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SECTION 13 — Floor

SECTION 13 — Floor. Artistic Performance.

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SECTION 13 — Floor

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  1. SECTION 13 — Floor 1

  2. Artistic Performance • An artistic performance is one in which the gymnast demonstrates her ability to transform her floor exercise routine from a well-structured composition into an artistic performance. In so doing the gymnast must demonstrate a strong choreographic flow, artistry, expressiveness, musicality and perfect technique. • The main objective is to create and present a unique and well- balanced artistic gymnastic composition by combining the body movements and expression of the gymnast harmoniously with the theme and character of the music This is not “what”but how the gymnast performs. 2

  3. Composition & Choreography This is “what”she performs. The composition of a floor exercise is based on the movement vocabulary of the gymnast, as well as the choreography of those elements and movements, that is, the mapping out of the body's movements, both gymnastic and artistic, over space and time in relationship to the floor exercise area and in harmony with the selected music. The choreography should be developed such that one movement flows smoothly into the next with contrasts in the speed and intensity. Creative choreography, that is the originality of the composition of elements and movements, means that the exercise has been constructed and is performed using new ideas, forms, interpretations and originality, thereby avoiding copying and monotony. 3

  4. Composition & Choreography This is “what”she performs. The design, structure and composition of the exercise includes: • A rich and varied selection of elements from different structure groups in the table of elements • Changes of level (up and down) • Changes of direction (fwd, bwd, swd and curves) • Creative or original movements, connections and transitions. 4

  5. Expression • Expression can be defined generally as the attitude and range of emotion exhibited by the gymnast with both her face and through her body. This includes how a gymnast generally presents herself and connects with the jury and public, as well as her ability to control/manage her expression during the performance of the most difficult and complex movements. It is also her ability to play a role or a character throughout the performance. In addition to the technical execution, artistic harmony and feminine grace must also be considered. • It is not only “what”the gymnast performs, but also “how”she performs her routine 5

  6. Music (editing & choice) The music must be flawless, without any abrupt cuts, and must contribute a sense of unity to the overall composition and performance of the exercise. It should flow and must have a clear start and clear finish. The chosen music must also help to highlight the unique characteristics and style of the gymnast. The character of the music should provide the guiding idea/theme of the composition. 6

  7. Music (editing & choice) There must be a direct correlation between the movements and the music. The accompaniment should be personalized to the gymnast and must contribute to the overall artistry and perfection of her performance 7

  8. Musicality Musicality is the ability of the gymnast to interpret the music and to demonstrate not only its rhythm and speed, but its flow, shape, intensity and passion. The music must support the performance and through her movements, the gymnast, must convey the theme of the music to the audience and jury. 8

  9. TIMING • The duration of the routine may not exceed 1:30. (90 seconds) • The assistant begins timing when the gymnast begins with the first movement of her routine. • The assistant stops timing when the gymnast ends her exercise with the last position. • The exercise must end with the music. • Deduction for overtime is 0.10 9

  10. MUSIC • The human voice may be used as a musical instrument without words. • Examples of the ‘human voice’ as an acceptable instrument are: humming, vocalizing without words, whistling, chanting. • Absence of music or music with words – 1.00 10

  11. Line judge → D- Panel Deduction taken from Final Score Border Markings 1 step outside with foot/hand 0.10 Step outside with both 0.30 feet/hands or body part or Land outside with both feet 0.30 0.30 0.10 11

  12. Content of exercise The maximum 8 highest difficulties including dismount • Maximum 5Acro • Minimum 3 Dance • Acro elements do not have to be saltos • It is possible to count more than 3 dance elements AcroLines The maximum number of acroLineswith salto is 4. Anydifficulty in subsequentacroLineswill not becounted for DV. 12

  13. Acro Line • An acro line may consist of a min. of 1 flight element without hand support and take off 2 feet (rebound) (e.g.doublesalto forward) • Including mixed series (e.g.round off, straddle jump, forward salto tuck) • Failure to land feet first from salto is still considered an AcroLine • The following are NOTacrolines • Mixed series (no salto) (e.g. rd off, straddle jump 1/1) 13

  14. AcroLine EX: ; ; ; Aerialwalkover, aerialcartwheel, side salto, gainer salto Saltoswith take off onefoot CAN NOT constitute an Acro Line, buttheymayfulfill CR & CV Saltos with take off 2 feet from standing position DO NOT constitute an Acro Line 14

  15. 13.3 Composition Requirements (CR) CR1 Dance passage • A dance passage composed of two different, leaps or hops, (from the Code) connected directly or indirectly (with running steps, small leaps, hops, chassé, chainé turns), one of them with • 180°cross/side split or straddle position • (The objective is to create a large flowing and traveling movement pattern.) • No jumps or turns are permitted because they are stationary. Chainé turns (½ turns on two feet) are allowed because they are traveling steps. • Leaps and hops must land on one leg if performed as the 1st element in the dance passage. 15 15

