The pedagogical legacy of N. G. Legat: an analysis of lesson No. 6 as recorded by B. Gregory

Zhirova Violetta Vladimirovna ORCID: 0000-0001-6042-0806 PhD in Art History Independent researcher 4 Shcherbakov Lane, Central District, Saint Petersburg, 191002, Russia viozhiva@gmail.com Other publications by this author

Zemlyanskaya Lyubov' Aleksandrovna Master's student; Department of Teaching Methods of Classical and Duet-Classical Dance; Vaganova Academy of Russian Ballet 191023, Russia, St. Petersburg, Central district, St. Architect Rossi, 2 letter A luba-110796@mail.ru

The evolution of classical dance is inextricably linked with the development of its pedagogical methodology. The appeal to the legacy of the past years is necessary for the preservation and development of the Russian ballet school in the context of updating the theatrical repertoire and improving the technique of performing skills. The pedagogical activity of Nikolai Gustavovich Legat (1869-1937) is a significant stage in the development of Russian methods of teaching classical dance. On the one hand, he continued the traditions of H. P. Johanson, on the other, he introduced his innovative methodological principles that influenced the improvement of classical dance techniques. The study of the didactic features of N. G. Legat's lessons in the context of the history of the formation of his pedagogical approach seems relevant for modern choreographic education.

The main research material is the book "Nicholas Legate. The Choreographer's Legacy" ^[1], created by J. Gregory in collaboration with A. Eglevsky. It contains lessons recorded by N. G. Legat himself and his students, as well as fragments of the musical accompaniment text. The creative biography of N. G. Legat is revealed in the works of V. M. Krasovskaya "Russian Ballet Theater of the early twentieth century. Choreographers" ^[2], as well as J. Gregory's "The Legate Saga" ^[3], which set out the pedagogical path of N. G. Legate from a historical perspective. M. E. Valukin in the book "Male Classical Dance: Evolution over Time" ^[4] highlighted the features of his teaching method. F. V. Lopukhov, a student of N. G. Legat, mentioned him in such works as "Sixty years in Ballet" ^[5] and "Choreographic Revelations" ^[6]. The lessons of N. G. Legat are most fully presented in the Russian literature in P. A. Silkin's textbook "History and Theory of Ballet Pedagogy" ^[7] and in a number of his scientific articles ^{[8; 9]}. However, the lessons reconstructed by the students (№ 5, № 6, № 7) The Russian scientific and methodological literature does not cover what is of interest for further study of N. G. Legat's pedagogical legacy.

The stages of formation of N. G. Legat's pedagogical approach

The following stages can be distinguished in the formation of N. G. Legat's pedagogical approach. He took his first steps in the profession under the guidance of his father, the dancer Gustav Ivanovich Legate (1837-1895) ^[10]. Together with his younger brother Sergei (1875-1905), they were members of an athletic club, where they mastered physical disciplines, including acrobatics and strength training, rowing, swimming and wrestling. In addition, the brothers gained experience in circus art, and also played in a balalaika orchestra and engaged in drawing. This comprehensive development contributed to the subsequent pedagogical activity of N. G. Legat.

In 1880, at the age of eleven, he entered the Imperial Saint Petersburg‑St. Petersburg Theater College, where he first studied classical dance in the class of N. I. Volkov (1836-1891), then under P. A. Gerdt (1844-1917). Later, he joined the class of Christian Petrovich Johanson (1817-1903), becoming his favorite student. The final formation of the professional image took place precisely under his leadership. H. P. Johanson's advanced training classes reinforced N. G. Legat's conviction of the need for careful preservation and transmission of classical dance traditions. In the era of artistic experimentation and innovation, he felt the need to preserve the academic canons of classical ballet. N. G. Legat also adopted the principle of performing combinations with two legs from H. P. Johanson for the uniform development of technique and coordination of both sides of the body (right and left).

After graduating from the Imperial St. Petersburg Theater School, N. G. Legat was accepted into the ballet troupe of the Imperial Theaters on June 1, 1888, where he served until 1914. From 1902 to 1905, he served as assistant choreographer at the Imperial Theaters. From 1905 to 1914, he held the positions of choreographer and first dancer of the Imperial Theaters ^[11].

