Lecture
Ideomotor movements are bodily movements that are performed by a person unconsciously, but, for example, through their representation. About ideomotor movements say - "the body reacts strangely."
This is a systematically repeated, conscious, active presentation and a sense of a mastered skill.
Having mastered ideomotor training, you:
The distant 1971. What I saw then, literally stunned me and never ceases to amaze so far. It was in Dushanbe, at the Olympic base in diving. On the so-called "dry" springboard (from which they jump not into the water, but into a pit filled with foam rubber), the master of sports, who was one of the five best in the country, was trained. The athlete practiced the jump "from the front of the rack two turns forward in grouping with a run-up." Her trainer, a rather young man who had several students who were part of the USSR national team, sat back in his chair, stretched his legs, and very calmly, even philosophically melancholy, said after each jump the same phrase: "Nadya, take your hands ... "Watching from the side of the training course, I calculated that he repeated it 22 (!) times, after which he said very calmly:" Nadya, I went to hell ... ". At this training ended and upset athlete, without saying a word, left. Approaching the coach, I called myself and a short conversation took place between us ...
“Idea” is a word of Greek origin, corresponding to such Russian words as thinking, mental image, idea, idea, that is, those that relate to mental processes, to brain activity.
As already mentioned, the movement begins in the brain in the form of a mental image of the upcoming movement, in the form of his idea. This mental image (his "picture") then passes on to the performing part of the body (muscles, joints, etc.), which already physically implements the idea of movement, which is preprogrammed in the brain. Why it happens?
The Nobel Prize winner Academician I.P. Pavlov wrote: "It has long been noticed and scientifically proven that since you are thinking about a certain movement ... you unwittingly, without noticing it, produce it." Consequently, the mental representation of movement automatically generates subtle cuts and relaxations in the corresponding muscle fibers. By eye, these microprocesses are not noticeable. But there is a very simple opportunity to verify their real existence. To do this, take a regular thread about a meter long, tie a weight of 5-15 grams to one end (for example, a ring, a small key or a screw), and wind the other end on the last phalanx of the index finger of the leading hand (right-handed, left - left-handers). Wind up so that the distance between the finger and the weight was approximately 70-80 centimeters. After that, you need to stretch a straight arm in front of you at shoulder level and balance the load. And then, calmly concentrating on the hanging object, mentally imagine that it starts to swing like a pendulum: from left to right, from right to left. And literally in a few seconds the load will really come in an appropriate movement. It can be changed - imagine, for example, that the weight moves back and forth or rotates in a circle. And he will begin to move along a given trajectory.
By the way, by the scale of the swinging, it is possible to judge how good the connections between the brain and muscles of this athlete are. If the distance between the extreme points of the pendulum movements is about a meter, such a connection using a five-point system is estimated at the "top five". If this distance is about 5 centimeters, then the estimate is already “one”, and so on.
The processes that, in the form of mental representations of movements, or, in other words, in the form of ideas, born in consciousness, are then realized in motor skills — in the real physical movement of the corresponding muscles, received in science the name of ideo-motor acts.
We will continue the experience and begin to loudly pronounce the words, according to the movements of the sinker - "left-right, left-right ..." - and the amplitude of the movement will immediately increase. Therefore, with the help of words we can strengthen the movement, make it more definite and expressive - remember this very important position, since in the future it will be discussed how to use speech in achieving extremely precise movements.
And now we will conduct the same experiment in a slightly different way, namely, standing with a small weight, motionlessly hanging on an outstretched arm, imagine ourselves on the side of ourselves, as if reflected in a mirror. Looking at the weight in the "mirror" we will begin again to Imagine that it is swinging like a pendulum - from the left - to the right and from the right - to the left. And it turns out that he is swinging barely or even completely motionless. Consequently, with such a “mirror-like” representation of movement, its mental image from the programming part of the body — from the brain — goes into the performing part (into muscles, joints) of the hand much worse.
The “mirror” mental image is called “visual representation” in psychology. His training action is much weaker than the action carried out ideomotor, in which the image of movement from the head goes directly into the corresponding muscles. Therefore, it makes sense to use visual images only at the very initial stage of mastering new movements, when it is possible to watch yourself in the mirror, for example, when learning one or another element from the arsenal of rhythmic gymnastics. But the sooner the visual image is translated into an ideo-motor one, the sooner the proper mastering of this movement will begin.
Observations even of highly qualified athletes show that many of them, polishing one or another movement, see themselves as if from the outside, that is, "visually." They do this because they don’t know how unproductive such behavior is, because when using visual images of movement, it turns very poorly into performing muscles and it takes a lot of time to get some kind of usually unstable result.
So, the accuracy of the movement being learned and the speed of its development depends on three main factors.
