Classic terminology. Batman is an element of classical dance

I am gradually beginning to understand that dancing is becoming a big and important part of my life, along with music and vocals. Of course, work is to blame for this. And also the movie "Step Up". It’s so cool to be able to dance, to combine ballet and street dance. So far I have not been given either one or the other, but I am already beginning to understand the classic machine. Thanks to “Rhythms” - Yulia Vladimirovna explains everything very clearly to the guys, and I also listen and remember.

When throwing a leg forward or backward, the head looks to the side (center of the class), and when throwing a leg to the side, the head looks straight.
With battement tendu, the leg is brought forward with the heel. In general, where the heel is pointed is very important. Because if you direct it in the wrong direction, there will be no sense in the movement. I tried it myself last night.
When jumping, it is important to jump as high as possible and stay in the air for as long as possible. Only then can you have time to change position in the air from 5 to 2, from 5 to 5, etc.
Preparation for jumping (plie) must be very active so that the fragile, heavy and loose body is pushed upward.
According to the rules of classical graphics, you need to end the movement in the same position in which you started. With rare exceptions, which must be specified.
Demi plie(demi plie)- half squats (Fig. 8). It is important to achieve maximum bending of the legs at the knee joints without separating the heels from the floor. The weight of the body is evenly distributed on both feet without “blocking” on thumb. The knees and feet remain in an inverted position at all times, without violating the correct positions. The back is kept straight. The exercise is performed in I, II, III positions, less often and only at the support - in V, IV positions.

Grand plie. When performing the exercise (Fig. 9), you should keep your heels on the floor for as long as possible - the movement is performed through a demi plie. When straightening your legs, you need to place your heels on the floor as early as possible. You must rise onto your toes and place your heels on the floor with both legs at the same time. Throughout the entire exercise, maximum eversion of the hips and feet is maintained. The weight of the body is evenly distributed on both legs, without “sagging” on the big toes.

Batman(battement)- abduction of the working leg in any direction and returning it to the supporting leg. Each type of batman has its own shape and independent name.

Batman tandue sample(battement tendu simple) - placing the leg forward, to the side, back on the toe. The exercise promotes the development of leg lifting and strengthening of the ankle joint, and is preparatory for mastering a number of subsequent movements of this classification group. When performing batman tandu, the eversion leg is moved with a sliding movement from positions I, III, V forward, to the side, back on the toe and returns to i. n. The movement should be performed in a straight line from the heel of the supporting leg to the toe of the abducted leg and back (Fig. 10). Sliding the leg is performed first with the entire foot with a gradual lifting of the heel from the floor to the position of the toe being pulled out to the limit without resting on the toe in the final position. With a similar sliding movement, the leg returns to i. n. The support is straightened at the knee. The center of gravity is on the supporting leg. The working leg maintains an everted position.

Batman tandu demi plie(battement tendu demi plie) - a combination of abduction of the leg followed by adduction and a half-squat on two legs (Fig. 11). When performing the exercise, it is necessary to achieve complete fusion of the two movements. To do this, bending the legs at the knees begins slightly earlier than the working leg returns to position 1 or 3. The torso is held straight, the weight of the body during demi plie is evenly distributed on both feet.

Batman tandu pimp(battement tendu soutenu) - is an exercise of combining simultaneously performed abductions and adductions of the leg with a half squat on the supporting leg. In this case, the torso deviates slightly in the direction opposite to the working leg. After performing the exercise with your face, sideways to the support, the form of this movement becomes more complicated: i. p. - right in front on the toe (IV position) through I position to the right position back on the toe. In the future, it is possible to complicate the exercise with various hand movements, lifting onto half-toes, and changing the direction of movement.

Batman tandu zhete(battement tendu jete) - this exercise is profiling for all swing movements. Unlike Batman, tandu is performed with the toe lifted off the floor when abducted from i. n. In fact, it is a swing to a height of about 25° (Fig. 12). The movement should be clear, united, and energetic. The legs maintain an everted position, the center of gravity is on the supporting leg. Hands in 2nd position.

Batman tandu jete pointe (battement tendu jete pointe). In principle, this movement is no different from batman tandu zhete, however, after abduction, the leg does not close into position, but is placed with the toe on the floor. The exercise can be performed 2-3 times in a row, then the leg is closed in position III (Fig. 13). As the movement becomes more complex, the leg is moved in a low arc from the right (left) position in front, behind on the toe (IV position) to the side on the toe and back, or in a “cross”.

Double Batman tandu(double battement tendu) is a variety of batman tandyu. Performed with the heel lowered to the floor in position II: with one, two, or three or more lowerings (Fig. 14). When the heel is lowered to the floor, the center of gravity remains on the supporting leg. The emphasis of the movement coincides with lowering the heel to the floor.

Batman frappe(battement frappe)- flexion and extension of the lower leg at an angle of 45° (Fig. 15). Before starting to study the movement, the position of the leg is mastered. sur le cou de pied(sur le coup-de-pied) (Fig. 16) . In gymnastics, the position in front (conditional) is used - the leg is bent at the knee, the toe is in front of the ankle of the supporting leg, the thigh is turned backward - the toe is pressed behind the ankle of the supporting leg. Batman frappe consists of quickly bending the shin from and. p. right (left) to the side in the position sur le cou de pie in front or behind with a light blow to the supporting leg, followed by extension forward, to the side, back. The exercise is performed with a sharp, strong movement. At the same time, the hip and knee maintain an everted position. Since the exercise begins from i.p. leg to the side, then before the start the leg from positions I, III through the batman tandu opens to the side, while the hand rises from the preparatory position through position I to II.

There is a more complicated version Batman double frappe(battement double frappe) , characterized by a double “kick” of the working leg at the supporting ankle.