In parallel with his performing activities, he also engaged in staging. As a choreographer, he defended the canons of classical ballet, preserved the legacy and was skeptical of innovative trends in ballet art. Together with his brother Sergei ^[12] in 1903, he staged the ballet The Fairy of Dolls, which is considered his most significant work in this position. It should be noted that the ballet "The Fairy of Dolls" remains to this day the most important performance in the stage practice of the Vaganova Academy of Russian Ballet. Due to the presence of a number of characters, this performance is a valuable educational material designed for students of various age groups. The reconstruction of this ballet was carried out by N. M. Tsiskaridze based on the version of K. M. Sergeev in 2015 ^[13].

N. G. Legat's teaching career began in 1896 at the Imperial St. Petersburg Theater School and continued until his departure from Russia in 1922. In the following years (1904-1914), he taught an advanced training class at the Mariinsky Theatre, which had previously been taught by H. P. Johanson. In 1909, N. G. Legat also initiated the creation of a "support class" ^{[2, p. 121]} for artists of the Mariinsky Theater, where he taught duet and classical dance techniques. After emigrating, he continued his teaching career, opening his own ballet school in London in 1923. In 1925-1926, N. G. Legat taught at S. P. Diaghilev's troupe, and then returned to his London studio at 46 Colet Gardens, where he continued to preserve the traditions of the Russian ballet school. At first, the lessons of N. G. Legate seemed too difficult to many, only a few realized the importance of classes in the maestro's class. But over time, the London School of N. G. Legate has become an international center for the preservation and transmission of academic traditions of Russian ballet. At various times, such outstanding artists as M. Fontaine, A. Markova, A. Carter, N. de Valois, F. Ashton and others improved here.

According to the memoirs of the students, the key principle of N. G. Legat's pedagogy was an individual approach to each pupil. F. V. Lopukhov wrote that N. G. Legat "intuitively understood what was needed for each student in the class. Asking everyone the same movement, he immediately made corrections: "one for me, another for my neighbor with different physical characteristics, etc." ^{[5, p. 83]}. He alternated the work of his muscles without overloading them in order to avoid injury. Before the lesson, N. G. Legat, talking with his students, determined the optimal load, daily varying the movements in combinations and adapting them to the physical condition of the dancers.

The continuity of N. G. Legat's pedagogical legacy in the book "Nikolai Legat. The Legacy of the Choreographer" and the creative biographies of its authors

N. G. Legate did not leave any methodical notes. According to F. V. Lopukhov's memoirs, O. I. Preobrazhenskaya recorded the lessons of N. G. Legate, but the materials were lost ^{[6, p. 171]}. In 1978, the pedagogical legacy of N. G. Legat was recorded by J. Gregory and A. Eglevsky in the book "Nicholas the Legate. The choreographer's legacy" ^{[14, p. 95]}. Four lessons were recorded by N. G. Legate personally for A. Eglevsky, the rest were reproduced by A. Carter, B. Gregory and K. Nordey.

Andre Eglevsky (1917-1977) was a ballet dancer and teacher of Russian origin, born on December 21, 1917 in Moscow. After the revolutionary events, his professional development took place outside of Russia — in France and Great Britain. A. Eglevsky's ballet education was directly connected with Russian emigrant teachers. In reference sources ^{[15, 16, 17]}, L. N. is singled out among his teachers. To Egorov, M. F. Kshesinskaya, A. E. Volinina, M. N. Nevelskaya. A particularly important stage was the training with N. G. Legate in London ^[17]. The practical result of this training was already evident in the early career of A. Eglevsky. Russian Russian ballet troupes began performing in his teens, and later worked with Ballet Russe de Monte Carlo, the American Ballet Theatre, and the New York City Ballet. As a member of the last troupe, A. Eglevsky participated in productions of J. Balanchine, for example, in 1952 he was part of the first composition of the ballet "The Scottish Symphony" to the music of F. Mendelssohn ^[19]. After completing his performing career, A. Eglevsky continued his career as a teacher. In the United States, he founded his own school and troupe, which is recorded in the archival description of the Andre Eglevsky papers, stored in The New York Public Library, in the Jerome Robbins Dance Division ^[20]. In the pedagogical practice of A. Eglevsky, it was important to preserve the principles of the Russian academic school. In this regard, his pedagogy can be considered as a continuation of the line of N. G. Legate in the American ballet environment.

A. Eglevsky's co-author on publishing the materials of N. G. Legate ^{[1, 14]} John Gregory (1914-1996) was born in Norwich (Great Britain, England) in 1914. His path to ballet was not a direct one: J. Gregory's early professional activity was associated with drama theater and fine arts. In the 1930s, he worked as an actor and was also a personal assistant to the English artist Edward Seago, whose models included representatives of the ballet world, including A. Markov. Gregory's interest in ballet was formed in the process of getting acquainted with the performances of the "Russian Ballet de Basil" (Colonel de Basil's Ballets Russes de Monte Carlo) in Covent‑The Covent Garden. After that, he began studying with Igor Schwezoff and gradually became a staunch fan of the Russian ballet school ^[21]. In the 1940s, J. Gregory already performed in the Carl Rosa Ballet, then joined the Anglo-Polish Ballet, where he met his future wife.

