and character of performance. Quadrille is like a dance form. Quadrille - pair dance, with a certain composition, required to be performed. The quadrille composition consists of four pairs arranged in a square. Dance phrases are alternately performed by different pairs. The figures end with general movements and a pattern linking all the participants in the dance. The square dance consists of 5-6 figures. Each has its own name and is accompanied by special music. Musical accompaniment quadrille, usually 2/4.

From the end of the 17th century until the beginning of the 18th century, the quadrille was one of the most popular dances of many European nations. In Russia, dance appeared only at the beginning of the 18th century, during the era of the reforms of Peter I. On November 26, 1718, a decree was issued on the introduction of ensembles. The main entertainment on the ensembles was dancing. Cavaliers could invite to the dance any of the ladies present. Refusing an invitation was not accepted. In addition to other dances, the Angloan (English) danced, one of the dances under the general name counter-dances (village dance). The performance of the "English" was very peculiar and interesting. Cavaliers and ladies of the first pair had to depict various figures based on the game. So, for example, a lady kissed cavaliers lips. The cavalier came up with unimaginable jumps and pirouettes, which all cavaliers had to repeat.

Having entered the everyday life, the quadrille quickly assimilated (changed), lost everything in the salon, acquired a folk style, it improved and was created anew, but retained its compositional features. The melody and manner of performance has acquired a national character. The quadrille acquired peculiar movements, drawings, and manner of execution. Names appeared in the Russian way: “kadrel”, “kadrelka”, “kandrel”, “kandreshka”, etc. the quadrille changed to such an extent that later the researchers of everyday dance even noted that the quadrille, having fallen into the people, was distorted beyond recognition. But it was precisely these “distortions” introduced into the quadrille by the people that gave this dance a long life. The quadrille organically entered the life of a Russian person, becoming one of his favorite and popular dances. Where is the most common quadrille in Russia? Mainly in the former large trading cities, near the rivers: Petersburg, Moscow, Yaroslavl, Samara, Nizhny Novgorod. Where there were foreign visitors.

Acquaintance with the quadrille was based on the story of newcomers, serfs, servants of people who sometimes showed in their villages some figures of the dance, which were already clearly remade in their own style, to their taste. Russian nuggets - performers, improvisers, who won the fame of excellent dancers and dancers, and who had great artistic taste, reworked old and composed new figures, and sometimes whole quadrille, depending on local characteristics - manner of performance, music, songs, dance moves etc. Composing and processing quadrille, they proceeded not only from personal tastes, but also took into account the peculiarities of the life of their village, village or city, as well as the requirements of the time. Forms and principles of quadrille construction. The forms and principles of quadrille construction are diverse, its figures are quite complex in composition - in different transitions of pairs, and sometimes in terms of performance technique. Composing and processing quadrille, they proceeded not only from personal tastes, but also took into account the peculiarities of the life of their village, village or town, as well as the requirements of the time. The Russian people made the quadrille richer and more diverse in design, introducing into it many figures of Russian round dances and dances: “basket”, “star”, “collar”, “circle”, “comb”, etc. The quadrille construction form became richer, it began to be filled with lines, and a square, and in a circular construction. A different number of pairs began to take part in quadrille: two, four, six, eight and more, but always even. In some places where there were few men, quadrilles performed by girls alone appeared. If the salon French quadrille consisted of 5-6 figures, then in Russian folk quadrille there are, for example, from 3 (as in the Torzhok quadrille of the Kalinin region) to 14 (as in the Saratov quadrille) even more shapes. The names of the figures of the French quadrille almost had nothing to do with the essence of the dance. So, the first four figures were named after the fashionable songs to which they were sung - “Pantaloons”, “Summer”, “Shepherdess”, “Chicken”; the fifth figure was called the “Final”, and the sixth “Friction”, named after the choreographer who composed this figure.

In the Russian square dance, the figures received numerous and diverse names based on local characteristics, and most importantly, these names clearly characterize each figure in terms of choreography or its content. Some names of figures came from dancing, the nature of the movement - “provocative”, “cool”, “whirlwind”, “penetration”, “crush”, etc.

Others, as it were, determine the relations of the dancers dancing among themselves - “acquaintance”, “mowing”, “with the second”, “with the third”, “girls like hot cakes”. Some figures got their names from the dance drawing - “asterisk”, “collar”, “corners” - or from the names of the songs under which these figures are performed - “Podgorn” (from the song “You are Podgorn, you are Podgorn, wide street ”),“ To the hill ”(from the song“ I was going to the hill ”),“ Canopy ”(from the song“ Oh you, canopy, my canopy ”). A kiss has passed from round dance and games to many quadrille, and whole figures in quadrille have such names as “kiss”, “breech”, “circular breech”, “farewell”, etc. In these figures, the quadrille participants must kiss.

