In the French and Russian Schools the feet are completely crossed so that the heel of the front foot touches the toe of the back foot and vice versa. See Déboulés; Tour, petit. Now, people of all ages and Casting and programming subject to change. If an assemblé is porté it requires a preparatory step such as a glissade to precede it. Barre is one of the most common terms in ballet. The turn may be single, double or triple according to the ability of the dancer. Used to indicate that a step is executed moving away from the audience. The next balancé will be to the left side. As the supporting leg straightens, the working leg does développé at either 45 or 90 degrees. Tossed. Jumped, jumping. Large battement like a bell. This assemblé is done in the same manner as grand assemblé. The body positions of classical ballet in which the limbs are turned out from the hips at a 180 angle. Basic Ballet Terminology and Meanings • Plié. The turn may be performed either en dedans or en dehors. Also termed “changement battu.” Fifth position R foot front. The head is the last to move as the body turns away from the spectator and the first to arrive as the body comes around to the spectator, with the eyes focused at a definite point which must be at eye level. In the Cecchetti method, the working foot is brought up to the retiré position with the toe pointed at the side of the knee (retiré de côté) before extending the leg in the required direction. The placing of the shoulders. A term of the Russian School. Stand on the R leg facing corner 2 in the second arabesque à terre. This involves a high degree of flexibility and should be used to do nearly all ballet … ; Adagio: “Slow tempo.”In ballet, a tempo in which the dancer moves slowly and gracefully. (French pronunciation: [balɑ̃se]; "balanced") A rocking sequence of three steps—fondu, relevé, fondu (down, up, down)—executed in three counts. On the “upbeat” the R foot is drawn in an arc to the fourth position back (the head turns forward) and the dancer begins a series of ronds de jambe à terre en dehors. Relevé may be done in the first, second, fourth or fifth position, en attitude, en arabesque, devant, derrière, en tournant, passé en avant, passé en arrière and so on. The bending movement should be gradual and free from jerks, and the knees should be at least half-bent before the heels are allowed to rise. As the foot goes into the air the dancer pushes off the floor with the supporting leg, extending the toes. As, for example, échappé sauté. It is performed en avant, en arrière, de côté, en tournant and is done with a développé or a grand battement at 90 degrees. Développés are performed à la quatrième devant, à la seconde and à la quatrième derrière and may be executed in all directions of the body. Carriage of the arms. Balancé may also be done en avant or en arrire facing croisé or effacé and en tournant. They should be practiced en croix. The other foot then pushes away from the floor so that both knees are straight and both feet strongly pointed for a moment; then the weight is shifted to the working foot with a fondu. In the air. This is an abbreviation of the term “tours chaînés déboulés”: a series of rapid turns on the points or demi-pointes done in a straight line or in a circle. 09/28/2010. A term of the French School used to indicate that the dancer turns slowly in place on one foot by a series of slight movements of the heel to the required side while maintaining a definite pose such as an arabesque or attitude. The shoulders must be held square to the line of direction. In all pliés the legs must be well turned out from the hips, the knees open and well over the toes, and the weight of the body evenly distributed on both feet, with the whole foot grasping the floor. For more definitions and video examples of ballet terms, visit American Ballet Theatre’s Ballet Dictionary here. Quickly close the legs and beat the calves of the legs together, open slightly to the side, and come to the ground in demi-plié in the fifth position R foot back. A step in which the dancer springs into the air extending one leg to the front, side or back and lands with the extended leg either sur le cou-de-pied or retiré. The other foot, which is pointed a few inches from the floor, slides into the fifth position in demi-plié. Today quatrième position croisée is done with the feet placed as in the fifth position, parallel and separated by the length of one foot, instead of the third position. A term of the Cecchetti method. In ballet it is a position of the body, in profile, supported on one leg, which can be straight or demi-plié, with the other leg extended behind and at right angles to it, and the arms held in various harmonious positions creating the longest possible line from the fingertips to the toes. These are the positions that your teacher will use. Refer to the pictures below and match your feet to each of them to the best of your ability. Basque jump. En pointe (ahn PWANT or on point): Balancing on the tips of your toes (for women only). This is the bending of the knees. After a pirouette en dedans the extension is made to the second position en l’air; next the foot is brought in front of, then