Barbara Gregory, born Barbara Vernon (1918-2007), took her first ballet classes in Birmingham under the program of the Royal Academy of Dance (RAD). From the age of sixteen, she danced in small troupes, and while working at the Gaiety Theatre in Dublin, "she heard about the teaching of the Russian emigrant teacher N. G. Legat" ^[22]. Returning to London in 1936, B. Vernon began to attend his classes. This fact is especially important, since we are not talking about indirect influence, but about direct training from N. G. Legat in the last period of his London teaching career. After Legate's death in 1937, B. Vernon continued her education at the studio of L. F. Massine in Monte Carlo. During World War II, she danced in various ensembles, including Mona Inglesby's International Ballet and the Anglo-Polish Ballet, where she met J. Gregory. After their marriage in 1945, their joint activities took on an institutional form. In December 1949 John and Barbara Gregory founded The Gregory's School of Russian Ballet, specifically focused on transmitting the traditions of N. G. Legate ^[23]. In 1959, this teaching line was continued in their small touring troupe Harlequin Ballet. Her task was formulated as the desire to "bring ballet to people" ^[24], that is, to take the classical school beyond the narrow circle of metropolitan theaters. Later, the couple taught, lectured, and in 1995 established The Legat Foundation, whose archival collection at the National Arts Education Archive includes materials related to N. G. Legat and J. Gregory ^[25].

Another important figure in the circle of students and followers of the London studio of N. G. Legate was Alan Carter (Alan Carter, 1920-2009), who also recorded the lessons of his teacher ^{[1, 14]}. He was born in London on December 24, 1920, and became interested in ballet as a child. In his early teens, A. Carter began studying at the Serafina Astafieva Russian Dancing Academy, located at The Pheasantry on King's Road in Chelsea. Then he transferred to the advanced training classes of N. G. Legate. Completing his education at the Italia Conti Academy of Theatrical Arts, A. Carter studied not only dance, but also acting and stage practice ^[26]. In 1937, he joined the Corps de ballet of the Vic-Wells Ballet and was soon promoted to soloist. In 1938, Frederick Ashton commissioned him to play significant roles in the ballet Harlequin on the Street, where his virtuoso technique, jumping and skidding were noted. In 1941-1946, A. Carter served in the Royal Air Force, and after the war returned to the theater as a leading dancer and choreographer at Sadler's Wells Theatre Ballet. Further activity of A. Carter covered the stage, cinema and pedagogical work. In 1948, he was the choreographer of the film The Red Shoes. In the same year, he created and directed the St. James Ballet, which lasted until 1950. In 1954-1959, he was the ballet director of the Bavarian State Ballet ^[26]. Later, A. Carter worked as a director, choreographer and teacher in Germany, the Netherlands, Israel, Norway, France, Turkey, Finland, Iceland and Iran, and in 1975-1977 he served as artistic director of the Elmhurst Residential Ballet School. In the context of Legate's legacy, Carter's biography shows how the Russian school could have been assimilated by an artist of British origin and then spread through the stage, cinema, international choreography practice and teaching activities.

Cleo Nordi (1898-1983), a Russian-Finnish ballerina and teacher born in Kronstadt, also belongs to the line of spreading the tradition and fixing the lessons of N. G. Legate ^{[1, 14]}. In St. Petersburg‑In St. Petersburg, she studied with N. G. Legate ^[27], as well as with L. N. Egorova, O. I. Preobrazhenskaya and V. A. Trefilova. In Helsingfors (Helsinki), K. Nordi studied with George Ge. In 1924, she made her debut in Paris at the Théâtre Fémina, and then joined the troupe of A. P. Pavlova, where she toured and performed solo roles until the death of the ballerina in 1931 ^[28]. After the Second World War, K. Nordi settled in London, where she became a famous teacher of the Russian ballet tradition. She taught at Sadler's Wells Ballet School and in her own studio. Among her students, Pina Bausch should be singled out separately. If A. Carter demonstrates the line of mastering the school of N. G. Legate by a British ballet dancer and its further dissemination through the institutions of the stage and cinema, then K. Nordey presents a different model of succession: direct training from N. G. Legat, performing practice from A. P. Pavlova, and subsequent teaching at the Russian school in London.