Quadrille, in which there is a figure with kisses, are most common in the central regions of Russia. During the performance of this figure, the leader in the quadrille or the accordion player shouts out: “Kazenka”, or “We kiss”, or “Cavaliers kiss the ladies”, or “Ladies kiss the gentlemen” - in different areas in different ways. According to one of these cries, the harmonist stops the game and the dance stops. Guys turn their girls to themselves or vice versa, depending on the arrangement and kiss them once and only on the cheek. After the kiss, the quadrille figure continues again. All couples can kiss at the same time or each pair in turn. Sometimes, according to the cry of “Kazenka to the harmonist”, the girls take turns or kiss the harmonist together. Sometimes the harmonist himself stops the game and waits until he is kissed by the girl he likes. Thus, the figure can be interrupted several times and anywhere.

Some quadrille figures included elements of such types of Russian dance as solitary and dance. So, in many quadrillets, especially in her second figures, the names “Under the Lady”, “Dance”, “Lady”, “Topotuha with the Dance”, “Kamarinskaya” and others appeared in which the participants show their individual skills. Of course, they do not perform dance or solo dance in full, as described above, but showing their personality, their mastery of performance in these figures is required. Figures with such names exist in Nikologorskaya (Vladimir region), Kalininskaya, Ivanovo, Paretskaya (Gorky region) and many other quadrille.

Sometimes the figures of some Russian quadrille have purely local names. So, in the Arkhangelsk region, along with the word “figure”, there is also the word “game” - “first game”, “second game”, etc. There are quadrille, where the figures do not have specific names, but only numbering: 1st figure, 2nd figure, 3rd figure. In some Astrakhan quadrilles instead of the 1st figure they say - “first knee”, “second knee”, etc. In the quadrille of the Irtysh Cossacks of the Semipalatinsk region there are 7 figures, each of which is called a “shot”, they all have their own melody, their own a song. “The shot“ I will go out onto the river, ”the host of the next figure loudly announces. And in the Kostroma region, the quadrille, consisting of seven figures, is called "seven-shot." Each quadrille figure is performed to common dance songs and melodies. Some quadrille are accompanied by songs that are sung not only by the quadrille performers, but also by the audience around them, others - and this is most often - are accompanied by instruments: harmonica, balalaika, button accordion, etc., others are accompanied by songs and musical instrument at the same time.

Each figure of the Russian quadrille is separated from the other, as a rule, by pauses - stops both in music and in dance. In some quadrille, before the beginning of each figure, the leader, usually a young man of the first pair, and sometimes a specially appointed manager, announces the name or serial number of the figure. In other quadrille, the leader or ringleader shows the beginning of each figure with a wave of a scarf or kerchief, an inflow, a fractional key - “hang up” or cotton. In some quadrille, all participants clap their hands in front of each figure. Sometimes a harmonist or accordion player gives a chord in front of each figure or loses the introduction. Often the end of each figure is emphasized by claps, tributaries, bows, etc. of all performers at the same time. For example, each quadrille figure executed in the Pechersky district of the Pskov region ends like this: the guys, taking the partner’s left hand with the right hand, gently hit her palm with the palm of their left hand.

The quadrille is less common, where various figures in the figure are accompanied by one continuous melody played on any musical instrument. However, here the quadrille figures alternate, they are clearly and clearly demarcated. In such quadrille, names or serial numbers of figures are shouted out by the leader or ringleader at the moment of transition from one figure to another, and if the quadrille is well rehearsed, sometimes they can do without an announcement, as happens in Dorogorskaya (Arkhangelsk Oblast), Zelenginskaya ( Astrakhan region) and a number of other quadrille.

In the Russian quadrille new figures - “Waltz” and “Polka”. Such figures are in Travinsky (Astrakhan Oblast), Cherepovets (Vologda Oblast), Moskovsky and many other quadrille. Appeared at the end of the XIX century. the ditty also organically entered the Russian quadrille. Ditties in combination with the accompaniment of various musical instruments sometimes accompany the entire quadrille, but more often its individual figures. In many squares, these figures are called "Under the ditty." In one quadrille, the ditties are sung by all participants simultaneously, in others - in turn, passing the “baton” to the next performer. There are ditties in modern square dance - Tomsk region, Stavropol Territory, collective farm square dance of the Leningrad region - "Oyat", "Volkhov" and many others.

The origin of the quadrille from the salon French dance, which in turn goes back to English counter-dance. The French quadrille, having traveled a long way through the secular solons of many countries, including Russia, began to spread among the Russian people in the beginning. This happened in the 19th century through serfs, servants, who showed new figures of dance in their villages. Among the people, the quadrille has changed, improved, and acquired peculiar movements, drawings, and manner of performance over the decades, taking from the salon dance only some construction features and its names, it often changed to the Russian way ("Kadrelka", "Quadrille").

Typical quadrille traits.

Doubles dance.

An even number of participants are participating, par.

A certain composition is obligatory for everyone.

Figurative construction in a folk version of 3 or more.

Each new pattern (figure) is performed sequentially by all pairs (alternately or simultaneously).

The main move is saved on all pieces.

The whole square dance is performed to a single melody or each figure to its own.