Batman fondue(battement fondu)- a combination of a half-squat on the supporting leg with simultaneous bending of the free leg on the sur le cou de pied in front (behind), followed by extension of the working leg and straightening of the supporting leg (Fig. 17).

It is performed forward, to the side, backward, with the toe on the floor, with the leg raised to 45, 90°. When bending the leg into the sur le cou de pie position, the thigh should not be lowered immediately; the knee is first bent, and the thigh is held motionless at a height of 45°, then gradually lowered together with the lower leg to the final position. When batman frappe is performed at 90°, the leg first lowers to 45°, then bends as described above. Musical time signature is 2/4 or 4/4.

Double Batman fondue(double battement fondu) . The movement begins with a demi-plie on the supporting leg, then a half-toe lift is performed, but the free leg does not open in the given direction, but lingers in a position bent at the ankle; then the half-squat on the supporting leg is repeated again with simultaneous straightening of the free leg by 45 or 90°; at the moment of final straightening of the free leg, straightening of the supporting leg is also performed, ending with lifting onto the half-toes.

Grand Batman Jete(grand battement jete) - swing your legs forward, to the side, back (Fig. 18). The movement is performed through the batman tandu until the toe touches the floor, then the leg rises to the maximum height and through the batman tandu returns to the I.P. (I or III position).

Grand Batman Jete Balance(grand battement jete balance) - swings forward and backward by 90° and higher through the first position (Fig. 19). The movement can be performed to the side: in i.p. facing the support or in the middle of the hall, alternately with one and the other leg. A combination with torso bending, half-toe lifting, and half-squats is possible.

Grand Batman Jete Pointe(grand battement jete pointe) performed like a Grand Batman Jete, but before the toe touches the floor (Fig. 20).

Grand Batman Jete Passe(grand battement jete passe) performed according to the rules of Grand Batman Jete, but with the transfer of the leg from one direction to another using a technique passe(Fig. 21): leg bent, hip turned out, knee to the side, toe at the supporting knee, without touching it. Performed forward and backward. Musical size 2/4.

Batman Devloppe(battement developpe) performed forward, to the side, back 90° and higher (Fig. 22). From the third position, the working leg, bending and sliding with an extended toe, rises to the knee of the supporting leg, after which it straightens in any direction and lowers into the standing position. Throughout the entire movement, the thigh maintains maximum eversion; when straightening the leg, the knee does not drop. When performing movements forward and to the side, the torso remains straight, when moving backwards, it bends slightly forward. Musical time signature: 2/4, 4/4.

Batman developpe passe (battement developpe passe). The working leg rises, then bends, the toe goes under the supporting knee without touching it (passe position), after which the leg rises again in any direction.
Batman devloppe with leg abduction 1/4 of the circle. The working leg is brought forward, then moved to the side and lowered into the i. n. The same is done in the opposite direction. Then the leg is raised to the side and moved forward or backward.
Batman devloppe with leg abduction 1/4 of the circle. The leg from the third position is raised forward by 90° and higher, the extended leg is pulled back across the side and lowered to the third position. It is performed similarly in the opposite direction.

Batman developpe passe. The leg rises forward, to the side, back, then with a short movement it lowers slightly and immediately sharply returns to its previous height. Musical time signature is 2/4 and 4/4.

Ron de jambe. This type of exercise includes moving the leg in an arc along the floor and in the air. Movement of the leg in an arc back, to the side, forward, that is, directed towards the supporting leg, is called en dedan (en dedans). Movement of the leg in an arc forward, to the side, back, that is, directed from the supporting leg, is called en deor (en dehors). Exercises in this group contribute to the development of mobility of the hip joints and eversion of the legs.

Rond de jambe par terre- movement of the extended leg in an arc, touching the floor with the toe (Fig. 23). The exercise is performed uniform movement extend your leg in an arc, separating your toes from the floor. The hip is in an everted position, the weight of the body is on the supporting leg.

Ron de jambes en lair(rond de jambe en l'air) - circular movements of the shin in the air (Fig. 24). From i.p. right (left) to the side at a height of 45° circular movements with the shin, simultaneously bending the knee inward (an deor), outward (an dedan) until the toe touches calf muscle. The hip is in an everted position.

Grand Rhône de Jambes Jété (grand rond de jambe jete) - large leg swing in a 90° arc in the direction of an deor and an dedan.

Gymnastics all-around: Female species. Ed. G 48 2nd, revised Floor exercise. T.S. Lisitskaya, V.E. Zaglada / edited by Gaverdovsky Yu.K. - M.: Physical culture and sport, 1986. - 336 pp., illus.”

Pas (pa ) - step; movement or combination of movements; used as equivalent to the concept of “dance”.
Pas d'actions (pas de action ) is an effective dance.
Pas de deux (pas de deux ) - a dance of two performers, usually a dancer and a dancer.
Pas de trois (pas de trois ) - a dance of three performers, usually two dancers and one male dancer.
Pas de quatre (pas de carte ) - dance of four performers.

Adagio (adagio ) - slow, slow part of the dance.
Allegro (allegro ) - fast, jumping.
Allongee (together ) - from Ch. lengthen, prolong, extend; a movement from the adagio, meaning an extended position of the leg and a hidden hand.
Aplomb (aplomb ) - stability.
Croisee (croisé ) - a pose in which the legs are crossed, one leg covers the other.
Degage (dégagé ) - release, take away.
Demi (demi ) - medium, small.
Ecartee (ekarte ) - retract, move apart; a pose in which the entire figure is turned diagonally.
Effect (efase ) - deployed position of the body and legs.
En dedans (en dedan ) - inside, in a circle.
En dehors (en deor ) - out, from the circle.
En face (en face ) - directly; straight position of the body, head and legs.
En tournant (en tournan ) - from Ch. "rotate"; turning the body while moving.
Grand (grandee ) - big.
Petit (petit ) - small.
Port de bras (port de bras ) - exercise for arms, body, head; tilts of the body and head.
Preparation (preparation ) - cooking, preparation.