in back of, the supporting. Barre has become a popular term as barre classes have become a common class that is conducted for fitness class and to warmup for ballet class. As, for example, in arabesque penchée. This is an exercise at the bar in which the working foot is held sur le cou-de-pied and the lower part of the leg moves out and in, changing the foot from sur le cou-de-pied devant to sur le cou-de-pied derrière and vice versa. In the Russian School, ballotté is performed traveling forward on ballotté en avant and backward on ballotté en arrire to the place from which the first jump began. A position in which the thigh is raised to the second position en l’air with the knee bent so that the pointed toe rests in front of, behind or to the side of the supporting knee. Bent, bending. This may refer to positions (the second and fourth positions of the feet are positions ouvertes), limbs, directions, or certain exercises or steps. Note: In all jumping movements the tips of the toes should be the first to reach the ground after the jump, then the sole of the foot followed by the heel. The arms remain in the second position during the series of turns, then close in the first position for the concluding pirouettes. A pas jeté (pah zhuh-TAY) is such a familiar ballet term that it's usually called by its shorter name, jeté. The word “Ballet” itself is French in origin, ballet is a classical dance form with flowing patterns to create expression through movement. Large fouetté, turning. Ballet Terminology is very important to learn for anyone starting with this form of dance. Chord 2: slide the R toe along the floor, describing an arc and finishing in the second position as the L knee straightens (the R arm opens to the second position and the head turns to the right). As, for example, in piqué en arabesque, piqué développé and so on. The two fundamental positions of épaulement are croisé and effacé. Indicates that the working foot passes in front of the supporting foot. They are done with the supporting foot flat on the ground , on the body. It may be seen today in such ballets as The Sleeping Beauty and Swan Lake. Same as pas de bourrée suivi. En dehors (Russian School): Fourth position R foot back. An exercise at the barre or in the centre in which one leg is made to describe a series of circular movements on the ground. In a diagonal. Turn in the air. Ballet terms are French (a few are Italian) because the French were the first to codify ballet technique. Fondu on the L foot, extending the R leg forward again. Execute a pirouette en dehors on the L leg. In rising from the ground the foot moves in the reverse order. Ronds de jambe en l’air may also be done with the leg extended to the second position en l’air (demi-position) and closed to the calf of the supporting leg. Also used in the singular, “sur la pointe.” First introduced in the late 1820s or early 1830s at the time of Taglioni. Whipped circle of the leg turning. The extended leg is raised behind the body but bent at the knee at an angle of 90 degrees. Click here to study/print these flashcards. The leg nearer the audience is pointed in the second position à terre or raised to the second position en l’air. The supporting foot may be à terre, sur la pointe or sur la demi-pointe. A term applied to steps or enchaînements executed in a circle. Translation: Knee-bend. This term may refer to a step, movement or the placing of a limb in front of the body. Created. This is the classical fourth position but it may also be done with the feet in the first position, only separated by the space of one foot. The grandes sissonnes are sissonne ouverte at 90 degrees, sissonne renversée and sissonne soubresaut. Exercises on port de bras can be varied to infinity by combining their basic elements according to the taste of the professor and the needs of the pupil. In the shape of a cross. Same as grand battement jeté balancé, but the body remains upright as the leg swings. In the Cecchetti method, the working foot passes through the first position to the fourth position, the calves are beaten together and on alighting the free leg is extended forward or back with a straight knee. It is done forward to attitude croisée or effacée, and to all the arabesques. The supporting foot springs from the floor and the landing is made in fondu on the working leg with the other foot extended in the air or sur le cou-de-pied. (See Battement tendu). Behind, back. The whipping leg should be at hip level, with the foot closing in to the knee of the supporting leg. Pirouettes are performed en dedans, turning inward toward the supporting leg, or en dehors, turning outward in the direction of the raised leg. There is a wide variety of pas jetés (usually called merely jetés) and they may be performed in all directions. Entrechats are counted from two to ten according to the number of crossings required and counting each crossing as two movements, one by each leg; that is, in an entrechat quatre each leg makes two distinct movements. Leaning, inclining. Demi-plié with R foot retiré devant; step on the R foot in demi-plié to the second position, turning en dedans one half-turn and thrusting the L leg to the second