The manner, style and character of performing quadrille in each locality is different and reflects the distinctive features of people's lives, "Whatever the city is, nor the village is the custom."

In the Yaroslavl rural quadrille, the influence of the city is felt, this is expressed both in the lines of the costume and in some of the cutesiness of the manner of performance (urban merchant style). The Kalinin region was famous for textile production, the processes of cultivation and processing gave rise to a number of typical movements that entered the dance, including the quadrille, heels are beaten strongly, there are many fractions, the movements are sharp, the style is shallow, cocky.

Whirling in quadrille in a pair occurs the hourly hand, and in the general circle counterclockwise.

The quadrille begins with an announcement leading with an invitation to partners, ends with a shake of the hand, a bow, a gift.

In quadrille, courtship of a woman is emphasized by many farewells, nods, deep respect for each other.

The quadrille is performed: a) at a moderate pace lyrical;

b) at a fast pace, lively, fervently.

Quadrille music

To the dance songs sung by participants and spectators.

Accompanied by instruments, accordion, balalaika.

To a song and music instruments at the same time.

The ditty that appeared at the end of the 19th century organically entered the quadrille, can accompany the entire quadrille, but more often individual figures, which are called the ditty. Sing in turn or at the same time.

Quadrille Name

From the name of the place of residence of the city or village (urban, Shuyskaya, etc.).

The name determines the construction of the quadrille, for example, "Circular".

From the number of figures, such as gear.

Name of figures

Brightly characterize each figure:

From the nature of the movement ("Fervent", "Cool", "Passage", "crush").

From the drawing of the dance ("Vorottsa", "Asterisks", "Corners").

From the relationship of the dancing with each other ("Meet", "Mow", "Girls on the grab," from 2, from 3).

From the name of the songs under which the figures are performed. ("Canopy", "The hillock", "Lady").

The figures do not have a specific name, but only numbering.

In the figures with the name. (“Kiss”, “Farewell”, “Cosen”), the participants must kiss, the harmonist stops the game and after the cry of the leading gentleman kisses the lady, a kiss follows. The "little girl to the harmonist" the girls kissed the harmonist.

Some quadrille figures included elements of solitary dancing and dancing, in which participants show their skills, this is reflected in the names of the figures, for example, “Topotukha with a dance”

Quadrilateral shapes

Before the start of the next pause, stop both in the music and in the dance.

Announcement by the presenter, name or serial number of the figure.

The presenter shows the beginning of each figure with a wave of a scarf, a tide, a fractional key or a clap.

All participants clap their hands.

The accordion player gives a chord in front of each figure or loses the introduction.

In the quadrille, where different figures in the figure are accompanied by one continuous melody, demarcation also goes on. In them names or numbers are shouted out at the moment of transition from one figure to another. If the square dance is well rehearsed, then they dispense with announcements.

Often the end of each figure is emphasized by claps, tributaries, bows of all performers at the same time.

In quadrille can be found at the time of a walk, rest. They stop dancing, the game becomes quieter, couples strolling, talking. At the end, one of the participants or the presenter notifies about this.

Build Form:Squares are square, linear, circular

Square (angular) square dance

Square quadrille is called differently, often “angular”, sometimes “four walls” or “in corners”.

Any name itself determines the construction of the quadrille. This group of quadrille, as a rule, is performed by four pairs, facing each other in the corners or on the sides of the square. The pairs are arranged in this order: the first pair to the left of the viewer, the third pair diagonally opposite it, the second pair to the left of the first pair, the fourth pair opposite it. The movement and transitions of pairs in this group of quadrille occur diagonally or crosswise.

Therefore, the number of couples participating in the dance should be no more and no less than four, since with such a movement a different number of couples cannot take part in the quadrille.

Square or corner quadrille dance throughout Russia, but most often they are found in its central regions (Moscow, Tver, Tula, Ryazan). On the middle Volga (in the Nizhny Novgorod, Saratov, Ulyanovsk and Samara regions). And also in the Penza and Tambov regions.

In square quadrille, there are many different constructions and transitions of pairs, for example:

a) all couples simultaneously converge to the center and then return to their places;

b) two opposite pairs go towards each other and change places; the other two pairs either stand still or spin;

c) two opposite pairs go towards each other and form a circle; after turning in a circle for a certain number of measures, the dancing pairs diverge back into place or change places;

d) two opposite pairs converge in the center, and the guy of one pair passes his girlfriend to the other guy, and, left alone, dances in front of them.

Both these and other rearrangements and transitions can often be found in square quadrille, performed in various fields. But, despite the similarity of the picture, they differ sharply in execution, since they always dance in a manner inherent only in the area in which this quadrille exists.

In the Tver region, the majority of square dance is fast, with numerous small fractional movements, with the demonstration of their skills - performance techniques. Also in the Tver region, like no other, a kiss is spread in quadrille. The figures with a kiss in Tver quadrilles are called "Kazenka", "Farewell", "Strand".

The angular quadrille of the Tula region is more sedate than the Tver quadrille, although they are also based on a sliding step.