The first is that the more accurate the mental image of the future movement is, the more accurate it will be in its actual physical performance. Therefore, the initial task of the coach is to lay down in the mind of the student the most accurate mental image of the desired movement by any means available to him or her. If the coach can demonstrate this movement himself, fine! But if he is no longer able, he can draw the student’s attention to how a highly skilled master performs the necessary element of sports equipment. Observing the high-quality implementation of this movement, the student must memorize it so well, in order to then be able to independently mentally present it in the best possible version, and several times in a row, without losing the necessary accuracy.
There are also auxiliary tables on which the movement is spread out in individual frames, there are video recordings of correctly executed elements of sports equipment. In general, if you search, you can always find a source that demonstrates the movement being learned in its ideal performance. It is extremely important - initially to lay in the athlete's mind the most accurate mental image of the movement that needs to be mastered. And lay so firmly that the athlete could present this extremely accurate mental image of a specific movement at any time and as many times as necessary without being mistaken. Why is this so important?
The fact is that any physical action performed leaves a corresponding trace in memory. From the exact movement, the trace in the memory is accurate, and from the poorly executed, the bad one. If there are a lot of inaccurate movements, they sometimes “clog up” the brain so much that they become dominant in the athlete's mind, after which it is very difficult to create an exact image of the desired movement in such a “clogged” brain — instead of an exact movement, one will involuntarily begin to imagine one that was learned correctly. And it takes a lot of time and special efforts to establish in the mind the mental image of the desired movement in its ideal performance.
I will cite personal experience. In 1970, working with pistol shooters, I, who had never shot before, decided to try shooting myself. In the first days of the bullet went, of course, not at all where it wanted. Then I decided to use the opportunities inherent in an ideomotorik, that is, to lay in my mind the exact image of a front sight in a slot, fixedly standing under the apple of a target. And to the great amazement, I found that I could not do it! If the front sight turned out to be exactly under the black circle of the apple, then the slot began to literally pivot around it. If it was possible to mentally immobilize the slot, placing it exactly under the apple, then the front sight jumped in different directions. It was extremely amazing! It would seem that it may be easier to mentally present what you need? And it turned out that this is far from the case. For in my memory those mental notions that were generated by my still inept actions were firmly stuck, when the fly was jumping in the slot, and the slot was not fixed in any way under the apple. And these wrong mental images, fixed in my memory by my inept actions, did not want to give way to the right one.
Then I acted as follows. He lay down on the bed and plunged into a mind-like dreamlike state through self-hypnosis (why such a procedure was needed will be described in detail in the next chapter, "Hypno ..."). Then he raised his right hand with a "mental gun" vertically, as if the target was on the ceiling and began to ideomotorize the desired position of the "front sight in the slot" system, placing it exactly under the black apple. At first nothing worked out — the fly and the slot didn’t obey, they continued to live their too mobile life. But gradually the misconceptions generated by my initial shooting experience began to be corrected. For a complete correction, it took six such classes, each for 7-10 minutes, within two days. After that, the engine-free representations of the correct shot became accurate. And the next day I managed to fulfill the standard of the second sports category, although before that, as already mentioned, I didn’t have to train in pistol shooting.
Wrong movements are easier to make than accurate ones, especially in the early stages of mastering a particular element of sports equipment. This position is extremely important to consider when working with children-athletes, because they are very susceptible to mastering the movements, but because of their heightened emotionality, it seems that everything will turn out right away and be good. And, hurrying to complete the assignment as quickly as possible, they quickly get down to business, especially not thinking about the quality of their actions. But poor-quality actions are easily and firmly fixed in the memory of young athletes with all the mistakes made, which can sometimes be very difficult to eliminate. I remember a young jumper into the water, who learned the wrong end of one of the jumps - only after hypnotic suggestion did she manage to perform this jump correctly, but even then only an hour after the hypnosis was performed, and then the error reappeared.
Therefore, coaches from the first steps of training should focus on how to perform the necessary movement correctly. Suppose you need to teach accurate free throws in the basketball basket. The coarse mistake will be made by that coach, who will give the ball to a young student and say - start throwing and throwing until it starts to turn out. If the throws do not go right away, and it turns out most often at first, the student's brain will literally fill with traces of inaccurately performed actions and then it will take a very long time to make the throws accurate and stable. Moreover, as practice shows, in extreme conditions of competition, traces of incorrectly learned movements begin to emerge as if in consciousness, and slip follows the slip, because, I repeat, it is bad to do something much easier than good.
A few more words about such a psychophysical quality as "accuracy of movements". The idea of accuracy, as well as other motor qualities, is initially formed in the mind. And then, according to the mechanisms of ideomotoriki, it passes into the performing part of the organism. So from the very first steps in the sport, and then constantly it is necessary to teach and to get used to the fact that very precise mental images of movement are also very accurately associated with the muscles performing this movement.