Arabesque (arabesque ) - a pose whose name comes from the style of Arabic frescoes.
Attitude (attitude ) - posture, body position; the raised leg is half bent.
Passe (passe ) - from Ch. “to conduct, pass”; connecting movement, holding or moving the leg.
Sur le cou-de-pied (sur le cou de pied ) - the position of one leg on the ankle of the other, supporting one.
Tire bounchon (shooting range bouchon ) - “twist, curl”; the raised leg is in a half-bent forward position.

Balance (balance sheet ) - “to swing, sway”; swaying movement.
Balancoire (balance ) - “swing”, used in grand battement jete.
Battement (Batman ) - swing, beat.
Battement developpe (Batman Devloppe ) - swing, open, remove the leg 90* ​​in the desired direction.
Battement double frappe (batman double frappe ) - double strike movement.
Battement fondu (Batman fondue ) - soft, smooth, “melting” movement.
Battement frappe (batman frappe ) - movement with impact, or impact movement.
Battement soutenu (batman hundred ) - withstand, support; movement with pulling the legs in the fifth position, continuous movement.
Battement tendu (Batman tandu ) - abduction and adduction of an extended leg without lifting the toe off the floor.
Batterie (batry ) - drumming; the leg in the sur le cou-de-pied position makes a series of small striking movements.
Demi-plie (demi plie ) - small squat.
Dessus-dessous (ten-desu ) - upper-lower part, above-under, view of the ras de bourree.
Grand battement (grand batman ) - big batman.
Grand-plie (grand plie ) - big squat.
Jete (jete ) - leg throw on the spot or in a jump.
Pas coururu (I'm smoking ) - run through the sixth position.
Pas de bascue (pas de basque ) - Basque step; This movement is characterized by a count of 3/4 or 6/8 (three-beat time signature), performed forward and backward.
Pas de bourree (pas de bure ) - a chased dance step, stepping with a slight advance.
Petit battement (petit batman ) - a small batman, on the ankle of the supporting leg.
Plie (plie ) - squat.
Releve (relevé ) - from Ch. “raise, elevate”; lifting onto fingers or half fingers.
Relevelent (Relevelan ) - slow leg lift to 90*.
Soutenu (a hundred ) - from Ch. “to withstand, to support, to draw in.”

Fouette (fouetté ) - from the verb “to quilt, to flog”; type of dance turn, fast, sharp; During the turn, the open leg bends towards the supporting leg and opens again with a sharp movement.
Pirouette (pirouette ) - “spinning top, spinner”; fast rotation on the floor.
Port de bras (port de bras ) - tilts of the body, head.
Renverse (ranverse ) - from Ch. “overturn, turn over”; overturning of the body in a strong bend and in a turn.
Rond (ronde ) - “circle, round.”
Rond de jambe en l'air (Ronde de Jambes en Leur ) - circle with your foot in the air.
Rond de jambe par terre (Ronde de jambes par terre ) - Roundabout Circulation feet on the floor, toes in a circle on the floor.
Tour (tour ) - turn.
Tour chain (tour chenet ) - “linked, connected”; quick turns following one after another.
Tour en l`air (tour en ler ) - tour in the air.

Assembly (assembly ) - from Ch. connect, collect; jump with outstretched legs collected in the air; jump from two legs to two legs.
Brise (breeze ) - to break, crush; movement from the section of jumping with skids.
Cabriole (cabriole ) - jump in place with one leg kicking the other.
Changement de pieds (Shazhman de pied ) - jump with a change of legs in the air (in the V position).
Coupe (coupe ) - knocking; jerky movement, short push.
Echappe (echappé ) - a jump with the legs opening to the second position and collecting from the second to the fifth.
Entrechat (entrechat ) - jump with a skid.
Glissade (glide path ) - “sliding”; a jump performed without lifting the toes off the floor.
Jete ferme (jete ferme ) - closed jump
Jet passé (jete passe ) - passing jump.
Pas ballonne (pa balone ) - to inflate, to swell; advancement at the moment of jumping into various directions and poses, as well as legs strongly extended in the air until the moment of landing and bending one leg sur le cou-de-pied.
Pass ballot (pa balotte ) - hesitate; a movement in which the legs are extended forward and backward at the moment of the jump, passing through a central point; the body leans forward and backward, as if oscillating.
Pass chasse (on the chasse ) - a ground jump with advancement, during which one leg kicks the other.
Pas ciseaux (pa pre-trial detention center ) - scissors; a jump with legs thrown forward in turn, stretched out in the air.
Pas de chat (pas de sha ) - cat step; a sliding jump from one foot to another, when one leg passes the other in the air.
Pas emboite (in ambuate ) - from Ch. “put in, put in, put in”; a jump during which there is a change of half-bent legs in the air.
Saute (sauté ) - jump in place by position.
Sissonne (Sison ) - a type of jump, varied in shape and often used.
Sissonne fermee (Sison Farm ) - closed jump.
Sissonne ouverte (sison overt ) - jump with leg opening.
Sissonne simple (Sison Simple ) - a simple jump from two legs to one.
Sissonne tombee (Sison Tombe ) - jump with a fall.

MBOUDOD "Children's Art School" Yarovoye

Brief

DICTIONARY

French terms

classical dance

Compiled by: V.G.Voloshina

Concertmaster of the Yarovoe Children's Art School

Yarovoye

2014

Introduction

Choreographic terminology is a system of special names designed to designate exercises or concepts that are difficult to briefly explain or describe.