In a number of quadrille figures in the Saratov and Samara regions, there are crackers performed by boys and girls or only girls. But crackers, as a rule, are not found in all quadriceps, but only in some or even in one of the figures.

Square quadrille is also found in the Urals. Guys during dancing are very courteous with girls and attentive to them. In some quadrilles, couples do not hold hands, but at the ends of shawls or little fingers.

Linear (double row) quadrille

Four, six, eight or more pairs can participate in the linear (two-row) construction by the “street”. The pairs are arranged in this order: to the left of the viewer is the first pair, in another line, opposite it, the second pair, etc .; thus, to the left of the viewer are all odd, to the right are all even numbers of pairs. Each pair dances almost always only with the opposing pair. Pairs go at each other at the same time, or one pair approaches the other, and this is the main thing in the composition of a linear quadrille. Due to the freely changing number of pairs, this quadrille can be performed both in small rooms and on the open spaces of the street.

The performance of the quadrille in two pairs is called the "small quadrille" and is an independent peculiar form of performance of the Russian quadrille. But often during the performance, new pairs are adjusted to the dancers, but always in both lines.

A linear (double-row) quadrille is common in many regions of Russia, but it is most often found in the Arkhangelsk, Vologda, Kostroma, Yaroslavl, Leningrad, Novgorod regions, in the Urals, Siberia and the Lower Volga, in the Astrakhan region.

Linear quadrille has its own various rearrangements and transitions of pairs, for example:

a) the lines simultaneously converge with each other and again diverge into place, or one line stands still, and the other comes up to it and goes into place;

b) the pairs of one and the other line through one go simultaneously to the pairs of the other line remaining in place. Approaching opposite pairs, participants form circles that move counterclockwise.

c) girls form a circle between two lines of guys; a circle may also consist of guys.

d) two lines go towards each other; one line runs under the “Gates” of another; having reached the opposite side, both lines turn around and go to their places, but now another line passes under the Gates.

Often at the beginning of linear quadrille, guys line up on one side and girls line up on the other. Then an invitation occurs, and the pairs become in line one against the other. This can happen both without music, and accompanied by music, being the first square dance figure. Such a beginning can be seen in Zelenginskaya (Astrakhan Oblast) and Volenskaya (Yaroslavl Oblast).

There are quadrille, where both lines consist of the same girls. Such a construction is found in the quadrille of the Novosibirsk region, Moscow region.

The manner of performing linear quadrille is very diverse. So, most of the quadrille of Yaroslavl and Ivanovo regions is performed at a moderate pace, they emphasize courtship for the girls, a lot of seeing off, elegant nods. Girls dance modestly, gracefully. These quadrilles emphasize deep mutual respect for each other.

In the Chukhlomsky district of the Kostroma region they dance the “Nozhkinsky quadrille”. They dance without a single knock, without a single tributary. The main move is a shuffling step on high half-fingers.

Most of the quadrille in the Astrakhan region is performed lively, fervently, at a fast pace. There are many tributaries, bumps, hooks, and hops. Respect for girls is characteristic. The main move with a variety of hand movements and body position.

Many different quadrille dwells in the Middle Urals: both fast and slow. Many squares have pops. A very large number of construction figures.

At the end of the quadrille, it is customary to thank the girls with gifts.

Circular square dance.

In a circular quadrille, as a rule, an even number of pairs is involved, most often four or six, less often eight. But there are exceptions when an odd number of couples dance in quadrille.

Pairs are arranged in a circle, their counting is carried out in a clockwise direction. The first pair is always to the left of the viewer.

Circular quadrille dance in many regions of Russia, but more often they are found in Moscow, Samara regions, the Urals and Siberia.

In circular quadrille, pair movements and single transitions occur mainly in a circle, counterclockwise, sometimes clockwise, and also to the center of the circle and vice versa:

a) the guys are in their places, and the girls move in circles until they reach their partners again. Or vice versa;

b) the girl’s guys simultaneously go in a circle in opposite directions until they reach their partners;

c) girls or boys converge to the center of the circle, forming a "star" or circle; having made a complete turn, they return to their places;

d) boys or girls form an inner circle, turning to face the outer circle; Go ahead with your partner right or left shoulder.

Circular quadrille can be performed in simple, shuffling and variable steps, depending on existing local characteristics and traditions.

The circular quadrille of the Samara region is peculiar in execution. Guys are dancing in jackets. Girls have many transitions performed with different positions of the hands.

In Siberia, in the Tomsk region there are circular quadrille. They are performed under the accordion, and always accompanied by ditties. All the ditties are sung at a fairly fast pace, lively, fun, with a twinkle.

The figures do not have a specific name, but go under serial numbers.

Quadrille, as a rule, dance in pairs - a guy and a girl, but there are quadrille, which are performed in pairs consisting of girls or young women. Partners - sincere friends.

Quadrille Stage Processing

Dance spread on the viewer.

Selection of the best characteristic compositional drawings.

To complicate the technical range (to complicate the technique of execution).

