У статті актуалізовано питання оволодіння теоретичними й методичними основами вивчення базових елементів народно-сценічного танцю. Зокрема розглянуто їх структурні складові позиції та положення рук, ніг, корпусу й голови, які в подальшому формують основні елементи для створення найпростіших пластичних положень тіла танцюючого, виховують високий рівень координації рухів, впливають на характерні особливості поєднання різних положень частин тіла.The article actualizes the problem of mastering the theoretical and methodological foundations of studying the basic elements of the exercise of folk-stage dance. In particular, its structural components and positions of the arms, legs, body and head are considered, which further form the basic elements for creating the simplest plastic positions of the body of the dancer, bring up a high level of coordination of movements, and affect the characteristic features of the combination of different positions of parts of the body.
Based on the theoretical substantiation of the intersubject connections of folk-stage and classical dance, it was clarified and proved that the theoretical and methodological basis of the basic elements of folk-stage exercise requires less time for studying and mastering, in contrast to classical dance.
Being in constant development folk-scenic dance in its arsenal uses progressive methods and enriches the palette of expressive means in accordance with the requirements of the times.
The rabid demand for mastering contemporary trends in choreographic art supersedes the national choreography and tries to give it a secondary place, that is why the method of teaching the basics of folk-stage dance requires from the head of the choreographic collective to be constantly in search of new variegated dance movements, since the use of stereotyped, outdated techniques can lead to the destruction of creative potential