Exercise at the support or in the middle is a set of training exercises in ballet that promote the development of muscles, ligaments, and the development of coordination of movements in the dancer. The exercise is performed at the “barre” (attached with brackets to the wall) and in the middle of the training room every day. Exercise consists of the same elements.

In the 17th century (1701), the Frenchman Raoul Feuillet created a system for recording elements of classical dance.Gradually this dance terminology became generally accepted throughout the world. But it underwent many changes, additions, and clarifications before it arrived at the harmonious and strict system that we currently use. A significant contribution to the clarification of terminology was made by the Russian school of classical dance and the famous teacher-choreographer, Professor Agrippina Yakovlevna Vaganova.Knowledge of special terms speeds up the learning process. This is the international language of dance, the opportunity to communicate with choreographers, and understanding of specialized literature.

Soubresaut – (subreso) a large jump with a delay in the air.

Saut de basque - (so de basque) Basque jump. Jump from one leg to the other with the body turning in the air.

Soutenu – (pout) to withstand, support.

Suivi – (suivi) continuous, consistent movement. A type of pas de bourree performed on the fingers. The legs move finely one next to the other.

Sur le cou de pied – (sur le cou de pied) the position of one leg on the ankle of the other, supporting leg.

Sussous – (su-su) on yourself, right there, on the spot. Jump on fingers with promotion.

Temps lie – (tan lie) fused, flowing, connected. A solid, smooth dance combination in the middle of the hall; there are several forms

Тombе - [tombe] fall, shifting the weight of the body onto the open leg forward, to the side or back on a demi-plie

Tour chains (tour chené), a chain of turns following one another, fused half-turns from foot to foot on the half-toes or on the toes, moving forward, sideways or backward.

Adagio - (adagio) slowly. The slow part of a lesson or dance.

Allonge – (alonge) lengthen, prolong, extend. A technique based on straightening the rounded positions of the arms.

Aplomb – (aplomb) stability.

Arabesque – (arabesque) pose, the name of which comes from the style of Arabic frescoes. In classical dance there are four types of “arabesque” poses No. 1, 2, 3, 4.

Arrondi – (arrondi) rounded, rounded. Rounded position of the arms from the shoulder to the fingers.

Assembly – (assembly) to connect, collect. Jump with outstretched legs collected in the air.

Attitude – (attitude) pose, position of a figure. The leg raised up is half bent.

Balance – (balance) swing, sway. Rocking motion.

Pas ballonne - (pa balloon) to inflate, inflate. In dance, there is a characteristic progression at the moment of jumping in various directions and poses and strongly extended legs in the air until the moment of landing and bending one leg sur le cou de pied.

Pass ballot - (pa balotte) hesitate. A movement in which the legs are extended forward and backward at the moment of the jump, passing the center point. The body leans forward and backward, as if oscillating.

Balancoire - (balance) swing. Applicable in grand battement jete.

Batterie - (batri) drumming. Leg in position sur le cou de pied makes a series of small percussive movements.

Battus - (battyu) beat, pound. Movement with a skid.

Bourree pas de – (pas de bourrée) a precise dance step, stepping with a slight advance.

Brise - (brize) to break, crush. Movement from the section on jumping with skids.

Basque pas de – (pas de basque) Basque step. The movement is characterized by a count of 3/4 or 6/8, i.e. triplex. Performed forward and backward.

Battement – (batman) swing, beat; leg exercise.

Battement tendu – (batman tandyu) abduction and adduction of the stretched leg.

Battement fondu – (batman fondue) soft, smooth, “melting” movement.

Battement frappe – (batman frappe) to beat, break, split; movement with impact.

Battement double frappe – (batman double frappe) movement with a double strike.

Battement developpe – (batman devloppe) unfold, open, remove the leg 90 degrees in the desired direction, pose.

Battement soutenu – (batman to pimp) withstand, support. Movement with pulling the legs in the fifth position.

Cabriole – (cabriole) a jump with one leg kicking the other.

Preparation – (preparasion) preparation, preparation.

Releve – (releve) to raise, elevate. Lifting on fingers or half fingers.

Releve tape – (releve liang) slowly lifting the leg 90 degrees.

Renverse - (ranverse) to overturn, turn over. Overturn the body in a strong bend and turn.

Rond de jambe par terre – (ron de jambe par terre) rotational movement of the leg on the floor, circle with the toe on the floor.

Rond de jambe en l'air – (ron de jamme en ler) circle your foot in the air.

Royal - (royal) magnificent, regal. Skid jump.

Saute – (sote) jump in place.

Simple – (sample) simple. Simple movement.

Sissonne – (sison) has no direct translation. It means a type of jump, varied in shape and often used.

Sissonne fermee – (Sison Farm) closed jump.

Sissonne ouverte – (sison overt) jump with leg opening.

Sissonne simple – (sison sample) a simple jump from two legs to one.

Sissonne tombee – (sison tombe) jump with a fall.

Pas d'actions - (pas d'axion) effective dance.

Pas de deux - (pas de deux) a dance of two performers, a classical duet, usually a dancer and a male dancer. The pas de deux form is often found in classical ballets: “Don Quixote”, “Swan Lake”, “Sleeping Beauty”, “The Nutcracker”, etc. The dance in pas de deux is full of complex lifts, jumps, rotations, and demonstrates high performing technique .

Pas de trios - (pas de trois) a dance of three performers, a classical trio, most often two dancers and one dancer, for example, in the ballets “Swan Lake” and “The Little Humpbacked Horse”, etc.