If we turn, in particular, to tennis, it is simply amazing how often even our leading masters allow inaccurate strikes on the ball, after which it gets stuck in the net or goes off the court. At the same time, young graces involved in rhythmic gymnastics perform extremely precisely very difficult actions, for example, with clubs or a ball — actions that are more difficult by their complexity than hitting the ball with a racket.
By virtue of what, the situation has developed that in some kinds of sports, jewelery accuracy is taught to, as they say, from young nails, and in others - for example, in football, fully grown uncles allow themselves to beat 10-15 meters past the goal? It seems that the reason is in the initial mental position, which was formed over many years in different sports. So artistic gymnasts are taught from the very first steps to be extremely accurate, and in tennis or football from an early age blows are allowed, after which the ball flies anywhere. Therefore, in these very popular sports, it does not add up in the minds of boys and girls who are just beginning to play very specific mental images of such an important quality as the accuracy of movements. Hence, there is so much “dirt” in the actions of adults and already seemingly enough experienced athletes.
That is why the achievement of extremely precise movements must always be given the most careful attention and spare no time and perseverance to successfully accomplish this very important task.
High-quality performance of any movement becomes stable and stable only when the correct mental image of the desired movement was originally laid in the mind, which then, through repeated and careful repetitions, needs to be translated into skill so that the correct movement can be performed automatically and always well. That is why, teaching the elements of sports equipment, you should from the first steps ensure that all actions are performed qualitatively. And while in the mind of the student the mental image of the movement being mastered will not become consistently high-quality, there is no sense in sending the student to perform the task physically - it will usually correspond to a poor-quality mental image, that is, it will perform poorly with all the ensuing consequences that lead to pollution and clogging. memory traces of incorrectly executed movements.
Let me give an example from the distant already 1971. What I saw then, literally stunned me and never ceases to amaze so far. It was in Dushanbe, at the Olympic base in diving. On the so-called "dry" springboard (from which they jump not into the water, but into a pit filled with foam rubber), the master of sports, who was one of the five best in the country, was trained. The athlete practiced the jump "from the front of the rack two turns forward in grouping with a run-up." Her trainer, a rather young man who had several students who were part of the USSR national team, sat back in his chair, stretched his legs, and very calmly, even philosophically melancholy, said after each jump the same phrase: "Nadya, take your hands ... "Watching from the side of the training course, I calculated that he repeated it 22 (!) times, after which he said very calmly:" Nadya, I went to hell ... ". At this training ended and upset athlete, without saying a word, left. Approaching the trainer, I called myself and there was a short conversation between us:
- Tell me, please, why did Nadia not follow your instructions?
“You need to ask her,” the trainer replied, grinning meaningfully.
- Can I figure out what's the matter?
- You are welcome! - as if presenting him with the highest grace, he answered, for which I am very grateful to him, because during those years my offer to render this or that help to the athletes was quite often, their mentors responded in the sense that "don’t meddle with different psychologies there. "
Пригласив Надю к себе в номер, я спросил ее: "Скажите, пожалуйста, что такое "выноси руки"? И эта 16-летняя весьма смышленая и приятная девушка объяснила мне, что в момент отталкивания от трамплина кисти рук нужно поднять над собой ("вынести") предельно высоко и лишь после этого начинать "крутку", то есть то вращательное движение вперед, с которого и начинается само сальто.
- А в чем была Ваша ошибка?
- Я поднимала руки лишь до уровня плеч, не выше головы и сразу начинала "крутку".
- Почему же Вы, зная, что нужно делать, не делали этого? - удивился я.
- Не знаю... - растерянно ответила девушка. - Я знаю, что надо делать, но не знаю почему это у меня не получается...
Подобный ответ я слышал потом не раз от многих спортсменов, представлявших самые различные виды спорта - он является весьма характерным при неспособности точно выполнить нужное движение. Итак, запомните эту формулировку - я знаю, что надо делать, но не знаю почему у меня это не получается. А я теперь знаю, почему...
С помощью грузика, подвешенного на нитке к указательному пальцу ведущей руки я проверил у спортсменки качество связей между ее мозгом и мышцами - они оказались вполне удовлетворительными, на хорошую "тройку". Затем объяснил в чем сущность ндеомоторных образов и чем они отличаются от зрительных и попросил сделать следующее - стоя с опущенными руками закрыть глаза и идеомоторно представить правильный "вынос" рук, после чего открыть глаза - для меня это будет сигналом, что задание выполнено. Включил секундомер и стал наблюдать за спортсменкой. Прошли три секунды (время, более чем достаточное, чтобы представить правильный "вынос" рук), шесть секунд, десять, а спортсменка все еще не открывала глаз. - В чем дело, Надя? - мягко спросил я. - Не могу представить, - ответила она виновато. Я не поверил, я был поражен! Мне в те годы казалось, что представить можно всё, что угодно, а тем более такое простое движение как "вынос" рук. Опыт повторили. Снова прошло 10 секунд, а глаза по-прежнему оставались закрытыми.