Characteristic features of N. G. Legat's classical dance lessons

Analyzing the materials from the book "Nicholas the Legate. The legacy of the choreographer" ^[14], as well as the memories of the students, can bring us closer to understanding the pedagogical approach of N. G. Legat. In his lessons, he used the sequence of exercises of his mentor H. P. Johanson: plié, tendu, fondu, frappé, ronds de jambe par terre, rond de jambe en l'air, développé, grand batt e ment, petit battement and one of the variants of release or batterie. This order of combinations differs from the modern lesson based on the method of A. Ya. Vaganova, but it has its own logic based on the gradual complication of movements and warming up of muscles.

The stick exercise began with the grand plié in position II, then in positions I and V or IV and V. Despite the fact that N. G. Legat removed the grand plié of position IV from his lesson, in the lessons recorded by A. Eglevsky, it is fixed in combinations. After completing the fondu, frappé, and petit battement combinations, a half-finger balance was required, and at the end of the petit battement, a slow half-finger turn in the pirouette position ^{[1, p. 63]}.

As a rule, the exercises in the middle of the hall began with three small adagios, including grand plié in positions I, II and V and various rotations. All shapes of large and small pirouettes were represented in these combinations. This was followed by temps lie, which promotes the development of stability, coordination and smooth transition from pose to pose ^{[4, pp. 64-65]}. Then the exercises were performed in the same sequence as the stick, combined with pirouettes and chaîné. This contributed to the improvement of rotation and coordination skills. The number of combinations and the movements included in them was variable.

The Allegro section of N. G. Legat's lesson began with performing small jumps: glissade, assembly, jet, changement. This was followed by chappe, ballonn, and sissonnes, which alternated with drifts. Jump combinations had to be performed using épaulement positions and combined with arm movements. In the book "Nicholas the Legate. The Choreographer's Legacy" ^{[1, 14]} provides a rhythmic pattern for each combination, which is a prerequisite for accurate performance of the given combinations.

The musical foundations of the lesson by N. G. Legate (based on the analysis of musical notation materials recorded by V. V. Launitz)

His friend and accompanist who worked with him during the London period, the pianist and composer Vladimir Vladimirovich Launitz (1891-1956), played a special role in preserving the legacy of N. G. Legate. Thanks to him, the musical material of the 1933 exercise was recorded, which was subsequently published in the book "Nicholas Legate. The choreographer's legacy" ^{[1, 14]}.

Musical accompaniment in the lessons of N. G. Legat was not just a passive background, but a pedagogical tool that directly dictated the biomechanics and expressiveness of movement. The effect of "muscle music" ^{[14, p. 99]} was achieved due to strict coordination of the rhythmic pattern and the physiology of the dancer. It is noteworthy that in different years N. G. Legat accompanied his lessons himself. During the Russian period, he played the violin in the improvement class, and in later years he played the piano. "Moreover, he transferred his lively wit to the keyboard: with a trill, glissando, or sudden dissonance (false chord), he emphasized the dancers' mistakes" ^{[14, p. 99]}.

The musical material recorded by V. Launitz is an improvisational text by N. G. Legat, which gives special value to understanding his pedagogical approach. For slow and amplitude movements (pliés, développés, port de bras), N. G. Legat preferred the three-part meter (3/4) in the tempo of a slow waltz (T empo di V alse L ente). This rhythm, unlike the four-part adagio, helped the performer maintain continuity of movement.

N. G. Legat built exercises for articulation of the foot (battements tendus, frappés, petits battements) on two-dimensional sizes (2/4 and 4/4) in the tempo A llegretto and A llegro non troppo. It is characteristic that when moving to the middle of the hall, the tempo of these movements was deliberately slowed down (for example, frappés — from 164 to 74 beats/min). This gave the performer the necessary time gap to stabilize stability and build an épaulement.

For grands battements and allegro, a marching character (A la marcia) was used with clear accents on strong lobes provoking a leg throw and a collected landing. For allegro, N. G. Legat chose "not only traditional, square rhythms, but also many syncopated, broken rhythms" ^{[14, p. 99]}. At the same time, the predominance of light major keys (D, G, A major) created the atmosphere of the lesson, turning each technical exercise into a meaningful dance movement.

Analysis of combinations of Lesson No. 6 in B. Gregory's reconstruction

This article will analyze lesson No. 6 in B. Gregory's reconstruction ^{[1, pp. 94-102]}. The choice of this lesson is due to the fact that it presents separate finger combinations for girls and jumping combinations for boys, which is of interest for research.