  16. CR 2 Salto fwd/swd & bwd CR 3 Salto with LA turn (min. 360˚) CR 4 Salto with double BA CR 5 Dismount* · No dismount, A- or B- dismount award 0.00 · C- dismount award 0.30 · D- or higher dismount award 0.50 *The dismount is the last counting acro Line (credit highest DV) No DMT will be credited if only one acro Line is performed 16

  17. DISMOUNTS: Example 1: Rd off, flic flac 1½ twist, rd off flic flac 2/1 twist, front layout step out, rd off flic flac double pike salto , sissone Only one acro Line Evaluation: No CR (DMT) (D- Panel) NO DV – count max. 7 elements (D- Panel) 0.50 No attempt to dismount (E- Panel) Apply landing deductions (E- Panel) Example 2: a) Rd off flic flac + Rd off, flic flac3/1 twist or b) Rd off flic flac 1/1 in double back salto + rd off flic flac Only one acro Line Evaluation: No CR (DMT) (D- Panel) NO DV – count max. 7 elements (D- Panel) 0.50 No attempt to dismount (E- Panel) Apply landing deductions (E- Panel) 17

  18. Example 3: Rd off flic flac 3/1 twist, rd off flic flac 1/1 in double salto backwards, rd off flic flac Two acro Lines Evaluation: CR (DMT) + 0.50 (D panel) Example 4: Rd off flic flac 3/1 twist, rd off flic flac double salto backwards piked (fall), Rd off flic flac The gymnast fails to land feet first in the 2ndacro line Evaluation: No CR (DMT) (D Panel) No DV – count maximum 7 elements (D Panel) Fall – 1.0 (E Panel) Example 5: Rd off flic flac 2 ½ twist, rd off flic flac double salto backwards piked, Rd off flic flac attempt at 3/1 twist – credit only 2 ½ twist With repetition of the same element Evaluation: No CR (DMT) (D Panel) No DV – count maximum 7 elements (D Panel) Apply landing deductions if necessary (E Panel) 18

  19. CV Connection value A + E C + D 19

  20. CV Examples • Indirect: • Rd off flic flac 1½ twist (C ) + rd off flic flac 2½ twist (D) = 0.10 • Front handspring, front layout 1/1 (C )+front handspring front layout 2/1 twist (D) = 0.10 • Front layout 1/1 (C )+ rd off flic flac double saltopiked (D) = 0.10 • Rd off flic flac whip back (A) whip back(X) flic flac double saltopiked (D) = 0.10 • Front layout 1/1 (C )+front handspring double salto forward tucked (E) = 0.20 • Rd off flic flac 2 ½ twist (D) + rd off flic flac 3/1 twist (E) = 0.20 • Rd off whip back(A), whip back(X) flic flac, 1/1 in double salto (E)= 0.20 20

  21. CV EXAMPLES • Direct • Rd off whip back(A) double back salto tucked(D) = 0.10 • Handspring front layout 2/1(D)+ forward salto tuck (A) = 0.10 • Front layout 1/1(C )+ front layout 1/1(X) = 0.10 • Rd off 1 ½ twist(C )+ front layout 1/1 (C ) =0.10 • Rd off flic flac 3/1 twist(E) + forward salto tuck (A) = 0.20 • Rd off flic flac double layout (F) + forward salto pike (A) = 0.20 • Rd off flic flac whip back (A) + 1/1 in double salto back (E) = 0.20 21

  22. CV EXAMPLES • Turns: B+D = 0.10 Turnsmaybeperformed on the same support leg, or withstepintoturn on opposite leg (brief demi-plié on one or bothfeetispermitted) • Example: 2/1 turn(B) + 2/1 turn with leg held upward in 180 split position(D)= 0.10 B+B = 0.10 Turns must be different with no step between the turns. • Example: 2/1 turn (B) + 1/1 illusion turn (B) = 0.10; • Example: 1/1 turn with heel of free leg at horizontal throughout the turn (B) + 3/1 turn (C ) = 0.10 22

  23. OTHER INFO • Double salto in stretched position: stretch must be maintained in 1st salto and at least until the inverted position in the 2ndsalto. • Landing from a single salto with twists: The placement of the front foot determines the value. • Lunge: a lunge is a controlled step. A gymnast is permitted one lunge in the routine without deduction. 23

  24. Artistry & ChoreographyDeductions(E- Panel)

  25. Composition and Choreography 26

  26. Music & Musicallity 27

  27. SpecificApparatusDeductions • More than one stationary position on two feet before an acro line 0.10 • Pause (2 sec.) and/or excessive preparation for elements 0.10 • Excessive arm swing before dance elements 0.10 • Poor Body Posture throughout • Body posture, head position and eye focus 0.10 • Feet not pointed, relaxed, turned in 0.10 • Amplitude (maximum elongation of body movements) 0.10 28

  28. SpecificApparatusDeductions • More than one lunge Each 0.10 • No attempt to dismount 0.50 29

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