- Простите, - прервал я опыт, - а что Вам видится, что происходит в Вашей голове, когда Вы представляете правильный "вынос" рук?
- Я вижу, что руки поднимаются на уровень плеч, не выше головы, а дальше никак не идут... Но я очень стараюсь их мысленно поднять гак, как надо... Не получается... - растерянно ответила девушка.
Так вот где, как говорится, собака зарыта! Многократно (не 22 раза, а по меньшей мере 1222 раза) произведенные неверные движения оставили в памяти спортсменки настолько прочный соответствующий след, что он никак не хотел уступать места правильному мысленному представлению этого элемента спортивной техники.
Чтобы выйти из создавшегося положения, мы поступили следующим образом - с помощью правильно выполняемых "выносов" рук начали "пробивать" путь от мышц в мозг. Для этого Надя 10 раз подряд в слегка замедленном темпе и очень точно физически произвела правильный подъем рук, произнося каждый раз слово "вверх!". Выполнив такое задание три раза подряд с перерывами в одну минуту, Надя снова закрыла глаза и попробовала мысленно представить нужное движение в его идеальном варианте. Теперь ее руки в ее мысленном представлении стали подниматься несколько выше, чему она очень удивилась и обрадовалась. В общем, поработав таким образом около 40 минут, мы добились, что спортсменка наконец-то смогла представить правильный "вынос" рук и начала это мысленно делать столько раз подряд и правильно, сколько требовалось. А на следующее утро во время тренировки ее руки как бы сами по себе начали выполнять нужное движение так, как это полагалось!
“And it turns out you can work as a coach,” mentor Nadi concluded somewhat surprised.
Да, я то могу корректировать различные двигательные нарушения, а вот очень многие тренеры, к большому сожалению, крайне слабо разбираются в возможностях, заложенных в идеомоторике. И получается, что я, никогда не катавшийся на фигурных коньках, помогаю мастеру спорта международного класса, "потерявшему" прыжок "двойной сальхов", восстановить этот элемент обязательной программы всего за несколько дней, в то время как его всемирно известный тренер не смогла этого сделать в течение месяца. Вот и получается, что я, никогда не стрелявший из лука, помог восстановить правильную технику выстрела юной мастеру спорта, хотя над этой задачей бились последовательно четыре разных тренера. И помог одной из ведущих синхронисток страны избавиться от неверно заученного движения, хотя, естественно, сам я синхронным плаванием не мог заниматься. Подобных примеров могу привести множество. Почему же я это умею, а тренеры чаще всего нет? По той простой причине, что они, увы, не владеют тонкими механизмами идеомо-торного процесса. А не владеют потому, что их этому нигде не учат. И работают они, увы, по старинке, методом "проб и ошибок", не догадываясь, что зачастую рубят сук, на котором сидят.
Несколько слов о методе "проб и ошибок", наиболее распространенном в практике отечественного спорта. На мой взгляд этот метод является глубоко порочным. Ибо в процессе его использования неизбежны всевозможные ошибки, ведущие к засорению памяти спортсменов следами неверно выполняемых движений. Когда же у учеников что-либо не получается, тренеры начинают обвинять их во всех грехах (от лени до глупости), хотя в неудачах учеников виноваты в первую очередь их учителя, не сумевшие организовать эффективный процесс обучения с привлечением возможностей идео-моторики, которая сводит возможность ошибок к минимуму. В то время как метод "проб и ошибок" просто обязывает их совершать.
Даю тренерам добрый совет - если у вашего ученика не получается то или иное движение, не раздражайтесь, а "загляните ему в мозг" и посмотрите, есть ли там точный мысленный образ изучаемого элемента спортивной техники. Как правило, его там не окажется, а обнаружится тот неверный мысленный образ, который, родившись в результате использования метода "проб и ошибок", не позволяет произвести нужное движение качественно. Поэтому еще раз - никогда не посылайте ученика на попытку, пока не убедитесь, что он может мысленно представить предельно точный образ того движения, которое от него требуется. Причем сделать это несколько раз подряд, не теряя точности образа.
Кстати о призывах типа "чтобы хорошо плавать, надо много плавать", "чтобы хорошо стрелять, надо много стрелять" и т. д., и т. п. Считаю, что следовать им надо далеко не всегда. По той причине, что если, предположим, у пловца неверная техника гребков или работы ног, то плавая много, он лишь закрепит плохое выполнение этих элементов спортивной техники, чем поставит преграду для роста своего мастерства. Там же, где физическое выполнение действий высоко качественно, там нет необходимости многократно повторять одно и то же. В частности, те прыгуны в воду, с которыми мне пришлось работать, никогда не совершали за тренировку по 100-120 прыжков, как это делали другие. Овладение механизмами идеомоторики позволяет для закрепления мастерства на должном уровне делать всего лишь 40- 60 прыжков, что сокращает вдвое психофизическую нагрузку и возможность травм, а также оставляет немало времени для других занятий. Это обстоятельство следует особо учитывать при работе с детьми спортсменами, так как увлечение тренеров большими нагрузками нередко приводит к тому, что юные спортсмены начинают страдать от хронической усталости и теряют интерес к дальнейшим тренировкам.