Mandatory transmission, manner of execution.

Limit the time frame.

Work out, add refinement.

The quadrille is performed from one's own "I" or in the image. It is a mistake of modern choreographers to introduce an imitative mannerism, some kind of mannerality, supposedly inherent in quadrille. And then the same quadrille is obtained, where the young men are in traditional caps with flowers, and the girls are cutesy. All this is a bad taste.

The quadrille stage life is possible only with the continuous development of stage action, i.e. in the presence of plotless drama.

Creating a feeling among the audience that the dance is now being born in the live work of the performers. This is the key to the success of any dance performance.

IN Of Russia   there are forms quadrille   and lance (lance). But, perhaps, it is only the forms, that is, the principles of successive repetition of figures in pairs and construction in straight lines to each other (Fig. 1) or along a square (Fig. 2).

For the rest, in the "foreigner" everything is replaced by its own russians   elements. Moreover, the movements dance   in each region are different, traditional for its main dance elements.

Compare 2 figures quadrille   Kalinin region: recorded by T. A. Ustinova in the village of Palshino (example 1) from Kesovogorsk quadrillerecorded by the methodologist of the Kalinin Regional House of Folk Arts N. Zhistareva in the village of Kesova Gora   (example 2).

Let's start with the names of the figures that determine the nature of their performance.

Example 1

1st figure: "Gait";

2nd figure: "Squint" (angry);

3rd figure: "Chain";

4th figure: "Spring";

5th figure: "Farewell".

Example 2

1st figure: "Walk";

2nd figure: "Bearers";

3rd figure: “Three”;

4th figure: "Carousel";

5th figure: "Goodbye."

Some commonality is read in the title figures. The first, initial, echoes: “Walking through” - “Walking”. Note also that in English quadrille   (lance) and in french first figure   also has a similar name.

Second figures   with different names (“Mow” and “Wanders”) give an idea that the men in it dancing   without women. In the first case, due to the fact that the partners are proud, in the second - because they are lonely. Third figures   echo in the fact that their names emphasize the construction of the clutch. In the first example, it is called the “Chain”, in the second - the “Three”, that is, the three.

Fourth names figures   ("Spring" and "Carousel") talk about a joyful spring dance. Carousel gives an idea of \u200b\u200bthe composition, echoing also with figures   “Mouline” (mill) in French quadrille.

Last figure   “Farewell” in the first example, “Farewell” in the second also prompt the character and, to some extent, the construction dance.

In both quadrille   4 pairs are involved, i.e. there is a square construction dancingobligatory repetition figures   in all pairs. Title figures   the leader cries out before it begins.

If we summarize these common features, it is easy to notice that they all gravitate to the form of construction dancehave a close composition principle.

Now let's pay attention to the vocabulary of these dancing, that is, those movements that are performed in figures   of these quadrille.

Example 1: accordion, small fraction, three-leg fraction, fraction key, 2 steps with a flush, simple fraction, rope, Russian variable step, squat, flapper with clappers, squat with a hand on the bootleg.

Example 2: triple step, simple shallow step, step on the heel, tide, fractional side steps, rope, squatting, spin with whirling, bumps.

Both there and there are quite a wide range of elements russian dance. If we once again recall that in the "overseas" quadrille   the basis of the vocabulary was sliding (pa-chassis), increased steps (pa-eleva) and bows, sometimes galloping and balance, the originality will become especially clear russian quadrille. As for the commonality of the two taken as an example dancing, then in vocabulary it is limited by a rope, a squat (by the way, different in the pattern of movement) and a fraction that is also not the same in these two dancing.

Even the main poses in a pair are different (Figs. 3, 4), there is a peculiarity in the manner of execution.

In the appendix we give a description of two figures   with the same name "Farewell". Acquainted with them, you will see that everything - from the position in a pair, the nature of the clutch, the manner of communication and, most importantly, the main course - distinguishes between dancing. Although at the same time, the construction principle indicates their commonality and belonging to quadrille.

Pair dance-square dance.

The oldest and richest art form is dance. Russian folk dance is closely connected with the history of the Russian people, with their traditions, beliefs and customs. Russian folk dance reveals the spiritual life of our people and their way of life. Through dance, people convey their feelings, thoughts and mood. Russian classification folk dances   occurs according to their stable characteristics and choreographic structure. Based on the totality of these signs, it can be assumed what kind of dance belongs. All types of Russian folk dances are divided into two categories: round dance and dance, and they, in turn, distinguish several more types.

Hthe most common form of Russian folk dance is dance. It includes playing dances, improvised dances and dances performed with a certain sequence of figures. Every movement in the dance is not without meaning. Men's dances   differ in breadth, strength and scope, as well as attention to the partner. Women's dances are characterized by smoothness, sincerity and grace, as well as emotions and enthusiasm.

The dances are performed not only for songs, but also for instrumental accompaniment.