Lesson No. 6 is presented in the terminology used by B. Gregory to write exercises. In the reconstruction, it is interpreted in accordance with modern terminology. In the description of the lesson, the positions of the legs are fixed, only in some combinations the positions of the arms and head are specified.

Grand plié

The plié combination starts immediately with g rand plié in position II. The structure is based on the alternation of g rand plié and relevé (see: table 1).

Table 1. Grand plié

In this combination, the positions of the arms and head are not prescribed. The combination is repeated in positions II, I and V (with the right and left legs). There is no Grand plié for position IV. It should be noted that, according to A. Ya. Vaganova, it is necessary to start from the first position. She wrote that "although there were voices suggesting starting from position II, I cannot join them" ^{[29, p. 31]}. A. Ya. Vaganova emphasized that squats in position I provide the basis for performing movements in other positions, since efforts must be made from the first squat to comply with vertical axis ^{[29, p. 31]}. "In the second position, the center of gravity is easier to find, the whole figure is less concentrated, which makes it impossible to gather for the next steps" ^{[30, p. 129]}. In the reconstruction of lesson No. 5 by A. Carter, this grand plié combination is also presented.

Battement tendu

The combination consists of two sequences. In the first one, it is necessary to perform two b atement tendu forward (both one and two) and one b atement tendu with demi-plié in V position (and three). Then open the b attement tendu to the side (and four). Repeat this sequence to the side and back. This is followed by a second cross, one b atement tendu: close the open leg to the side forward into the V position and perform b atement tendu forward, sideways, backward. Repeat the whole combination back. Then repeat the entire first sequence twice, but in a sideways direction along the I position. The positions of B. Gregory's arms and head are not specified.

Battement tendu jeté

In this combination, the b attement tendu jeté in the V position is performed only to the side, in the forward and backward directions — a slow battement tendu by 2/4 (see: table 2).

Table 2. Battement tendu jeté

The combination should have been performed back, and then performed twice more with battements tendus jet's sideways on the I, not on the V position.

Battement fondu

This combination is performed first on the whole foot, then on the half-toes. The hand positions are prescribed only in the pose to check the balance. Perform b attement fondu en effacé forward 2/4 (both one and two), put your foot through the petit b a ttement and perform fondu en effacé backwards (both three and four). Perform the plié-relevé et demi rond de jambe to the side (both once and twice), then move the working leg using the demi-rond technique into the effacé forward into the plié on the supporting leg (both three and four). Then move the passé par terre leg to the croisé back, extending the supporting leg (for four counts). Repeat the combination back. At the end, close the leg in the V position on the half-toes. After that, it was necessary to keep the balance on one leg: standing from behind in the sur le cou-de-pied position, with the right hand on the hip and the left hand on the side.

Battement frappé

The first part of the combination consists of three incomplete crosses (en dehors, en dedans, en dehors), one at a time (and one, and two, and three) with the last position held (and four). After that, it is necessary to perform three battement s frappés to the side in eighth fractions (both one and two), then t ombé devant relevé (an analogue of turning with t ombé relevé according to the method of A. Ya. Vaganova, studied in the third year of study ^{[31, p. 27]}) with a turn en dehors (both three and four) to repeat the combination with the left foot, and then perform everything on the toes. At the end, it is recommended to keep the balance with the leg extended forward. The positions of the arms and head are not specified.

Rond de jambe par terre

The combination consists of two repetitions: three r ond de jambe en dehors (and one, and two, and), then pi qué forward, through demi-rond to the side, and also through pi qué and demi-rond back (three, and four). Perform two rond de jambe en dehors (both once and), rond de cuisse en dehors (analogous to the grand rond de jambe jet é according to the method of A. Ya. Vaganova, studied in the fourth year of study ^{[31, p. 32]}) finish in the V position back (two, three, and four). Repeat everything en dedans. The rhythmic pattern is uneven and syncopated.

Assemblé soutenu and port de bras

The movement does not correspond to the assemblé soutenu ^{[31, p. 141]} according to the method of A. Ya. Vaganova and takes on a different form. As a préparation in the phrase, perform demi-plié in V position, extend your leg forward, hold the rond de jambe par terre on plié en dehors. After that, you should put your heel in the IV position and perform the grand port de bras en dedans, which is a variation of the sixth port de bras according to the method of A. Ya. Vaganova ^{[29, pp. 66-67]}, studied in the third year of study ^{[31, p. 28]}. Then the combination repeats back, but rond en dedans becomes relevant in IV position and grand port de bras en dehors. It can be assumed that in the grand port de bras en dedans, the circular port de bras was performed to the stick, and en dehors was performed from the stick. This was followed by a d emi-plié in position IV and a move to the front foot in arabesque croisé on the floor. It is recommended to perform the combination in musical size 3/4.