Второй фактор, обеспечивающий точность движений - высокая подготовленность исполняющего аппарата к физической реализации именно того элемента спортивной техники, который осваивается или совершенствуется. Если же мышцы и суставы окажутся не готовыми для реализации мысленного образа движения, что может привести к травмам в опорно-двигательном аппарате. Вспоминается как юный гимнаст, недостаточно размявшись, решил, соревнуясь, сесть в "шпагат", который только что легко и свободно продемонстрировала его подруга по гимнастической секции, а в результате получил микротравмы в мышцах бедер.
Нужно также учитывать следующее условие - прежде чем переводить мысленный образ движения в мышцы и суставы, полезно придать телу такое положение, которое наиболее близко к тому, которое требуется в реальности. Так например, шлифуя с помощью идеомоторики технику преодоления барьеров, легкоатлету лучше сесть на пол в 'положение "над барьером" и лишь затем переводить мысленные образы идеальной техники в опорно-двигательный аппарат. Когда, используя идеомоторику, спортсмен принимает позу, наиболее близкую к реальной, опорно-двигательному аппарату легче воспринять образы движений, поступающие из головного мозга. В результате ускоряются и улучшаются связи между программирующей и исполняющей частями организма.
Правда, не всегда при идеомоторной тренировке можно принять положение, которое требуется при реальном выполнении того или иного действия, но стремиться к этому желательно. Так прыгун в воду с 10-ти метровой вышки, мысленно отрабатывая стойку на кистях, сгибался в поясе, почти доставая ладонями пол. В таком положении, с закрытыми глазами, ему было легче идеомоторно представлять себя медленно выходящим в стойку и застывать в ней на нужное время, согласно правилам соревнований.
Третий фактор, от которого зависит точность движений, определяется качеством связи между программирующей частью организма - головным мозгом и исполняющей частью - остальным телом. Эта связь должна быть обязательно идеомоторной, ибо зрительные мысленные представления (образы движений, видимые "со стороны"), как уже было сказано, обладают очень слабым тренировочным эффектом.
О том, что связи между мозгом и телом обретают идео-моторный характер, говорят те микродвижения, которые появляются в мышцах и особенно хорошо видны на обнаженном теле спортсменов - у них, при идеомоторном промысливании тех или иных действий, совершенно невольно возникают первоначальные сокращения и расслабления в соответствующих мышцах. Особо наглядны такие невольные движения при занятиях с фигуристами и синхронистками. Первых, в силу слабого сцепления лезвий коньков со скользкой поверхностью льда, начинает, к их удивлению "вести" по льду согласно представляемым элементам фигурного катания. А синхронистки, которые в воде чувствуют себя подобно космонавтам в невесомости, тоже начинают невольно передвигаться, следуя мысленным образам представляемых идеомоторно движений.
В тех случаях, когда идеомоторные связи налаживаются с затруднениями, следует вполне осознанно подключать к мысленным представлениям соответствующие физические действия и поступать так до тех пор, пока представления о движениях не станут по-настоящему идеомоторными, то есть, не начнут вызывать в мышцах необходимую реакцию за счет лишь точных мысленных образов данного движения.
A few words about imitations. Imitating, carrying out, as it were, in a hint the upcoming real movement, the athlete helps himself to feel the necessary element of sports equipment, going, so to speak, from the periphery, from the musculoskeletal system to the center, to the brain. But this is not enough. In order for imitation to bring maximum benefit, it is necessary to “see” mentally, or better yet, call movements before they are physically produced. And see and call extremely accurate. If imitation is carried out formally or thinking about something else, for example, about rivals or results, imitating actions will not bring the desired benefit.
So let us recall very briefly three basic principles on which the accuracy of movements depends: the more accurate the mental image of the upcoming movement, the better it will be; the more prepared the performing part of the organism, the better the movement will be; the more “ideomotoristic” the connection between the brain and the muscles, the more perfect the movement will be.
And now let's consider the role of speech in achieving precise movements ... Studies of a number of authors, primarily from the Leningrad school of Professor A. Ts. Pugni (Y. Zakharyants, V. Polubabkin, V. Silin, E. Surkov), conducted as far back as 50 years, showed that the use of words helps to perform the desired movement more accurately. By the way, you can remember that the pendulum-like swinging of a small weight, suspended from a string to the index finger, was distinctly strengthened, if you say - "left-right, left-right ...".