Pas de quatre – (pas de quadre) dance, four performers, classical quartet.

Passe – (passe) to carry out, to pass. Linking movement, holding or moving the leg.

Petit - (petty) small.

Petit battement – (petit batman) small batman, on the ankle of the supporting leg.

Pirouette - (pirouette) spinning top, spinner. Fast spin on the floor.

Pique - [pique] a light prick with the tips of the toes of the “working” leg on the floor and raising the leg to a given height.

Plie – (plie) squat.

Pointe – (pointe) toe, toes.

Port de bras – (port de bras) exercise for the arms, body and head; six forms are known.

Chain – (shen) chain.

Changement de pieds – (shazhman de pied) jump from fifth position to fifth with changing legs in the air.

Pass chasse - (pa chasse) to drive, to urge. A ground jump with advancement, during which one leg kicks the other.

Chat, pas de – (pas de sha) cat step. This jump in its nature resembles the soft movement of a cat's jump, which is emphasized by the bend of the body and the soft movement of the arms.

Ciseaux, pas - (pasto) scissors. The name of this jump comes from the nature of the movement of the legs, thrown forward in turn and extended in the air.

Coupe – (coupe) jerky. Knocking. Jerky movement.

Pas Couru - (I smoke) jogging.

Croisee – (croiset) crossed; one of the main provisions of classical dance, in which lines are crossed. Closed leg position.

Degagee – (degazhe) to release, take away.

Demi plie – (demi plie) half squat.

Developpee – (devloppe) taking out.

Dessus-dessous – (desu-desu) top part and the lower part, "above" and "below". View pas de bourre.

Ecartee – (ekarte) to move away, move apart. A pose in which the entire figure is turned diagonally.

Effacee – (effase) smooth; one of the main principles of classical dance. It is determined by the open, expanded nature of the posture and movement. Open leg position.

Echappe - (eshappe) to break out. Jump with opening the legs to the second (fourth) position and collecting from the second (fourth) to the fifth position.

Pas Emboite – (pa ambuate) insert, insert, lay. A jump during which there is a change of half-bent legs in the air.

En dehors – (an deor) outward, rotation from the supporting leg.

En dedans – (an dedan) inward, rotation towards the supporting leg.

En phase – (frontal) straight, straight position of the body, head and legs.

En tournant – (en tournant) to rotate, turn the body while moving.

Entrechat - (entrechat) jump with a skid.

Entrechat-tromis - (entrechat trois) skid. Jump with three changes of legs in the air, from two to one.

Entrechat-quatre - (entrechat quadr) skid. Jump with four changes of legs in the air.

Entrechat-cinq - (entrechat sank) skid. Jump with five changes of legs in the air.

Entrechat-six - (entrechat sis) skid. Jump with six changes of legs in the air.

Epaulement – (epolman) diagonal position of the body, in which the figure is turned half-turn.

Exercice - (exercise) exercise.

Flic-flac - (flick-flick) click, pop. A short movement often serves as a link between movements.

Fouette - (fuete) to whip, whip. A kind of dance turn, fast, sharp. During a turn, the open leg quickly bends towards the supporting leg and opens again with a sharp movement.

Farmer - (farm) close.

Faille, pas - (pa faii) to cut, cross. Weakening movement. This movement is fleeting and often serves to prepare the springboard for the next jump. One leg seems to cut the other.

Galoper - (gallop) chase, pursue, gallop, rush. Movement similar to chasse.

Glissade – (glide path) slide, slide. A jump performed without lifting the toes off the floor.

Grand – (grand) big.

Jete - (jete) throw. Leg throw on the spot or in a jump.

Jet entrelace – (jete entrelyase) entrelacee – to intertwine. Flip jump.

Jete ferme – (jete ferme) closed jump.

Jet passé – (jete passe) passing jump.

Lever - (left) to raise.

Pas - (pa) step. A movement or combination of movements. Used as equivalent to the concept of “dance”.

In classical choreography, as in other dance styles, there is its own set of terminology. The peculiarity of the ballet is that the terms are mainly taken from the French language. Initially, during the birth of this art in France, the names were borrowed from Italian, but already at the beginning of the 18th century, the vocabulary of ballet developed and was based on French terms. The only Italian words left in terminology are:

• pirouette (full 360 0 turn of the whole body on one leg);
• cabriole (a jump during which the dancer kicks one leg with the other);
• revoltad (a jump during which one leg is crossed over the other and a turn is performed).

Most of the terms imply a specific movement that the dancer performs (stretching, bending, extending, sliding, lifting, etc.), some focus on the nature of the performance (solemnity, gurgling, etc.), while others determine the occurrence of the movement, for example, bourre. Some names do not belong to either category, such as entrechatroyale (royal leap in honor of Louis XIV) or sissonne (invented by François de Roissy, Count of Sisson, in the 17th century).

To understand the language of classical choreography, we suggest that you familiarize yourself with the dictionary of ballet terminology.

