Term
| ADAGE, ADAGIO [ahDAHZH, ah DAHZHIO] |
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Definition
| Movement performed to slow musical tempo. Objective: to gain control of thebody when on one leg. To promote fluidity of motion and to develop ballet line. |
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| grand and petite. All lively and briskmovements. All steps of elevation and quick variations of footwork. The most important qualities to aim at in allegro are lightness, smoothness, and ballon. |
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Definition
| 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. The arms are held in various harmonious positions creating the longest line possible from the fingertips to the toes. The shoulders are held square to the line of direction. The forms of arabesque are widely varied. The Cecchetti method uses five principle arabesques; the Russian School(Vaganova), four; and the French School, two. |
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Definition
| Traveling backward. A direction for the execution of a step orseries of steps. |
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Term
| ASSEMBLÉ [ah-sahn-BLAY] * |
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Definition
| Assembled or joined together. A step in which the working foot slides well along the ground before being swept into the air. As the foot goes into the air the dancer pushes off the floor with the supporting leg, extending the toes. Both legs come to the ground simultaneously in the fifth position. There are a great variety of assembles; grand, petit, and with beats, and they can go in many directions. |
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Definition
| A position on one leg with the other lifted in back, the knee bent at an angle of ninety degrees and well turned out so that the knee is higher than the foot. The supporting foot may be a terre, sur la pointe or sur lademi-pointe. As with arabesques, attitudes are done in all directions and can be done in a turn or in the air. |
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| Forward. A direction for the execution of a step. Used to indicate that a given step is executed forward, toward the audience. |
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Definition
| Rocking step. Shifting weight from one foot to the other. Balance may be done crossing the foot either front or back. This is performed from side to side, front to back, in a diagonal, or in a turning sequence. |
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Term
| BALANÇOIRE [ba-lahn-SWAHR] |
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Definition
| Like a seesaw. Term applied to a grand battement when executed with a continuous swinging motion through the first position to thefront and back. The body can lean with the swing or is held upright. |
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Definition
| Beating. A beating action of the extended or bent leg. There are two types of battements, grands battements and petits battements. The petits battements are: tendus, dégagés,frappés and tendus relevés. Grande battement is the large beating.The working leg is raised to the hip level and brought down again. Directions include a la quatrième devant, a la seconde and a la quatrième derriére. |
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Definition
| A series of small steps in demi-releve or surpointes in the fifth position. Ballerinas are known to perform these on pointe. It gives the illusion of floating. |
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Definition
| Arched. The body is bent from the waist, backwards or sideways, the head following the movement of the body. |
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Definition
| Chains, links. This is an abbreviation of the term "tours chaînés déboulés" : a series of rapid turns on the pointes ordemi-pointes done in a straight line or circle. |
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Term
| CHANGEMENTS [shahnzh-MAHN] |
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Definition
| Change of the feet. Springing steps in the third or fifth position. The dancer changes the feet in the air and land in the fifth position with the opposite foot in the front. |
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Definition
| Chased. A step in which one foot literally chases the other out of its position. |
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Definition
| Sideways. Used to indicate that a step will travel to the side. |
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Term
| SUR LE COU-DE-PIED [sewr luhkoo-duh-PYAY] |
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Definition
| On the neck of thefoot. Sur le cou de pied devant is the position of one foot placed on the ankle of the other foot so that the heel protrudes in front of the supporting leg and the toes are wrapped to the back. The knee of the raised leg is bent and turned outward toward the second position. Sur le cou-de-pied derriére is the same position of the foot but the heel of the working foot is placed behind the supporting foot. |
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Term
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Definition
| Cut, cutting. A small intermediary step done as a preparation or impetus for some other step. It takes its name from the fact that one foot cuts the other away and takes its place. There are coupé dessus and dessous. |
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Definition
| Crossed. The crossing of the legs with the body placed at an oblique angle to the audience. The leg can be in fifth crossed or disengaged leg may be crossed in the front or in the back. |
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Definition
| In the shape of the cross. 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. |
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Definition
| Inward. In steps and exercises the term en dedans indicates that the leg, in aposition a terre (on the ground) or en l'air ( in the air) moves in a circular direction, counterclockwise from back to front. |
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Definition
| Disengaged. A degagé is the pointing of the foot in an open position off the floor with a fully arched instep. It's not a transfer of weight. It can be in all directions and with fondu. |
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Definition
| Outwards. In steps and exercises the term en dehors indicates that the leg, in a position a terre (on the ground) or en l'air ( in the air) moves in a circular direction, clockwise. In pirouettes the term indicates that a pirouette is made outward toward the working leg. |
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| Behind, back. This term may refer to a movement, step or placing a limb in back of the body. In reference to a particular step (for example, glissade derriere), the addition of derriere implies that the working foot is closed at the back. |