Words do not arise by themselves - they are generated by our thoughts. And from this it follows that before using the words to improve the quality of movements, you must first create an extremely accurate mental program of upcoming actions, create an ideal mental model of the corresponding elements of sports equipment.
Here is an example of the verbal notation for the elements of actions that make up the model of the ideal shot> from a bow, which the candidate master of sports E. T. in April 1986. The words here played the role of a peculiar cementing factor, giving the necessary strength to the ideal models in unsteady at first shot. In these verbal formulations one should not look for a high grammatical completeness, and even less “literary beauty”. Each athlete designates elements of the necessary actions in the verbal manner that is peculiar to him and convenient. So, the formulas of the ideal shot of E. T., agreed with her coach V. V. Nemogaev:
1. Feet free, knees back, firmly standing on the soles, leaning on socks.
2. The body is free, the back is straight, easy bending forward.
3. Bow in relaxed hands.
4. Left goes to the line of the shoulder, is fixed in the lock.
5. The right elbow is pulled out a little higher.
6. I put the fly in the area of aiming.
7. Strengthening the emphasis in the bow, I pull my back, my right hand is relaxed, I lead the elbow back.
8. I touch my chin, keep moving backwards.
9. I click a click on the go (clicker click - A. A.)
10. Start to relax your fingers.
11. I control the sight.
12. Release.
13. Keep the tone.
14. I listen to myself.
What gave the athlete a similar verbal formation of the elements of her perfect shot? First of all, the specific nature of verbal formulas disciplines thinking, putting it on well-tuned rails, on which it is much easier to “roll” towards the intended goal - a well-executed shot - than to flounder in the waves of chaotic thinking, which in extreme conditions of competition often takes an uncontrollable character .
Verbal formulas also contribute to the achievement of highly focused attention. After all, a smooth transition from one element of the ideal shot to its subsequent element forms the habit of firmly keeping focused attention on the actions performed. If the attention is distracted for some reason, the athlete will not get lost, will not panic, and in the next instant return her attention to that element of the ideal shot from which it “ran away” (> or put off the whole shot), and again “roll along rails "habitual action. And the fact that extremely focused calm attention is one of the most important guarantees of successful shooting is well known to all. Consequently, the verbal formulas of the ideal shot are a faithful assistant in the matter of independent organization of stable and accurate thinking both in training and in competitions. And as is well known, either we own our thoughts, or they own us. Third, as they say, is not given.
Practice shows that the initial formulas of the ideal shot rather quickly undergo changes, mainly in the direction of reducing their number and a kind of consolidation of individual elements into special units. When in January 1987, that is, after eight months, I met again with the athlete, she told me that in the process of training, the initial 14 formulas seemed to be reduced to seven by themselves. Here are the seven formulas of the perfect shot, compiled by the athlete herself:
1. Stand.
2. Left to stop.
3. Back with increasing tension.
4. Left forward.
5. Continuous thrust.
6. Release.
7. I listen to myself.
Looking closely at the April 1987 gathering as an athlete uses these formulas, I made the following clarifications to them:
1. Sure stand.
2. Left lock to stop.
3. Continuous stretch backs.
4. Right in the plane of the left smoothly to the chin.
5. Clear release.
6. I listen to myself.
Moreover, by the end of the collection, the third formula was altered to a more precise one: instead of “continuous stretch of the back,” it became “back of the continuous stretch”. The fact is that the shock word here must be "back", the muscles of which begin to continuously smoothly stretching the bowstring of the bow. If we leave the old wording of this element - “continuous stretch ...”, then it’s not known before the word “back” how to implement this “stretch”. In the updated version, the word "back", put in the first place, immediately includes in the "continuous stretch" the corresponding group of back muscles.
Using these specified six formulas, the athlete in August 1987 was able to fulfill the norm of the master of sports. And then, in October of the same year, she reduced the formulas of her ideal shot to just three words: "Left - shoulder - back". When I proposed to transfer these words from the nominative to the instrumental, a IMEHO: “With the left shoulder blade, back,” the athlete, having mentally lost my proposal, said that this option was inconvenient for her. Why - does not know, but inconvenient. And I did not insist, because I was convinced that she had already realized the most important thing - the power of the principle that concrete-precise words greatly help to perform equally-specific movements. After all, behind each word is a corresponding mental image. And these mental images of the ideal shot, being a purely psychic phenomenon, begin to “overflow”, as it were, into those muscles that already physically implement the action programmed in thinking, that is, the “ideal shot model”.