A - E

• Adagio (from Italian adajio translates as “slowly”, “calmly”). A part of the dance that is performed slowly to calm music. The concept is used not only in the sense of music, but also:
  • A separate dance, or part of a musical choreographic production, which is performed by one, two or more soloists. The most common is the adagio performed by a duet;
  • For exercise - exercises at the choreographic barre or in the center of the hall, which consist of a set of poses and exercises, turning elements, bending in a calm rhythm. The task of the adagio is to develop stability, expressiveness, musicality, harmony and smooth transitions from one movement to another;

• Allegro (allegro in Italian means quickly, deftly, quickly) - a set of exercises in the center of the hall, which consists of jumps of different heights and speeds;
• A laseconde (literal translation - to the second) - the working leg is moved (opened) to the side on the toe, or rises to a height; in this position, the working leg is open with the toe to the floor or raised;

• Aplomb (balance) – the ability of a dancer to stand in one position or another on one leg for a long time;
• Arabesque (Italian arabesco - Arabic) - one of the main movements in classical choreography. During its execution, the working leg is extended at the knee and opens back with the toe extended to the floor, or rises up. The position of the hands is allongee, the gaze is directed into the distance, which gives the pose gracefulness and expressiveness. Arabesque symbolizes an elusive dream, this is the leitmotif of Giselle or La Sylphide - popular romantic heroines. During the exercise, the supporting leg can stand completely on the foot, half toes/toes, be extended or bent at the knee. Sometimes it is performed with emphasis on the knee and abduction of the second leg. If the pose is performed in a jump, then the position of the leg may be different (strictly perpendicular to the floor, thrown forward, etc.). The Russian ballet school divides arabesque into four types. The first two are open (arabesque effacee), the third and fourth are closed (arabesque croisee). The old ballet school identified a fifth type of arabesque, in which the body tilted and the arms rose forward allongee. Arabesque penchee - a pose in which the body leans forward so that the working leg can rise as high as possible;

• Attitude (pose, position):
  • It is one of the main positions in classical choreography. During execution, the working leg bends at the knee and rises back to a height. The supporting leg can stand on the foot, fingers or toes, hands in the allondie position. The figure is the basis for a big jump. To perform it, like the arabesque, you need a strong and flexible back. If the attitude is performed forward, the leg bent at the knee is raised forward, and the heel should be higher than the level of the knee. This is the leitmotif of proud heroines, for example Aurora (ballet “Sleeping Beauty”).
  • In a broad sense, attitude is any pose that a dancer or dancer assumes;

• Assembly, pas (verb assembler - to assemble). When performing this movement, the working leg can open in any direction with the toe on the floor or in the air, while the dancer simultaneously squats on the supporting leg. Then the working leg is placed in the 5th position on the toes or half-toes. The movement ends in demi-plie. If the figure is performed in a jump, then the legs come together at the moment of flight. The execution of the jump can be varied: on the spot (throw of the leg to a small height, small jump petit pas assemble), or with advancement (strong throw of the leg at 70-90 degrees, extremely high take-off grand pas assemble). In the first case, the movement begins with a jump and throw of the leg from the 5th position. To perform a grand pas assemble, an approach is always required, which will allow you to achieve maximum height in the jump. To maintain balance, the arms are lifted into position and assist in the jump. Additional complications in the form of lifts or double turns can add entertainment and virtuosity to the movement. The main difference between the pas double assemble (performed on the fingers or half-toes on a small jump) is that the figure is performed twice from the same foot. If the position is performed to the side, the change of legs to position 5 is performed at the moment of the second movement;
• Emboite, pas (literal translation tongue and groove) a figure that is performed by changing legs and transferring body weight from one leg to the other several times in a row.

Petit pas emboite saute - a jump in place or with a turn around its axis with a change of legs. With each execution, the working leg is alternately brought forward or backward into surlecou-de-pied. Grand pas emboite saute is performed with advancement while simultaneously throwing the bent legs as high as possible, often forward or, less often, backward.

Pas emboite can be performed as a run. In this case, each rut is thrown into the air in turn (forward or backward).

Petit pas emboite saute entournant is alternate jumps and a simultaneous turn of 180 degrees. Finally, the replacement leg is brought into the surlecou-de-pied position. The movement is performed with advancement in a straight line or diagonally. Can be performed in a circle in combination with other turns.

Pas emboite sentournant is performed on the fingers or half-fingers, instead of a jump - steps with a simultaneous turn. The leg bent at the knee is brought in the surlecou-de-pied position to the knee and above.

• Enavant (forward) – a term to define the position of the front foot or the forward movement of the dancer;
• Enarriere (backward) - this term is used to indicate the rear position of the leg, or the backward movement of the dancer;
• Endedans (inward) - indicates the direction of rotation during pirouettes, tours and movements that are performed by Entournant to the supporting leg;
• Endehors (outward) - indicates the direction of rotation during pirouettes, tours and movements that are performed by Entournant from the supporting leg;
• Enl'air (in the air) - the term shows that at the moment of execution either the working leg or the whole body is in the air;
• Entournant (in a turn) – the term indicates that the movement is performed simultaneously with the rotation of the body;
• Enface (opposite) – the performer works for the viewer, facing the audience;
• Entree (entrance) – exit of artists in parts;
• Entrechat (entrechat? - from Italian intrecciato - braided, also used to define a crossed jump) - a vertical jump with both legs. At the moment of execution, the legs spread slightly and join in 5th position. The legs do not hit one another, as they are in an everted position from the hip;

B - V

• Balance,pas (verb balancer - to swing) - movement in any direction and with stepping of feet in place, consists of pastombe. In essence, this is a pascoupe - an exercise with or without clear fixation of the surlecou-de-pied. The swaying effect is created by slightly bending the body at the waist and tilting the head. It is often performed several times in a row from different legs in any direction, with the addition of various movements and translations of the arms. Due to the fact that the movement is borrowed from the waltz, it is performed in musical time?;
• Balancoire, battement (literally translated - swing) - a movement performed several times in a row with the body engaged. When throwing the working leg forward or backward, the body sharply deviates in the opposite direction. The French ballet school calls large battements grands battements encloche, which translates as bell;

