Elementary Ballet Terminology
Terms in this set (148)
bending of the knee
full bending of the knees
neck of the foot
The working foot is placed on the ankle of the other foot so that the hell protrudes in front of the supporting leg. The knee of the raised leg is bent and turned outward toward the second position. The heel of the working foot is placed above the ankle bone. The sole, with instep stretched out and toes pointed, encircles the ankle so that the pointed toes are behind the ankle of the supporting leg.
the position of the foot is the same as in the cou-de-pied devant except the heel of the working foot is placed behind the ankle of the supporting leg.
In the shape of a cross.
rond de jambe
Round of the leg, that is, a circular movement of the leg.
rond de jambe a terre
One leg is made to describe a series of circular movements on the ground. Both legs must be kept perfectly straight and all movements must come from the hip along with the arching and relaxing of the instep.
rond de jambe en lair
The toe of the working foot describes an oval.
grand rond de jambe
The same action as rond de jambe a terre done in the air, usually at 90 degrees
pas de cheval
Like a bell.
Under over. A releve in the fifth position.
Escaping or slipping movement. A level opening of both feet from a closed to an open position. May be executed with a releve or a saute.
To pass. Foot moves from third or fifth position in front to the knee of the supporting legs to third or fifth position back, and vice versa.
Withdrawn. Foot moves from third or fifth position to a position in which the thigh is raised to the second position en laire so that the toe is in line with and touching the knee of the supporting leg either in front, beside or behind. If the foot begins devant, it returns to a devant position rather than "passing" the knee to derriere.
position of passe or retire
position in which the toes of the working leg are pulled up to the front, side or back of the supporting knee.
port de bras
carriage of the arms
port de corps
carriage of the body
arms extended, outstretched
arched as in arabesque or effece
a series of exercises consisting of a succession of slow and graceful movements which may be simple or of the complex character, performed with fluidity and apparent ease
time raised, or raising movements.
changement de pieds
change of the feet.
arm and leg extended on same side, head looking forward
arm and leg extended on opposite sides, head looking over shoulder
a pose where the leg is lifted and well-bent at the knee. May be executed to the front, side or back
en face a la quatrieme devant
en face a la seconde
en face a la quatrieme derriere
shaded. body oblique to audience, but legs are open and not crossed in front or back
separated, thrown wide apart. this is a second position placed on a diagonal
outward. direction of the circular movement described will move away from the supporting leg.
en dehors and en dedans
describe the direction of movement in all rond de jambes, pirouttes, promenades
chaines, soubresaut, changement, balance, temps leve, en avant (if attached to a step)
the feet form one line, heels touching each other
the feet are on the same line, but with a distance of about one to one and half of the dancer's foot between heels
one foot is in front of the other, heel touching the middle of the other foot.
ron de jambe a terre
rond de jambe on the ground. An exercise at the bar or in the centre in which one leg is made to describe a series of circular movements on the ground. Both legs must be kept perfectly straight and all movement must come from the hip, along with the arching and relaxing of the instep. The toe of the working foot does not rise off the ground and does not pass beyond the fourth position front (fourth position ouvert) or the fourth position back. This is an exercise to turn the legs out from the hips, to loosen the hips and to keep the toe well back and heel forward. There are two kinds of ronds de jambe à terre: those done en dedans (inward) and those done en dehors (outward).
A movement in which the dancer quickly extends the working leg from a cou-de-pied position to the front, side or back. This exercise strengthens the toes and thighs and develops the power of elevation.