Quadrille is another type of Russian folk dance. The quadrille is distinguished from traditional dances by a peculiar construction and a clear division into pairs and figures. The quadrille takes its roots from the French salon dance. The Russian quadrille included many figures and drawings from Russian round dances and dances. Only an even number of pairs takes part in the quadrille, but their number is not limited. Often in the quadrille, ditties are performed, either by all performers simultaneously, or in turn, passing the baton from one to another. In the square dance, each figure is separated from one another, usually by musical pauses, tributaries, pops or bows.
Russian folk dance quadrille is pair dance, which in ancient times was a salon, which very quickly became widespread among the people. True, over time, he underwent some changes in manner and in movements, but the compositional characteristics characteristic of him remained. The Russian quadrille is a dance of our people, which is very diverse and truly beautiful. Although there are many varieties of the dance itself - Belarusian, Lithuanian, Ukrainian. Each option is in its own special, distinctive and diverse.

Speaking about the Russian folk dance quadrille, it should be noted its characteristic features:

Quadrille has an inherent musical size of two quarters (sometimes it is replaced by 6/8);

It is performed exclusively by an even number of dancing couples;

A dance can have a minimum of five figures and a maximum of 12;

This dance is distinguished by its characteristic composition.

But if you describe the quadrille, then you should consider what kind of dance in question. There are many types of quadrille, as mentioned at the beginning. And even if it is a Belarusian quadrille, then inside it there may be several more options. If you take into account the Russian dance, then there is a Moscow, Ural, Volga quadrille.

The name “quadrille” itself is similar to the French word “quadrille”, Spanish “cuadrilla” and Latin “quadrum”. Because of this, many have doubts about where, after all, this dance originated. But according to historical sources, the quadrille appeared in France, and as ballroom dance, which was formed from the counter-dance (whose homeland is England). Pairs of girls and guys were arranged in a quadrangular pattern, and each couple took turns performing a solo part. The dance consisted of five figures and they all ended in one common movement, which united the dancers.

At first, the figures were quite complex in execution and were called Le Pantallon, L’ete, La Poule, La Pastourelle and, of course, Finale. Almost all listed names   associated with the name of the songs. The dance master has always been included in the finals. And despite the fact that the figures were quite difficult in terms of development, absolutely every movement had to be worked out to an ideal, perfect state. Then the dance underwent some changes, and the figures were replaced by numbers. New movements have replaced the old ones, some have become easier.

The quadrille quickly conquered dance lovers, visitors to dance halls and salons and, in the end, became one of the most popular dances.

In Russia, dance appeared only at the beginning of the 18th century, during the era of the reforms of Peter I. On November 26, 1718, a decree was issued on the introduction of ensembles. The main entertainment on the ensembles was dancing. Cavaliers could invite to the dance any of the ladies present. Refusing an invitation was not accepted. In addition to other dances, the Angloan (English) danced, one of the dances under the general name counter-dances (village dance). The performance of the "English" was very peculiar and interesting. Cavaliers and ladies of the first pair had to depict various figures based on the game. So, for example, a lady kissed cavaliers lips. The cavalier came up with unimaginable jumps and pirouettes, which all cavaliers had to repeat. Having entered the everyday life, the quadrille quickly assimilated (changed), lost everything in the salon, acquired a folk style, it improved and was created anew, but retained its compositional features. The melody and manner of performance has acquired a national character. The quadrille acquired peculiar movements, drawings, and manner of execution. Names appeared in the Russian way: “kadrel”, “kadrelka”, “kandrel”, “kandreshka”, etc. The quadrille changed to such an extent that later the researchers of household dance even noted that the quadrille, having fallen into the people, was distorted beyond recognition. But it was precisely these “distortions” introduced into the quadrille by the people that gave this dance a long life. The quadrille organically entered the life of a Russian person, becoming one of his favorite and popular dances. Where is the most common quadrille in Russia? Mainly in the former large trading cities, near the rivers: Petersburg, Moscow, Yaroslavl, Samara, Nizhny Novgorod. Where there were foreign visitors. Acquaintance with the quadrille was based on the story of newcomers, serfs, servants of people who sometimes showed in their villages some figures of the dance, which were already clearly remade in their own style, to their taste. Russian nuggets - performers, improvisers, who gained fame as excellent dancers and dancers, and who had great artistic taste, reworked old and composed new figures, and sometimes whole quadrille, depending on local characteristics - the manner of performance, music, songs, dance movements, etc. .P. composing and processing quadrille, they proceeded not only from personal tastes, but also took into account the peculiarities of the life of their village, village or city, as well as the requirements of the time.

The forms and principles of quadrille construction are diverse, its figures are quite complex in composition - in different transitions of pairs, and sometimes in terms of performance technique. And it is no coincidence that in one of the Russian folk songs it is sung: “He said:“ Katya, let's go for a walk with me, play fun round dances, look at the sophisticated quadrille ... ”The quadrille learned to dance from 10-11 years old.