• Ballon (ball, balloon) – this is the name given to a dancer’s ability to hover in the air while performing a jump. Simultaneously fixing various figures;
• Ballonne, pas – jump on one leg with extension of the working leg and advancement in any direction. Both legs return to the surlecou-de-pied position;
• Ballot e, pas (verb ballotter - to swing) - a jump in which one leg closes and kicks the other. In this case, the tilt of the body gives a swinging effect;
• Battements (kick, beat) - movements in classical choreography, which are aimed at developing strength, eversion of joints, sharpness and elasticity of muscles, as well as coordination;
  • Battements Tendus (pull): Battement tendu jete (jeter - throw at 45°), Battement tendu pourbatterie (preparation for skidding), Grand Battement Jete (throw above 90°), Grand Battement Jete pointe, Grands Battements Jete balance;
  • Battements releve tape (in adagio).
  • Battements sur le cou-de-pied: Battement frappe (frapper - to hit), Battement double frappe, Petit battement sur le cou-de-pied, Battement battu (battre - to beat), Battement Fondus (fondre - to melt) - 45° and 90°, Battement soutenu (soutenir - to support) - V any direction .
  • Battements Developpes (developper - develop). A movement during which the working leg slides along the support with outstretched toes and then opens in any direction. Battement Retire (retirer - take away, pull back). Grand Battement Developpe Passe (passer - to carry out);

• Bris e, pas (verb briser - to hit) - advancement is performed behind the leading leg in a small jump. The end point of the breeze is 5th position. Translated from French it means a light sea breeze;
• Variation (Variation) - a short and complete dance to be performed by one or more dancers. Often this is part of Pas dedeux, Pas detrois, Grand Pas, but it can be introduced as an independent dance.

G

• Grand (large) – a prefix that is used to determine the maximum amplitude of movements during performance: grand plie, grand pirouette, grand battement jete, grand passaute, grand pas dechat, etc.;
  • Grand pas - in classical ballet - a complex form that consists of the dancers entering, alternating changes of soloists and corps de ballet, and a final coda. Examples: grand pas from “Don Quixote”, “Paquita”, etc.;

D - D

• Divertissement (Divertissement - entertainment) - dance numbers that follow each other, or a concert program that combines dance works of different genres and character;

K - S

• Code translated from Italian (coda) - tail, train. The term has three meanings:
  • The final part of a solo performance consisting of various spins and jumps, which are performed in a circle or diagonally. Can be performed moving towards the viewer;
  • The end of the musical dance form (pas dedeux, pas detrois, pas dequatre, etc.), which consists of alternating solo performances. Often the most spectacular combinations, rotations and other complex figures are performed throughout the stage (center, circle, diagonal);
  • The end of the performance, where all the characters take part, including the corps de ballet.

• Corps de ballet (corps de ballet literal translation - ballet frame) - the main part of the troupe, artists, ensemble dancers who perform mass numbers;
• Coupe, pas (verb couper - to cut, trim) - a movement in classical dance, performs an auxiliary function, performed together with other figures, found in exercises at the barre, in the center of the hall, in jumps;
• Croisee, pose (verb croiser - to cross) is a figure in classical dance that stands from the epaulement croise position to the 5th position. Performed by moving the leg forward or backward. Small figures are performed with the toe extended to the floor, medium figures with the leg raised by 45 degrees, large figures by 90 degrees and higher. The supporting leg is on the foot, fingers or toes, stretched or half-bent. The working leg can be either fully extended or bent at the knee. The movement can be performed while jumping. Endless variations are given to the figure by different positions of the arms, legs and head;

L

• Level, temps (verb lever - to lift) a term that means lifting the dancer onto his toes/half-toes, or performing jumps on one/both legs:
  • Lifting to the toes/half toes on one or both legs in any position or pose. In Moscow ballet it is called temps releve. If the name contains the prefix re, this means repetition of the exercise. Can be performed both on outstretched legs and in a demi-plie pose with jumping and squeezing;
  • Jump on both legs or on one leg to any position. The Moscow school calls temps saute. If the jump is performed on one leg, the second remains in the position taken before the exercise. If the movement is performed in a turn, the initial position of the surlecou-de-pied changes. Temps leve with the leg raised to 45-90 degrees is the basis for performing a cabriole jump;
  • Temps leve with a change of position - lifting onto the toes/half-toes of one foot, or jumping on one leg while simultaneously abducting the other, which is raised in the air. Grand temps leve passe is an amplitude and spectacular jump of a dancer with advancement. During the execution, one leg is thrown forward, and during the jump, stretched at the knee, it is thrown back as much as possible. The second leg is also extended at the knee, thrown forward and maximum height legs are fixed in twine;

M

• Manage (en manege literally means running in a circle) - jumps that are repeated one after another several times, moving in a circle. Often executed as code elements;
• Marche, pas (literal translation – transition) – marching across the stage;
• Marche, pas (verb marcher - move, advance) - light dashes on low half-toes. With this type of running, there is an accentuated movement of the strong part of the leading leg in a half-squat;
• Menus, pas (literal translation – small) – movement, used in a minuet. Small steps on low half-toes, performed by groups of three dancers;

P

• Pas de bourree - Bourré dance movement. Pas de bourree suivi (verb suivre - stick to, continue) - movement in the women's party, alternating small moves on the fingers/half-toes in 5th position without changing legs in one place, around oneself, or with advancement. In Mikhail Fokine's work "The Swan" is the main movement;
• Pas de chat (literal translation - cat movement (pa)) - a movement based on imitation of cat grace. Today, several different jumps are called this way, however, A.Ya. Vaganova defined with this term a jump with the half-bent legs thrown back in turn, with simultaneous bending in the body and arms in the allongee position. The movement ends by moving the leg from behind to the front in position 5 or 4;

