Siegfried Rudel - Tennis Method - Defined Timing

Figure 14shows the whole zone of perception when playing a volley.The broken part of the curve (first falling of the ball) represents the hitting zone.

Figure 14: Definition zone - volley

Figure 15shows the structure of the movement. The racket face follows the ball.

Figure 15: Movement rhythm volley - 'drawing'

Figure 16is an illustration of the perception and hitting zone for the smash, which is identical with the serve.

Figure 16: Definition zone - serve/smash

Figure 17shows how racket face and ball rise simultaneously as in the example of the serve. When the ball leaves the direct movement space of the body a guiding-beam movement of the horizontal axis of the racket keeps contact with the ball. The toss of the ball when performing the serve corresponds with the partner's lob when hitting a smash. Contrary to the rhythms of the groundstroke, the half-volley and volley, the target in this case is down on the ground i.e., the movement of the racket face is, as far as space is concerned, no longer performed downward - upward, but upward - down-ward.

Figure 17: Movement rhythm serve - 'high'

Exercise instructions and explanazions (for film or instruction board) are laid down in the so-called exercise sheet as follows ( figure 18):

• exercise number

• exercise sequence

• definition zone (movement rhythm)

• title

• target and anticipation areas

• movement instruction

• speech

• performance measurement

The symbolic and verbal information ist sufficient for the description of an exercise. A cinematic (pictorial) presentation is not necessary, but simplifies e.g. the understanding of the sequence of exercises and the organisation of the lesson. The pupils must be shown by means of the cibernatic presentation the spatial distribution and role attribution (hitter, umpire etc.). The division into a vertical and lateral aspect when watching the movemnet (e.g. in the film) is a ´natural view´ because of the invariance of G. Thus, the pictures from rear view structure the movement in the clearest way.

The independence of the vertical and the horizontal movement makes it possible to construct the exercise sequence from the easy to the difficult as a geometrical developement from clos to distant. If the movement rhythm ist constant, there is only a quantitative change of hte movement form which takes place parralel to this developement. So the player's state of performance can be determined by geometrical structures.For the four movement rhythms and their combination a modified line system for the target and anricipation areas is necessary. These lines fix the limits of the game within the space, on the spot, when walking and running as well as when playing with the partner, from a small to a great distance.

The determinability of the perception contents parallel to the action, which takes place in time, makes speech possible. The words are connected with the action as far as contents and time are concerned

5. TARGET-ANTICIPATION-AREAS

6. MOVEMENT-INSTRUCTION:

7. SPEECH:

8. EXERCISE SEQUENZ

Additional concentration phase:

Abreviations:

Figure 18: Exercise sheet

Текст предоставлен ООО «ЛитРес».

Прочитайте эту книгу целиком, купив полную легальную версию на ЛитРес.

Безопасно оплатить книгу можно банковской картой Visa, MasterCard, Maestro, со счета мобильного телефона, с платежного терминала, в салоне МТС или Связной, через PayPal, WebMoney, Яндекс.Деньги, QIWI Кошелек, бонусными картами или другим удобным Вам способом.