Rond de jambe en l’air

The rond de jambe en l'air combination includes a pirouette en dehors from the V position on 2/4 ending in the efface pose forward on pli (and three). After that, you need to lift your leg and move it to the side (and four), perform two r ond de jambe en dehors (one and two), move your foot to attitude (and three), closing it in the V position back (and four). The combination is repeated back and on the half fingers.

Développé

The combination must be performed en dehors and en dedans on the whole foot, and then repeated on the half-fingers (see: Table 3).

Table 3. Développé

Grand battement

The grand battement combination is repeated twice in a cross, that is, in the directions forward, sideways, backward and sideways (see: Table 4).

Table 4. Grand battement

Petit battement

In the petits battements combination, quarter and eighth musical parts alternate. First, you need to perform two petits battements with an emphasis on forward (both one and two). This is followed by petits battements in eighths (both three and four). Two slow petits battements (both one and two) are performed per beat, with a transition to piqué effacé and forward to plié (and three). After that, you need to transfer to petits battements with a pass boost from front to back (and four). Repeat back with the emphasis back, then repeat everything on the half fingers.

Relevés

Standing in position II facing the stick, perform four plis-relevés, performing port de bras, raising your hand to position III and opening it to position II. Repeat by doing the port de bras with the other hand. After that, the combination is performed with a circular port de bras with a back bend. Next, a balance for the second position on the half-fingers is recommended. In this combination, the score is not specified, and the head positions are not specified.

Exercise in the middle of the hall

Adagio № 1

The combination, like the stick, begins with the performance of the grand plié in the second position on 4/4. The hands open to the second position (for two counts), then, growing out of the g rand plié, they close into the preparatory position (for two counts). After that, you need to execute relevé, opening your hands to position II through position I (for three counts). Next, make a relevant move forward with the right foot (for one count). After that, the leg is transferred to attitude effect using the demi-rond technique, changing hands according to the pose (for two counts), and lowered through releve allong (for one count). Perform the pas de basque backwards, without carrying weight, lowering your arms in paration to the pirouette en dehors from position IV (and once) and pirouette en dehors (two) ending in plié sur le cou-de-pied backwards, the left hand opens to position II (three). This is followed by a glissade en croisé back on the half-toes. The left arm rises to the shoulder, and the right arm opens to the side (four). Repeat twice with each leg.

Adagio № 2

The second adagio also starts with g rand plié and relevé, but in the I position. During relevé, the hands are raised to the third position (for three counts). Then t ombé en e ff acé is performed forward, maintaining the position of the hands in the third position (for one count). Raise the standing leg from behind in arabesque e ff acé, move the arms to the I arabesque position (in two counts). After that, the pose changes to effacé forward (for one count), followed by raising to r elevé (for one count). Next, the part from the first adagio is repeated with p as de basque and pirouette, but already en dedans. On g lissade, both hands are on your hips. Repeat twice in each direction.

Adagio № 3

The third form of adagio is characterized by greater coordination complexity. The Grand plié according to the V croisé position is performed in four accounts. The subsequent relevé with the foot on the conditional sur le cou-de-pied (with the position of the hands: left on the II, right in the I position) for three counts ends in tombé en effacé forward (on and four). The key element is the pirouette piqué en dehors with the opening to écarté backwards (corresponds to the tour with dégagé and développé according to the method of A. Ya. Vaganova, studied in the seventh year of study ^{[31, p. 46]}), from where you need to go to tombé croisé forward. The final of the combination is based on the combined execution of coupé dessous and renversé en dehors with closing in the V croisé position forward.

Temps lié

In N. G. Legat's interpretation, this combination is interpreted not as a traditional composition, but as a connecting transition. After the classic temps lié croisé forward and backward (one, two, three, and four), you need to perform three battement tendu en tournant to the side, turning to the rear foot (both one and two). At the end of the combination, perform a pirouette en dehors from V to V position with a forward closure (both three and four). The combination is repeated twice in each direction.