2 ways to do the battemet sotunu
tandu and start coupe to a tandu fandu
where do we beat the double battemet first?
front and back start opposite from the destination. for the side, 1st beat will be wherever you just came from
pas de cheval
really big develeppee
batteme releve long
beating slowly raised
arms en vas
positioned down with elbows ovaled
arms an avant
elbows out and fingers up higher and outward
arms en haut
arms form oval with fingers up higher
arms out like a cross
arms out but slightly down
1 arm down and the other arm up
en de ent
1st and 2nd russian arabesques
efface (uncrossed); opposite arm and leg (away)
3rd and 4th russian arabesques
quasai (crossed); same arm and leg (same way)
What is an italian third arabesque?
takes off straight leg
take off like develepe
gran jete and grand sechete
looks like the same picture in the air
legs during the gran jetes and gran seaudechets
gesturing leg, shoulder and head go towards
reverse everything for going backwards
seassons fair-a may
happens in the air, not when you land
regular jete travels how far?
as far as your 5th
inward ballet turns
promenade and pique
head away from barre (front and back); head front for side and get arms from video
outward ballet turns
how does a simple seasson end?
Halfway between a step and a leap, taken on the floor (glissé) or with a jump (sauté); it can be done moving toward the front or toward the back.
plie, tombe, chasse, passe, pas de bourree, glissade terre a terre, failli, balance, pique, chaine, pirroute, simple seassone
whip (we do this encloushe)
leg initiates movement, over body initiates on way up "included or leaving"
what are the three types of seassons?
jump 1: 2-2
changeme, supercell, acheppe saute
jump 2: 2-1
jump 3: 1-2
jump 4: 1- same one
gran saut de chat; glissade; temp leve
jump 5: 1- other
pas de cha; assemble
first russian arabesque
The dancer stands in effacé position (for point 8, facing the front left corner, with the left foot in front) with the right leg raised in arabesque, the right arm extended to the side (to the audience) and the left arm extended front (towards the corner). The gaze follows the line of the arm extended en avant.
second russian arabesque
same arm and same extend back
the dancer stands in croisé position (for point 8, facing the front left corner, the right foot is in front) with the left leg raised in arabesque, the right arm extended to the side and a little behind the shoulder, and the left arm extended front. The gaze follows the line of the arm extended en avant.
the dancer stands in croisé as for the third arabesque, but the right arm is extended front and the left arm is extended as far back as possible in line with the right arm. The shoulders are in strong épaulement and the dancer's focus is turned to the audience.
Method: in arabesque tendue or dégagé, the leg comes from the hip and does not affect the aplomb of the dancer, as the back remains straight. Most dancers do not have absolute rotation through the supporting leg, therefore the working hip may open,* (without lifting into the lower ribs), while the supporting hip lifts forward over the supporting foot, maintaining a spiral rotation through the legs, with the whole of the supporting foot anchored to the floor. (Supporting arch if flat, metatarsus if en demi pointe, first or second toe/phalange if en pointe.)
big reverence or curtsey
grand saut de chat
large cat jump
2-1 jump. spring from 5th to coupe
pas de chat
step of the cat
pas de bourree
bourree step. transitional or connecting movement consisting of three steps
in a walk. a slow turn done on one foot in place by a series of slight movements of the heel
battement releve lent
beating with a slow rising of the extending leg. the working leg extends by slowly sliding across the floor and rising to an open position in the air and held there with perfect control
three types of rond de jambe
aterre--one leg is made to describe a series of circular movements on the ground
en l'aire--the toe of the working foot describes an oval
grand rond de jambe--the same action as rond de bambe a terre done en l'aire in the air
position of coupe
cut position. similar to position of sur le cou de pied but the working foot deos not encircle the supporting ankle. the toe is pointed above the front or back of the ankle to cut the line of the supporting leg
battemet tendu jete
beating stretched and thrown
first position of the feet
the feet form one line, heels touching each other
second position of the feet
the feet are on the same line, but with a distance of about one to one and half of the dancers foot between the heals
third position of the feet
one foot is in front of the other, heel touching the middle of the other foot
fourth position o f the feet
the feet are held parallel to one another, separated by the length of one to one and a half of the dancers foot.
fifth position of the feet
the feet are completely crossed so that the heel of the front foot touches the big toe of the back foot and vice versa
opposite the the fifth position
opposite the third