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| Grand battement en cloche |
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Definition
| large beat like a bell; working leg brushes tendu, degage to the front then the back like a bell clapper |
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| to the front; traveling across the room to the front |
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| to the back; traveling across the room to the back |
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| thrown under; to jump with the foot to the back |
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| thrown over; to jump with the foot to the front |
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| whirl or spin; a complete turn on one leg (pointe or demi-pointe) outward in the direction of the raised leg |
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| whirl or spin; a complete turn on one leg (pointe or demi-pointe) inward toward the supporting leg |
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| scissors open; a jump from both feet onto one foot |
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| same as balance en tournant |
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| time lift; a small hop done in any position in order to switch feet under the body |
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| ball-like; a dancer’s ability to jump |
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| caper; jump where the first leg brushes through and off the floor, inner thighs touch, and bottom leg comes up to meet first leg (can be done grande, petite, deriere, and devant |
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| counter-time; petite rond de jambs en dedan with the front leg going through degage to the next side |
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| whipped; a fast change of direction with a ½ turn on the ball of the foot (you must spot) |
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| rocking step; a large (waltz) step taken in threes while turning |
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| scissors closed; a jump from both feet onto one foot |
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| half bend; standing in 1st position, the knees bend half-way and body lowers, then rises to starting position. knees will be bent and thighs are horizontal |
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| large bend; after going through a demi plie in 1st position, heels come off floor as knees bend further, then goes back up through demi plie, back to starting position. knees bent, thighs horizontal |
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| beat stretch; standing in 1st, working leg brushes along the floor through the whole foot to a point. no weight on the foot of the working leg |
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| beat disengaged; standing in 1st, the working leg brushes along the floor through the whole foot to a point with no weight on the foot of the working leg, then foot lifts off the floor |
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| step of the horse; starting in 1st, the working leg comes up to coupe devant, then quickly extends out to a tendu |
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| little beat; working foot held in coupe making very rapid beats from coupe devant to coupe deriere with movement only from the knee down. |
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| little beat strike; flexed foot in coupe, the ball on the foot of the working leg strikes the floor and brushes out in a degage position. very percussive |
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| to develop; starting in 5th, the working leg draws up to coupe devant, through retiere, through posse, then opens to attitude, then to straight leg with a pointed foot. Lowers to a tendu, then closes back. |
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| around the leg in the air; starting in 1st, working leg brushes off floor to 2nd. from knee down, the leg makes small ovals to the side (either en dehor or en dedans) with a rhythm of quick-slow, quick-slow |
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| around the leg on the floor; starting in 5th, working leg brushes forward, circles through 2nd, around to the back, then closes in 1st. |
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| around the leg (large); starting in 5th, working leg brushes forward to tendu, then lifts up in the air. The leg then goes to second, then deriere all while staying off of the floor |
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| bent position of the leg; can be done devant, a la seconde, or deriere |
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| to rise; on balls of feet or on pointe. standing in 1st, heels lift underneath body until balanced on the balls of the feet as high as possible |
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| under/over; in 5th, plie then releve as legs spring together without space inbetween the legs |
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| sustained; standing in 5th position, the working leg does a rond de jambe a terre in plie. as the working leg comes around, the knee straightens |
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| to melt; standing in 5th position, the working leg draws up to coupe and the standing leg plies simultaneously. then the working leg goes straight out while the standing leg straightens |
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| in the shape of a cross; one time around en croix would be front, side, back, side |
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| extended; tendu deriere from 5th position. the supporting leg takes a grande plie while working leg slides deriere on the big toe. cambre forward, then rise leading with the top of the head |
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| half arms; arms held low as if over a full skirt |
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| carriage of the arms; originates in shoulders and goes in this order: en bas, en avant, en haut, a la seconde |
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| open; legs are not crossed (as in arabesques 1-3) |
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| closed; legs are crossed (as in arabesques 4&5) |
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| half turn aside; turning the entire body halfway |
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| see saw; working leg brushes tendu through 1st to opposite side |
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| connected movement; in 1st position, tendu to second, then shift weight to either a plie or straight knees |
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| arched; in 1st position, the outside arm goes down and up, then upper body arches back slightly |
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| to walk; supporting leg takes demi releves to rotate the body to different corners of the room without traveling across the room |
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| jump up, one beat, then come back down without changing the feet |
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| jumping up and coming back down without changing feet |
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1. same arm as leg
2. opposite arm as leg, incline head
3. < without blocking face
4. crossed, in plie, opposite arm as leg
5. crossed, in plie, < without blocking face |
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| to change feet; jumping up in the air and coming back down on different feet |
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| jumping up, four beats, then landing on two feet |
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| jumping up, three beats, then landing on one foot |
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Right is your right
Left is your left
Down is to the front
Up is the the back
Centerstage is the center |
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| outward rotation of legs from hip sockets |
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the weight is always held forward on the balls of the feet so the dancer is always ready to releve.
in 1st position, hips held under, lower abs held in, ribcage forward, shoulders down, neck is long, and head is looking straight ahead |
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1. croise devant
2. a la quatrieme devant
3. ecarte
4. efface
5. a la seconde
6. epaule
7. a la quatrieme derriere
8. croise derriere |
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