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Term
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Definition
| Under. Indicates that the working foot passes behind the supporting foot. |
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Definition
| Over. Indicates that the working foot passes in front of the supporting leg. |
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Definition
| Turned aside. A detourné is a backward turn in the direction of the back foot and reverses the position of the feet. At the barre, the turn goes toward the barre starting with R foot front and ending L foot front. |
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Definition
| Developed. A developpé is a movement in which the working leg is drawn up and slowly extended to an open position en l'air and held there with perfect control. Developpés are done at the barre as an exercise to acquire balance, and to hold or sustain the leg at any right angle. The hips are always kept level and square to the direction the dancer is facing. This can be performed in all the body positions. |
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Term
| EN DIAGONALE [ahn dya-gaw-NAL] |
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Definition
| In a diagonal. Indicates that a step is to be done traveling on a diagonal direction. |
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Definition
| Escaping or slipping movement. An echappé is a level opening of both feet from a closed to an open position. There are two kinds: echappé sauté, which is done with a spring from fifth to open position and the other is a slide action onto the pointe. |
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Definition
| To the fourth front. The dancer stands facing the audience, the foot of either leg is stretched out to the audience a terre or en'air. |
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Definition
| To the fourth back. The dancer is facing the audience with either leg stretched straight out to the back a terre or en l'air. |
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Definition
| To the second. The dancer is facing front to the audience and either leg is outstretched to the side in the second position. |
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Definition
| Crossed in front. In this position the dancer stands at an oblique angle to the audience, facing one of the two front corners of the room. The leg nearer the audience is pointed in the fourth position front aterre or en l'air. |
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Definition
| Crossed in back. In this position the dancer stands at an oblique angle to the audience, facing one of the two front corners of the room. The leg farther from the audience is pointed in the fourth position back aterre or en l'air. |
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Definition
| Separated, thrown wide apart. In this position the dancer faces either one of the two front corners of the room and the working leg is in second. |
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| Shaded. The dancer stands at an oblique angle to the audience so that a part of the body is taken back and almost hidden from view the leg is to the front of the body. This direction is termed "ouvert" in the French method. Efface is also used to qualify a pose in which the legs are open (not crossed). |
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Definition
| Shouldered. A term to indicate a pose in which the dancer stands at an oblique angle to the audience in an arabesque position with the body facing one of the two front corners of the stage. The shoulders are held square to the line of direction, the arm nearer the audience extended forward and the corresponding leg extended to the fourth position back a terre or enl'air. |
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Definition
| Raised. The action of the heels leaving the ground with straight legs. |
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Definition
| In front, full face. A position or step executed facing the audience. If there is a movement like port de bra to the front it is en face and when the whole body is moving toward the audience it is en avant. |
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Definition
| Closed. Indicates that both feet are in a closed position or the feet at the end of a step are brought to a closed position. As, for example, from passé the foot draws down to fifth to close. |
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Definition
| Sinking down. A term used to describe a lowering of the body made by bending the knee of the supporting leg. It is also used at an end of a jump where the leg is placed on the ground with a soft and gradual movement. |
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Definition
| Struck, to strike. From a flex or sur le cou-de-pied position the working foot strikes the floor with the ball of the foot to a full stretch en l'air. |
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Term
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Definition
| Glide. A traveling step executed by gliding the working foot from fifth position in the required direction, the other foot closing to it. Glissade is used to link other steps. Many forms of glissade exist as in changée,dessous, dessus, devant en arrière and sur le pointes. |
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Term
| GRAND, GRANDE [grahn,grahnd] |
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Definition
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Term
| GRAND JETE [grahnzhuh-TAY] * |
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Definition
| A large running split jump. |
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Term
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Definition
| Thrown. A jump from one leg to the other in which the working leg is brushed into the air and appears to be thrown. There are a wide variety of jetés and they may be done in all directions. Grand jeté is the large running split jump. |
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Term
| PAS DE BASQUE [pah duhbask] |
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Definition
| Basque step. A characteristic step of the national dances of the Basques. It is an alternating step in three counts with a swinging movement from side to side. The movement may be done either sauté or glissé, and is taken en avant, en arrière and in all directions. |
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Term
| PAS DE BOURRÉE [ pahduh boo-RAY] |
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Definition
| Bourrée step. Pas de bourrée is done dessous, dessus,devant, derrière, en avant, en arrière and en tournant en dedans and en dehors,on the pointe or demi-pointe. Step under, side and over to close. |