position en l’air; push off the floor with the R foot and complete the turn, traveling to the side of the extended leg and landing on the L foot in fondu with the R leg bent in retiré devant. Even-numbered entrechats are done en face or en tournant, while odd-numbered entrechats are done devant, derrière, en tournant, the côté or de volée. At the completion of the first turn, the supporting heel is lowered in demi-plié, then immediately pushes from the floor to demi-pointe, and the turn is repeated. All steps of elevation begin and end with a demi-plié. It may be done in all directions or in a circle. Échappé on the points or toes. A développé is a movement in which the working leg is drawn up to the knee of the supporting leg and slowly extended to an open position en l’air and held there with perfect control. This is the dignified, classical walk of the ballerina and the premier danseur. In the beginning, ballet was only performed by royalty in the courts of kings and queens. This use of the eyes while turning is called “spotting.” Pirouettes may be performed in any given position, such as sur le cou-de-pied, en attitude, en arabesque, à la seconde, etc. Same as battement tendu jeté (Russian School), battement glissé (French School). Meaning ‘to bounce’, it refers to ease and lightness in jumps, describing their quality instead of height. The second foot in the sequence (in any direction) assembles behind the first to relevé in fifth or fourth position. Inward. Petits battements are executed with the supporting foot à terre, sur la demi-pointe or sur la pointe. (ah la suh-GAWND) A Terre Literally the Earth. This is the dancer’s “attention.” The arms form a circle with the palms facing each other and the back edge of the hands resting on the thighs. Six crossings. A term applied to a whipping movement. A term of the French School. Arabesque One of the basic poses in ballet. There are a number of attitudes according to the position of the body in relation to the audience:for example, attitude croisée, attitude effacée, attitude de face. A term of the French School and the Cecchetti method. The third position is usually omitted. See Battement en cloche, grand. It is a position on one leg with the other lifted in back, the knee bent at an angle of 90 degrees and well turned out so that the knee is higher than the foot. Struck battement. The former is known as quatrième position croisée (crossed fourth position), while the latter is called quatrième position ouverte (open fourth position). Also used in the singular, “sur la demi-pointe.”. Petit jeté is done dessus, dessous, en avant, en arrière and en tournant. Glide. Outward. In this step the legs are thrown to 90 degrees with a corresponding high jump. Arms low or down. Fondu on the L leg, at the same time extending the R leg to quatrième position devant en l’air (croisé devant). Plié means to bend or bending. Fifth position R foot front. The petites sissonnes are sissonne simple, sissonne fermée, sissonne ouverte at 45 degrees and sissonne tombée at 45 degrees. Grands battements can be taken devant, derrière and à la seconde. Running. This direction is termed “ouvert” in the French method. In the French School, relevé is done with a smooth, continuous rise while the Cecchetti method and the Russian School use a little spring. to bend (standing leg or legs) - either demi (half) or grand (big), heels come off the floor in grand plié in all positions except second, stretched or held - brush foot along the floor until pointed, from a closed position to an open position, (thrown) brush a tendu a little harder until leg/foot comes up off floor to about 45 degrees (aka dégagé). Description. The step owes its name to the likeness of the movement to a cat’s leap. First position (Première position): Correct body placement is essential in all kinds of pirouettes. Second position (Seconde position): The function of grands battements is to loosen the hip joints and turn out the legs from the hips. See Battement relevé lent. Cabriole may be done devant, derrière and à la seconde in any given position of the body such as croisé, effacé, écarté, etc. The body and head should come into play and a suggestion of épaulement should be used. It is the finalé of a ballet where the principal dancers perform impressive jumps and turns. In the Cecchetti method, entrechats are done with the knees bent and the feet drawn up so that one foot beats against the other from the base of the calf downward. When performing a développé to second position, the front foot is brought to retiré devant and then extended, or the back foot is brought to retiré derrière and then extended. Ballet Terminology is like another language in the dance world. Large jeté forward. The term is usually abbreviated to changement. This is … The petits battements are: Battements tendus, dégagés, frappés and tendus relevés: stretched, disengaged, struck and stretched-and-lifted . An example of this is jeté fondu. When épaulement is used the position of the head depends upon the position of the shoulders and the shoulder position depends upon the position of the legs. Same as piqué tour en dedans. Assemblé may also be done with a beat for greater