The main difficulty in performing quadrille is in particular their manner, style and nature of performance. Three groups of quadrille are distinguished from the huge variety of quadrille in the form of construction: square (angular, angular), linear (double-row) and circular. In some quadrilles, for a number of different reasons, these forms of construction from the first figure to the last are not always maintained. In a number of quadrille shapes are found with other forms of construction. Usually mixed linear and circular or angular and circular quadrille. But this mixing occurs most often within a particular figure.

The quadrille membership in one of these groups is determined by the initial and final construction of each figure and by the majority of the figures executed in this construction. Square (angular), “four walls”, “in the corners”. This group of quadrille is executed by four pairs, facing each other or on the sides of the square. The movement and transitions of pairs occurs diagonally or crosswise.

In square or corner quadrille, there are many different constructions and transitions of pairs:

All pairs simultaneously converge to the center and then return to their places;

Two opposing pairs go towards each other and switch places; the other two pairs either stand still or spin;

Two opposite pairs go towards each other and form a circle; after turning in a circle for a certain number of measures, the dancing pairs diverge back into place or change places;

Two opposite pairs converge in the center and the guy of one pair passes his girlfriend to the other, and, left alone, dances in front of them. Despite the similarity of the picture, the quadrille sharply differ in execution, since they always dance in the manner inherent in the area in which this quadrille exists.

Linear (double-row) square dance, from two to 16 pairs and even more can participate here. To the left of the viewer are all odd, to the right are all even numbers of the pairs. Each pair dances almost always with just the opposite pair. The main thing in the composition of the linear quadrille is that the pairs go at each other at the same time or one pair approaches the other. Due to the freely changing number of pairs, this quadrille can be performed both in small rooms and on the open spaces of the street.

Linear quadrille inherent in its various construction and transitions of pairs:

The lines simultaneously converge with each other and again diverge into place, or one line stands still, and the other comes up to it and goes into place; “The pairs of one and the other lines through one go simultaneously to the pairs of the other line remaining in place, going to the opposite pairs, the participants form circles of two pairs that move counterclockwise, then the incoming pair, passing under the“ collars ”of the other pair, returns to its place; "Girls form a circle between two lines of guys; a circle can also consist of guys, then the girls are in lines;

Two lines go towards each other, one line runs under the “gate” of the other; having reached the opposite side, both lines turn around and go to their places, but now another line passes under the “collars”. Often, at the beginning of linear quadrille, guys line up on one side and girls on the other. Then an invitation occurs, and the pairs become in line one against the other. This can happen without music, or accompanied by music, being the first quadrille figure.

Circular here involved an even number of pairs, most often 4 or 6, less often 8 pairs. But sometimes an odd number can dance - 5 or 7 pairs, but the number of pairs should be less than four.

Pairs are arranged in a circle, their countdown is carried out in a clockwise direction. The first pair is always to the left of the viewer. The movement of pairs and single transitions occur mainly in a circle, counterclockwise, sometimes in a clockwise direction, as well as towards the center of the circle and vice versa.

The guys are standing in their places, and the girls are moving in circles until they reach their partners again. Or vice versa, the girls are in their places, and their partners are in a circle.

Boys and girls simultaneously circle in opposite directions until they reach their partners.

Girls or boys converge to the center of the circle and form an “asterisk” or circle; having made a complete turn in this construction, they return to their pairs.

Boys or girls form an inner circle, turning to face the outer circle, the performers make a round with their partners right or left shoulder forward.

Lansier is a variety of quadrille. This dance originates from the group of English counter-dances, which is the quadrille, and in many ways is similar to it. Lansier appeared in Russia 50-60 years after the quadrille and went the same way as the quadrille - from salon dance to folk dance. Lansier is sometimes called “lance”, “lance”, “lince”, “lance”, “lance”, etc. This dance is not as widespread as a quadrille, and is found in the northern regions. Russia and Siberia. Lansier performs an even number of pairs, the construction of a square, less often two lines. Pairs cross diagonally. The figures in Lansier are smaller than in the Russian quadrille. More often - 5 figures, sometimes 4 or 6. Each figure has its own melody. Mandatory figure is "Shen." Lansier is performed more powerfully than the Russian quadrille.

The principles of quadrille construction: 1. Building a pair against a pair

2. The construction of the dance according to individual figures

3. Music for every figure

4. Return of the partner and partner to his place Quadrille in Ukraine.

Quadrille is widely used in Ukraine. It differs more in choreographic versions of musical material. Some folk quadrille from the choreographic side have one or another plot development, for example, “Shalantuh”. This brings the quadrille closer to such plot dances on everyday topics such as “Mikola”, “Garny Molodichka”, “Torlitsd” and others. Each quadrille figure has the corresponding music, which is based on the modal-intonational and rhythmic features of the Ukrainian melodic.

Unlike other genres, domestic dances have long been the focus of attention of composers and choreographers. The square dance consists of many figures (up to 12). The square dance musical material in most cases consists of song melodies (“Oh, don’t go to Gritsu”, “Balamute”, etc.)

In instrumental performance, polka melodies are also used.