Independent clarification of the ideal shot formulas is a very good sign, indicating that the archers, with whom the work was going on, began to respectfully, with understanding, refer to such an important means of mental self-regulation as the word is. I, in particular, was pleased to hear when the master of sports O.O., returning from a responsible competition, where she performed quite successfully, said: “My formulas have been reduced. It turned out that the shooting goes much better not with four links, but with three ". The fact is that before the competition, its ideal shot formulas had a 4-element composition: "The plane - the chin-stone to the point - there!" In the course of the competition, they passed into three links: "It is turning to a point - smoothly into the chin - there!" For the uninitiated, these formulas are solid abracadabra. And for an athlete, her coach V. V. Nemogaev, and for me, the content and dynamics of these formulas is a great meaning! For to the four-link version of the formulas - only to the intermediate version - we went together for more than a year! And in the initial set of formulas for the perfect shot of them, this athlete had eight.
Such metamorphoses with the initial composition of the formulas occur in all athletes during training and competition, no matter what type they are engaged. Here there is a process called minimization, that is, minimizing the verbal material that provides the desired result. Over time, the words are replaced by the corresponding mental images. This can be seen, in particular, by the fact that if at first the mastery of formulas is mastered by many athletes whisper them, then they begin to apply them soundlessly. They do not pronounce words to themselves, but operate only with their mental images.
Sometimes there are funny situations. So one athlete at first could not manage to pronounce the words of the formulas of her perfect shot - for some reason this procedure prevented her from doing so. She fired well, if I, standing from behind, whispered the words of her formulas in a whisper, which she immediately translated into appropriate physical actions. True, pretty soon she herself mastered her verbal material, and then switched to a very short chain of mental images that ensure successful shooting.
Sometimes it is necessary to return from mental images to a special pronunciation of the original words - such a need arises in cases where mental images begin to lose their clarity and accuracy. Words, especially pronounced out loud, return the necessary qualities to 'tarnished mental images. It also happens that you need to "unlock" already seemingly stable blocks of mental images. For example, if the words "confident stance" ceased to evoke the necessary physical qualities, the archer E. T. began to "assemble" the necessary stance with the help of the words of the original formulas, namely: "My legs are free, my knees are back, firmly standing on the soles, relying on socks ... torso free, back straight, easy forward bend. " So with words, as the most powerful lever of influence on the mental and physical state, one must be able to use correctly.
The resolution of the 2nd International Colloquium on the Mental Training of Athletes, which took place in May already distant in 1967 in Paris, recorded such an unremarkable conclusion: "The sports environment is not sufficiently familiar with the dialectic and art of the word." I would very much like this small section devoted to the possibilities of speech, at least to some extent to fill this gaping gap in the psychological education of athletes and coaches. Summing up everything described in this chapter, I will outline the sequence of stages in using the mechanisms of ideomotoriki during training occupations.
The first stage is to carry out such a warm-up, as a result of which the performing part of the body (musculoskeletal system and the cardio-respiratory system) could easily be included in the physical performance of the movement or action being learned or improved. The mental image of this movement (or action) should, naturally, be defined at least in its most general form so that the athlete has an idea of what he is preparing the performing part of his body and how to do the warm-up.
The second stage - the coach must, using any means and methods at his disposal, lay in the programming part of the athlete's body (in his brain) an extremely accurate mental image of the movement being learned or improved. And then ask - it is clear what and how to do? Only after an affirmative answer - yes, of course - you can go on. If an athlete answers uncertainly, then you need to find such approaches to him, so that he really well understood what is required of him.
The third stage - having received an affirmative answer - yes, everything is very well understood - the coach should ask the athlete to close his eyes and mentally present the necessary movement in its ideal form. Often, athletes, to their surprise and surprise coaches can not do it immediately. Consequently, it is necessary to look for new approaches to the mental apparatus of the student — such that would help him create a mental image of the necessary movement in his ideal performance. Until an athlete can do this, further, if you follow the rules of ideomotoriki. it is not necessary to move.
The fourth stage - after the student began to mentally present the movement being studied in his ideal form, you must take a stopwatch and check to see how far the mental representation of the movement corresponds in time to its actual implementation. As a rule, the mental representation of movement occurs at first much faster than the real one. But it is necessary to ensure that the mental image of the movement coincides in time with its actual implementation. Depending on the complexity of the movement, a slight difference can be allowed, for example, plus or minus 2-3 seconds in synchronized swimming or ski jumping. But, say, in a sprint race, the mental time must exactly, up to a tenth of a second, coincide with the real one. Only after the necessary degree of synchronicity between the mental image of movement and its actual implementation is achieved, one can go further.
The fifth stage - after the athlete has shown that he is able several times in a row, observing a specific time, to accurately represent the desired movement, we must ask him to translate this mental image into muscles. At first, it is necessary to do this very slowly and carefully, mentally connecting only those muscle groups that must perform this movement. It is desirable that at the same time there were insignificant, the most initial movements in the respective muscles, which will indicate the establishment of the necessary connections between the brain and the muscles.