Battement fondu

The composition of battement fondu includes pas tombé and pas de bourrée dessous-dessous. First, you need to perform the battement fondu forward on the effacé (one, and two, and) and tombé behind the foot (three) with the transition to pas de bourrée dessous (and four). After that, the combination is mirrored backwards with a transition after pas de bourrée dessous in the IV croisé position (and four). The pirouette en dehors sur le cou-de-pied (one and two) is performed in the third arabesque. This is followed by a coupé dessous to repeat on the other leg. The combination is performed twice more on the half fingers.

Rond de jambe en l’air

Starting position — V position, left foot in front. The movement is performed diagonally. The first is a coupé dessous with a standing foot from behind (at one time), which turns into a rond de jambe sauté en dehors, ending in the air to the side (and two). Through coupé dessous (and three), a small cabriole ouvert en effacé is performed forward (and four). This is followed by t ombé en effacé forward (on one and two) and a half-turn en dedans with the exit to the cabriole in arabesque with the back to the viewer. After that, the coupé dessous is repeated again with the transition to t ombé en effacé forward and pirouette en dedans (analogous to tours c pas tombé at 45 ° en dedans according to the method of A. Ya. Vaganova) ending in the V position, closing the foot forward. Repeat from the same leg, then repeat from the other leg. The positions of the arms and head are not specified.

Petits battements

Standing in the V croisé position, right foot in front, perform sissonne en tournant en dehors, ending in the V position (and one), repeat (and two). Next, perform three p etits battements in eighths (both three and four) with the transition to sissonne tomb en effacé forward (and one), sissonne tomb en croisé forward (and two), cabriole failli finish in IV position croisé (and three), pirouette en dehors finish in the V position (and four). Repeat with the other leg, repeat the combination twice with both legs. The positions of the arms and head are not specified. This combination includes jumping with a change of angle.

Allegro № 1

The beginning of the combination (from the V croisé position, right foot in front) is based on glissade forward (and one) and p etit jeté with the front foot, ending on sur le cou-de-pied from behind (and two). After the reverse repetition, it is necessary to perform the jeté croisé forward (and five) and complete the phrase through the assemblé backward (and six). The combination is worked out twice with both legs in a musical size of 3/2.

Allegro № 2

When moving diagonally (from the V croisé position), glissade backward (and one) and entrechat cinq forward (and two) are performed. This is followed by two chassés en croisé (both three and four). After that, you need to do a sissonne en tournant en dehors, picking up the standing leg from behind and completing the jump in an effacé forward (and once). The final of the ligament is a pirouette en dedans with a stop in the fourth croisé position, where the working leg is moved forward (both two and three). Repeat with the same leg and then with the other leg.

Allegro № 3

Standing in the V crois position, right foot in front, moving diagonally, perform glissade backward (and one), ballonn é en é carté forward (and two), ballonn é passé backward (and three), coup é dessous and tomb é en croisé (and four), pas de basque backwards (at once), pirouette en dehors, ending in attitude efface (both two and three). Next, using the passe par terre technique, place the working foot forward on the croisé (and four). Repeat from the same leg, then repeat everything from the other leg.

Grand sauté

The combination starts from the bottom of the room. Perform the pas de bourr é e couru, turning diagonally upwards (and once). This is followed by e ntrechat cin q en tournant ending in V position (and two), e ntrechat trois backwards (and three). After that, it is necessary to perform sissonne tombé en croisé backwards (and four), coupé-jeté en tournant in attitude croisé (both one and two), pass the standing foot from behind through the passé and stand up piqué en arabesque effacé (both three and four). Repeat with the other leg, then twice more.

Grand sauté (for boys)

Standing in the croisé pose, moving diagonally, perform g lissade derrière from position IV to position IV (and one), entrechat cinq de vol é (and two), s outenu en dehors (and three, and four), d emi-plié in position V (one), two e ntrechats six (and two, and three), p as de basque forward (and four). Repeat on the same leg, then on the other. In this combination, you can replace two e ntrechats six with a tour en l'air, so the combination can be performed with two legs alternately. Entrechat cinq de vol corresponds to the assembler entrechat-six de vol according to the method of A. Ya. Vaganova ^{[32, p. 48]}.

Finger combination for girls No. 1

Standing in the V croisé position, perform g lissade croisé forward (and once), d emi‑plié in the V position (and twice), repeat this sequence (and three, and four). This is followed by a ssemblé dessus (an analogue of pas a ssemblé soutenu according to the method of A. Ya. Vaganova ^{[31, p. 20]}) on the fingers in 2/4 and two échappé in position II, changing the legs (both three and four). The combination must be performed from the other leg, then repeated twice back.