Examples of quadrille “Okhromievska quadrille” “Holding square” “Krasilivsk quadrille” “Podshilska quadrille” “Poliska quadrille” “Ivanivsk quadrille” “Lance (Linets)” “Ukrainian quadrille (Dev” yatka) “Square dance” Shalan. .

In Belarus in the second half of the 19th century, quadrille was widely spread and existed in various local variants. On the basis of some of them, stage models were created in our time: “Lanskaya”, “Tureyskaya”, “Smargonskaya” and others. And sometimes under independent, separate names: “Lantsyay”, “Vrubel”, “Chizhyk”, “Goby ”,“ Shore ”,“ Najnitsa ”and others. Quadrille can be found in Belarusian villages and villages even today. But the dance has clearly lost its former popularity and is gradually moving away from everyday life. But the dance finds fertile ground for itself in stage, national choreographic art. The Belarusians are impressed by the simplicity of movements, the variety of quadrille constructions, which turned out to be close in spirit to their own dance creativity.

The quadrille was marked by its free ease, democracy, direct connection with the tastes and needs of the population of the area. To begin with, instead of the 6 figures laid in the French quadrille, and the 5 figures in the lance, the Belarusian quadrille could count from 4 to 12. And here, folk fantasy is literally inexhaustible. For each figure, his own drawing, his own tonality, his compositional construction and change of emotional states in the figures are invented.

He shouted the names of the figures according to rural custom before the start of the ringleader, from which his own specific mood was created. "Passage" - the first figure - an important, sedate and at the same time full of hidden humor, playful admiring his pretentious complacency. "Gates" - the second figure - a small bead pattern, busily and diligently crafting each pa. In a runaway run, filling the whole space with rapidly changing circles - III figure "Ringlet". IV figure - peppy, cheerful and cheerful “Lyavonikha”. The name of each quadrille figure often determines its choreographic leittheme. For example, the eight-figured “Lianuy”: 1. “passage” 2. “gate” 3. “meeting” 4. “column” 5. “cross” 6. “rope” 7. “run” 8. general polka Here absolutely everything - from the name of the dance itself, transformed and meaningful, and as a definition of dance, "chasing laziness", before the vocabulary, is its own, nationally original. The quadrille figures are often made up of dances already familiar to Belarusians before “Lady”, in the middle they dance “Cossack” or “Ruskach”, and at the end “Lyavonikhu”. Later, the quadrille generally becomes like a dance suite, the components of which are connected only by a certain sequence of figures. Here is the kind of “international” square-dance set that existed: 1. gallop 2. oberek 3. march 4. mazurka 5. nettle 6. waltz 7. Russian 8. polka The music of quadrille is also constructed according to the principle of suite. In it you can find melodies of folk dances, instrumental arrangements of round dance songs, independent instrumental tunes. The music here submits to choreography and decisively breaks off as soon as the performance of a particular dance figure ends. Quadrille is rarely performed with songs.

Like the number of figures, there are no strictly established frames for the number of participants in the dance. From two to 16 pairs - this is the most frequent quadrille composition. Typical quadrille patterns are circles, crosses, gates, columns, lines, stars. Knee - various spins in pairs, “diving” of three participants under each other’s arms, etc. The main moves are rhythmic step and run

Movements - pas de basque, chassis, glide paths, tributaries, etc. The characteristic features of the Belarusian quadrille are: “Square dance dances seem to“ open ”and“ close ”with the general circular movement of the participants. The circle is a choreographic drawing beloved by the people. It can be just running in pairs, waltzing or polka, running in combination with some kind of knees, etc. "A common phenomenon in Belarusian square dance is a form of a kind of choreographic rondo, when after each figure the same figures are performed additionally or deer. (For example: “3 pyatyag” - each of the 5 figures is accompanied by a polka, who is alternately danced by one of the guys with each of the four girls). “A characteristic of the Belarusian quadrille is the repetition by each pair, each participant in turn of a given figure or fragment of a figure. (For example: if a girl goes to“ say hello ”to one of the foreign partners., Then all the other quadrille participants must repeat the same technique). Moreover, having danced the knee with one partner, the girl must do the same with all the others.In this principle of the dance of "all with all", the mass, democratic nature of the quadrille is especially pronounced.

And at the same time, it gives her a clearly organized, planned, symmetrical look.

In the Belarusian quadrille, one can meet the soloing of participants in pairs or alone.

There are quadrille, not executed in pairs, but in two or more triples. As a rule, they are made up of a young man and two girls. (In Russian dance, this kind of quadrille is called "Shester")

A special group is formed by quadrille dances, which arose as a result of the merger of the quadrille form with ancient folk choreographic traditions. Goby, Chizhik, Vrubel, etc. Most often, their music does not have a change of parts, and all the square-dance figures go under the same melody. Sometimes such "shortened" quadrille consists of two dance figures and, accordingly, two musical parts. A distinctive feature of some square dance is the main choreographic move (lateral side of the “Galyopka” chassis). According to the executive style, Belarusian square dance is divided into 2 types: slow, important, sedate and lively, fast, fast.