As soon as the procedure of "transferring thoughts into muscles" begins to take place successfully in slow motion, it should be somewhat accelerated. And so, gradually adding in speed, to ensure that the translation of the mental image of movement into real coincides with what is actually required. If, on acceleration, the athlete loses the accuracy of this procedure, you need to return to the previous, slower pace and again begin to gradually increase in speed.
After mastering the fifth stage, a very pleasant feeling of fusion of a mental image with performing muscles, a feeling of good subordination, “obedience” of muscles to thoughts, appears. At first glance it may seem that the occupation of the “fifth stage” is a long and tedious thing. But if you do everything right, the athletes have a genuine interest in such training, which in itself is very important, as it teaches us to very consciously improve their sports equipment. As for the time required to conduct such trainings, each session requires no more than 3-6 minutes.
The sixth stage - in a continuous chain of separate movements going one after another, forming one or another unified action, it is necessary to single out one basic, so-called "supporting element", the exact implementation of which ensures success in the implementation of the whole combination. In diving, this can be "pushing away from a projectile" or "entering the whirling", etc., in synchronized swimming - maintaining a strictly vertical body with certain types of rotations, etc. As a rule, in any combination of movements one or two supporting elements and very rarely more than two, for example, in ski jumping from a tramlin or in archery.
The seventh stage - the supporting element must be given the exact name. Correctly chosen words, instantly promissed at the moment of the execution of the support element (or directly in front of it), help to perform all the action as accurately as possible. Choosing words, it is more correct to focus on the features of the speech of the athletes themselves. For example, it was convenient to call the gunner of the pistol about the rank of the supporting elements so called - “the feet are spread over the floor”. The coach didn’t like this wording, but when he tried to impose his own - “I stand very firmly and motionless” - the shooter didn’t call on the physical condition he needed, and he left his own version, which really helped to improve the shooting. Of course, sometimes you need to help the athlete and teach him to use the wording offered by the coach, but it is still better to focus on the particular vocabulary of the athlete.
These are the main steps when using the possibilities of ideomotoriki in the daily work of coaches with athletes. The most important point here is that with the ideomotor approach to the improvement of sports equipment, the psychic principle must always be in the first place - the exact mental image of the movement, which is only then, only secondarily performed physically. This is the fundamental difference between ideomotorics and the “trial and error” method, in which physical action takes the first place, and only the second has a mental process that controls and introduces a correction in the quality of the performed physical action.
When all seven stages ideomotoriki neatly used in each workout, then to achieve the desired results takes, I repeat, on average, half the time than when improving sports equipment by the method of "trial and error." А ведь в этом огромное облегчение в наше время, когда столь высоки психические и физические нагрузки, -испытываемые как спортсменами, так и тренерами. Конкретный пример - тренер по синхронному плаванию Е. А. Грызунова, одна из очень немногих, кто начал использовать идеомоторику, как-то сказала мне с некоторым удивлением: "Знаете, раньше программу тренировочного занятия еле-еле успевали выполнить за целый день, а теперь укладываемся в три, в четыре часа..." А вот динамика соревновательных результатов двух ее учениц М. Л. и А. Д. - на международном турнире на приз журнала "Мир женщин", проходившем в Москве в начале марта 1994 года, они заняли в обязательной .программе соответственно 32 и 38 место, а в ду те были девятыми. Подключив же ндеомоторику, они через пять месяцев, в конце июля того же года на первенстве Европы, проходившем тоже в Москве, стали в обязательной программе уже 3-й и 4-й, а в дуете - чемпионками Европы. Как говорится - результат налицо! Так что, хотя овладение возможностями идеомоторики требует определенной и даже подчас непростой перестройки тренерского мышления, игра, поверьте моему многолетнему опыту, стоит свеч.
Что же касается времени, необходимого для совершенствования с помощью идеомоторики тех или иных элементов спортивной техники, то оно весьма различно-иногда на решение задачи уходит один час, а иногда и несколько недель. Всё определяется сложностью поставленной задачи, возможностями ученика, а, главное, способностями и упорством тренера. Упорством в овладении тонкостями механизмов идео-моторики, которые, конечно же должны использоваться гибко, с учетом специфики того или иного вида спортa.
Появилось понятие - "гений движения". На мой взгляд это такие люди, у которых после получения задания выполнить то или иное действие, в сознании сразу же возникает предельно точный образ предстоящего движения, и этот мысленный образ включает только те мышцы, которые необходимы для столь же точкой физической реализации полученного задания. Такая способность - врожденная. Но ее можно развивать. Идеомоторнка - лучший способ приблизиться к возможностям тех, кого называют гениями движения. Мне довелось общаться, правда недолго, лишь с двумя такими гениями - это Всеволод
продолжение следует...
Часть 1 Ideomotor movements
Часть 2 Идеомоторика и автоматическое рисование - Ideomotor movements
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General psychology
Terms: General psychology