Finger combination for girls No. 2

On the stroke from the V croisé position, perform the d emi-plié and remove the leg using the degagé technique on the effacé. Then "at once" follows the p iqué in arabesque effacé. After that, it is necessary to move the working leg of the passé par terre forward to the IV position in the demi-plié on croisé (and two) and again remove the leg using the degagé technique and stand in the arabesque effacé (and three). You need to complete the bundle through p lié and relevé sur le cou-de-pied back with a turn to croisé (and four). Perform the combination from the other leg and repeat twice.

Batterie (for boys)

The starting position is standing on the croisé on the left foot, with the right stretched back on the toe. Moving diagonally, perform b risé volé forward (and one), b risé volé backward (and two), p as de basque backward (and three), p as de b asque en t ournant with foot forward (en dedans) (and four). Repeat on the same leg, then on the other. Brisé volé corresponds to b risé dessus-dessous according to the method of A. Ya. Vaganova.

Glissade battu (b risés from position IV to position IV)

Moving diagonally, perform a few g lissade battu, changing the épaulement, then with the other foot. In this combination, the rhythmic pattern is not specified, the positions of the head and arms are not specified.

Finger combination for girls No. 3

Starting position: V croisé position. Moving diagonally, perform 2 e mboîtés on your fingers (both one and two), t ombé en effacé forward (three), p etit jeté en tournant (and four). Repeat several times with two legs.

Finger combination for girls No. 4

Moving diagonally, perform t ours piqués (and once), p iqué pi r ouette en dehors stepping from finger to finger (two), finish d emi-plié sur le cou-de-pi e d (and), r elevé ballonné en écarté (three), d emi-plié sur le cou-de-pi e d (four). Repeat several times with one leg, then with the other.

Batterie (for boys and girls)

The combination consists of e ntrechat trois backwards (one), c oupé dessous and j eté battu backwards (and two), b risé forward (and three). It is recommended to repeat twice with two legs.

At the end of the lesson, variations of battements tendus and grands battements and a bow were performed.

The analysis of lesson No. 6 in B. Gregory's reconstruction showed that the stick exercise combinations are concise and logical, aimed at preparing the body for work in the middle of the hall. Combinations were performed with both legs: right and left. The exercises are arranged in progression according to the principle from simple to complex. In combinationbattement tendu performs a large number of repetitions, which is typical for the lessons of NG Legate. It is this movement, in his opinion, that warms up the muscles best. Later, A. Ya. Vaganova will follow the same approach. During the exercise, the positions of épaulement croisé and effacé, as well as various types of rotations, are practiced in the middle of the hall. The combinations of rond de jambe en l'air and petits battements include elements of allegro, thus leading to the allegro section. The combinations in this section of the lesson are aimed at developing coordination and musicality. They use a more complex rhythmic pattern. In the analyzed lesson, combinations of jumps for the development of male dance techniques are presented separately: skids and air spins. Finger combinations for the women's class were prepared for the performance of the classical repertoire.

Thus, the results of the research conducted in the article allow us to assert that the pedagogical legacy of N. G. Legat has not lost its relevance over time. On the contrary, the principles he laid down prove their high practical importance today, acting as a reliable methodological foundation for modern ballet education. In the process of studying his creative path, it was possible to identify the prerequisites for the formation of N. G. Legat's pedagogical approach, among which stood out the desire to preserve the tradition of classical ballet. The key principle of his teaching was an individual approach to his students. A study of N. G. Legat's musical scores arranged by V. V. Launitz confirms that his classical dance teaching system was an inseparable synthesis of choreographic plasticity and "muscle music", where tempo accents and syncopated rhythms served as practical tools for managing the performer's coordination. A significant result of the research is that for the first time, information about all the authors and participants in recording lessons included in the book "Nicholas Legate. The legacy of the choreographer" ^{[1, 14]}: A. Eglevsky, J. Gregory, B. Gregory, A. Carteret and K. Nordi. The analysis of lesson No. 6 confirms that further study of the reconstructed lessons (No. 5 and No. 7) opens up prospects for deepening understanding of N. G. Legat's pedagogical approach, as well as for preserving and developing the traditions of the Russian ballet school.

The article is published in its final version as approved following the last positive peer review recommending acceptance for publication. It incorporates revisions made by the author in response to prior negative peer review reports that did not recommend publication. All peer review reports, including initial negative reviews, are published in open access alongside the article. All versions of the author’s revisions are archived in the publisher’s repository and may be made available upon reasonable request in accordance with Elsevier’s editorial policies and applicable data availability requirements.
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