brilliance. In pirouettes the term indicates that a pirouette is made outward toward the working leg. Fourth position (Quatrième position): The Russian School (Vaganova) has a preparatory position and three standard positions of the arms. A compound step consisting of a coupé dessous making a three-quarter turn and a grand jeté en avant to complete the turn. Title. An exercise in which the working leg is raised from the hip into the air and brought down again, the accent being on the downward movement, both knees straight. The movement may be a short whipped movement of the raised foot as it passes rapidly in front of or behind the supporting foot or the sharp whipping around of the body from one direction to another. Large jeté. They are done with the supporting foot flat on the ground, on the demi-pointe, full point or en fondu. A step of beating in which the dancer jumps into the air and rapidly crosses the legs before and behind each other. Try out some basic ballet positions and steps here or experience ballet for yourself with classes for all ages, including adult beginning ballet classes. It is taken only dessus or derrire. After a demi-plié in the fifth position the working foot glides along the floor to a strong point a few inches from the floor. Under. transfer of weight from one foot to another, down-up-up stepping in a direction, usually with a turn, to assemble - a jump off one foot landing on two, fast movement - usually jumping, petit (little ) or grand (big), chain turns - first position, half turn, half turn, etc, to change - jump in fifth or third position, changing which foot is in front, to escape - Échappé sauté - jump to second (from first or fifth) and jump back, neck of the foot - position of the foot with little toe at ankle (in front) or heel at back of ankle (back), in fifth position - spring releve to crossed fifth, spring pointes - jump from one foot to the other, one foot pointed on the floor in front, change legs with each jump, position of leg/foot with little toe under knee (front) or foot behind knee (back), exploded - leg in second position, body to corners. 27. It is usually done en dedans and may be finished in attitude croisée, attitude effacée or any of the arabesques. Fondu on the L leg, opening the R leg to the second position en l’air. Entrechats are divided into two general classes: the even-numbered entrechats, or those which land on two feet– deux, quatre, six, huit and dix– and the odd-numbered entrechats, or those which land on one foot– trois, cinq, sept and neuf. One of the directions of épaulement. No dictionary terms found. All steps where the dancer jumps are considered allégro, such as sautés, jetés, cabrioles, assemblés, and so on. In raising the arms from one position to another the arms must pass through a position known in dancing as the gateway. A step of low elevation performed to a quick tempo. Indicates that an exercise is to be executed to the fourth position front, to the second position and to the fourth position back, or vice versa. Level. The force for the first turn is taken by the R arm, which opens to the second position. This pirouette is usually performed by male dancers. There are two principal pliés: grand plié or full bending of the knees (the knees should be bent until the thighs are horizontal) and demi-plié or half-bending of the knees. Battements tendus may also be done with a demi-plié in the first or fifth position. The head is raised slightly and turned toward the raised arm so that the eyes look into the palm of the hand. The arms are held en attitude with the raised arm being on the same side as the extended leg. Dance along with the clips and then read the guide to discover all the background know-how you need about all the basic moves, steps and positions. These positions are used in some Russian schools. They are done dessus, dessous, en avant and en arrire. The jump is done on the foot which is thrown forward as in grand battement at 90 degrees, the height of the jump depending on the strength of the thrust and the length of the jump depending on the strong push-off of the other leg which is thrust up and back. As, for example, in assemblé en tournant. This step is very much like a pas de valse and is an alternation of balance, shifting the weight from one foot to the other. In the third position one foot is in front of the other, heels touching the middle of the other foot. Big open sissonne. Low 5 th Position: (5 en bas) Hands hold a nest. Both knees must be kept straight. Parallel: This is a stance where the feet look like the number 11. BALLET TERMS DEFINITION A la seconde One of eight directions of the body, in which the foot is placed in second position and the arms are outstretched to second position. Glissades are done with or without change of feet, and all begin and end with a demi-plié. Contretemps (con-treh-tump) Counter beating. Although the positions of the feet are standard in all methods, the positions of the arms are not, each method having its own set of arm positions. See Plié. Because there are so many specific positions and variations, it helps to know the definitions. 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