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Term
| PAS DE CHAT [pah duhshah] |
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Definition
| Cat's-step. This is a small jump step that can go in any direction and is done from fifth to fifth and travels. There are many forms of pas de chat which are determined by height of leg, foot placement and a jeté of leading leg. |
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Term
| PAS DE CHEVAL [pah duhshuh-VAL] * |
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Definition
| Horse's step. This step is so called because it resembles a horse pawing the ground. |
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Term
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Definition
| Passed. This is an auxiliary movement, a movement that gives assistance or support to the movement that follows. The foot of the working leg passes the knee of the supporting leg from one position to another. |
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| Leaning, inclined. As, for example, in arabesque penché, a high arabesque in which the body leans forward, the head being low and the foot of the raised leg the highest point. |
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| Whirl or spin. A complete turn of the body on one foot, the motive power being obtained from a combination of plié, relevé and arm movement. |
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| Pricked, pricking. Executed by tapping the floor with the toe by stepping directly on the pointe or demi-pointe of the working leg. |
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| Bent, bending. A bending of the knee or knees. This is an exercise to render the joints and muscles soft and pliable and the tendons flexible and elastic, and to develop a sense of balance. Two principle types of plié are demi-plié and grand plié. |
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Term
| PORT DE BRAS [pawr duhbrah] |
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Definition
| Carriage of the arms. A movement or series of movements made by passing the arm or arms through various positions. |
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Definition
| In a walk. Indicates that the dancer turns slowly on one foot in place by a series of slight movements of the heel to the required side while maintaining a definite pose. |
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Definition
| Relifted. To be in the raised position. Arising of the body on the pointes or demi-pointes from the plié. There are two ways to relevé. In the French School, releve is done with a smooth continuous rise while the Italian School (Cecchetti method) uses a little spring. In this course we follow the French example. |
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Term
| ROND DE JAMBE [rawnduh zhahnb] |
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Definition
| Round of the leg, that is, a circular movement of the leg. These are performed at the barre, in center and in the adage, and are done a terre or en l'air. |
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Definition
| Jumped, jumping. As, for example, in echappé sauté. Note: In all jumping movements the tips ofthe toes should be the first to reach the ground after the jump, then the soleof the foot followed by the heel. In rising from the floor the foot moves in the reverse order. |
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Term
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Definition
| Sissonne is named for the originator of the step. There are many different forms of sissonne: sissonne simple and ouverte, taking off two feet with upstage footfront and landing on one foot, and sissonne fermée, taking off two feet and landing on one foot with the back foot closing into position instantly after landing. |
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Term
| SOUBRESAUT [soo-bruh-SOH] |
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Definition
| Sudden spring or bound. A springing jump from the fifth position,made upward and forward (en avant, croisé en avant or ouvert en avant). When the body is in the air the knees are straight and the feet are pointed in fifth position. The landing is made simultaneously on both feet in the fifth position with the same foot front. |
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Definition
| Under-over. Soussus is a relevé in the 5th position drawing the legs and feet tightly together with the heels forced so they give the impression of one foot. |
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Term
| SOUTENU [soot-NEW ahntoor-NAHN] |
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Definition
| Sustained intouring. Pulling up to fifth releve and the body turns on the pivot of both feet. Commonly, the feet change during the turn. There are times when the same foot stays front. |
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Definition
| Time linked or connected. Temps lié is an exercise used in center practice but can be done at the barre with tendu and rond de jambe. It is used to soften demi-plie and teaches control and balance in transmitting the weight of the body from one position to another with a smooth rhythmical movement. Example: Fifth position R foot front step to R with R foot bring left foot to first and through to fourth front transfer weight onto L foot close fifth R foot back. |
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Definition
| Stretched. The foot brushes from flat on floor to full stretch going through the foot (toe, ball, heel) to any direction with body square to that direction. The foot never leaves the floor. |
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Definition
| On the ground. When the entire base of the foot touches the ground, the position is said to be a terre. |
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Term
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Definition
| Falling down. Used to indicate that the body falls forward or backward onto the working leg in a demi-plié. |
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Term
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Definition
| Large jeté over and turning. This is similar to the grand jeté except that in mid-air the body is flung over to face the direction from which the jump originated and landing in a demi-plié in an arabesque position. |
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Term
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Definition
| Three steps commencing with a low step in plié and two steps relevé on demi-pointe or full pointe. It can be continuous by alternating the feet after each set of three steps are completed. This can be done traveling without or with a turn and is done to a waltz i.e., 3/4 music. |
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