The simplest form of pas de chat. When the legs move forward, they alternately bend and move to the 5th or 4th position during the jump. Moving backwards is also possible, but this is rarely seen on stage. Depending on the bending of the knees, the height and amplitude of the jump varies: from a small surlecou-de-pied to a high and amplitude passe (retire). Italian pas de chat is a variation of this jump. At the moment of execution, the leg that makes the first movement is extended at the foot and knee and thrown into the 2nd air position;

Grand pas de chat (grand pas jete developpe) is an amplitude jump, during which one leg is bent and opens in the air. During the execution of such a figure, the working leg rises up, while bending in a straight position, at the moment of takeoff it opens as high as possible forward. At this time, the second leg is stretched at the knee and thrown high back. In modern performances, dancers open their legs into a split at the moment of the jump. Hands can be in any position. It is possible to perform a “ring” jump, with the back leg bent and the body bent backward;

• Pas de ciseaux (literal translation – scissor movement) – jump from one leg to the other. Both legs are thrown forward, after which one is pulled back after 1 position into an arabesque figure. Exit options may vary;

• Pas de poisson (fish movement) - jumping from one leg to the other with throwing the leg back;
• Pass-pied – moving the foot to 5th position from back to front or front to back. There are several options:
  • translation possible via surlecou-de-pied;
  • passing through 1 position. The supporting leg stands on the full foot, toes or half-toes with simultaneous rise and fall in demi-plie;
  • change to 5th position through small steps with promotion;

• Passe (verb passer - pass, translate) - an auxiliary figure for transferring the working leg from one position to another:
  • Passe parterre - the working leg is open to the toe to the floor, or to a height, transferred to a groan/forward/backward in 1 position. Legs can be extended or bent (demi-plie);
  • Passe enl "air - the working leg is open to a height in any direction, transferred to any figure through bending to the surlecou-de-pied position or to the position “at the knee” and moves in the desired direction with extension;
  • Transferring the leg to the fifth position through the position “at the knee”;
  • Passe (position) – in the Russian school this term is semantically incorrect. In this position, the working leg is bent at the knee in a straight or inverted position, brought to the calf or knee of the supporting leg;

• Plie (verb plier - to bend [meaning knees]):

• Squatting on both or one leg in any of the existing positions is performed on the full foot, toes or half toes. The movement may differ in tempo and character, and the strength of knee flexion. Depending on the degree of flexion, it is divided into demi-plie (half squat) and grand plie (deep squat). The first type can be either an independent or a connecting movement, for example, when moving from one position to another. Most jumps, spins and leaps begin and/or end with a demi-plie. The exercise, as a training option, helps develop coordination and muscle strength. Classical dance uses spins that begin with a grand plie in any position;
• May refer to flexion of the working leg, which is raised upward in any direction;

• Port de bras (Porter - wear, Bras - hand) - correct movement of the hands into the main positions (1,2,3), rounded (Arrondi), elongated (Allonge) with a turn or tilt of the head and body. There are port de bras first, second and third;

R

• Renverse, pas (the verb renverser is translated as overturning) - a movement during which the body is thrown back in a turn. Involves bending the body forward in a demi-plie, then jumping onto the toes/half-toes and slightly bending the body back, followed by a pas de bourree entournant. During the first step, the deflection of the body increases; during the second step, the body levels out. The tempsleve technique is performed by Renverse with a jump.
  • The most common form is renverse en attitude (renverse en dehors). At the beginning of the movement, squat in an open or closed position, after which a jump is performed in the attitude croisee and pas de bourree endehors position. When performing renverse en dedans, the jump is done in a forward croisee position and the pas de bourree is performed back - in a turn en dedans;
  • Renverse en ecarte is a more complex movement to coordinate and is performed in fouette.

S

• Ciseaux - the same as pas de ciseaux;
• Saute, temps (verb sauter - to jump) is a term coined by the Moscow school. Means the same as temps leve, a jump on both legs in any position;
• Suivi – the same as pas de bourree suivi;
• Sussous (literal translation - over-under; see also dessus-dessous):
  • Leg position in 5th position;
  • Temps level in 5th position. According to Cecchetti, this is any temps leve; for Vaganova, this is advancement in any direction;

F

• Ferme (verb fermer - to close) – a term denoting closing a leg open to the air in the 5th position;
• Fermee, sissonne – jump on both legs with advancement in any direction;
• Fondu, battement (the verb fondre means to melt, melt, pour) - the term means slow bending and straightening of the legs;
• Fondue, sissonne - sissonne fermee, at the end of which the legs do not immediately return to position. Landing occurs on one leg, while the second closes in the 5th position with a delay, after gently moving the entire foot along the floor;
• Frapp e, battement (verb frapper - to hit) - the working leg, open in any direction, is sharply brought into the urlecou-de-pied position, after which it is pointedly opened to the toe on the floor or in the air;

• Fouette (Russian transcription [fuette], the adjective fouette means “whipped”, the verb fouetter) is a movement that the dancer performs on pointe in the finale of Pas dedeux. This is a sequence of tours that are performed at one place. During each turn, the working leg performs a rond de jambe en l'air at 45°.

This movement has several variations:

• Fouette en tournant at 45° En dehors. At the moment when the left leg is in demi-plie, the right one opens in 2nd position at 45 degrees, tout en dehors on the left leg. At the moment of execution, the working leg touches the supporting leg on the calf. The hands at this time are in the preparatory or first position. The stop is performed in demi-plie, arms and legs open in 2 positions. The movement begins with the right leg, while the supporting leg does not collapse. If you perform Fouette several times in a row, it begins with preparation in 4th position, getting up on pointe shoes, performing tour en dehors;
• Fouette en tournant at 45° En dedans is performed in the same way, but the working leg first goes in front of the calf and then back. The exercise is required in the training program, but rarely occurs on stage;

French ballet school similar to Russian. Movements: les fouettesen dedans et endehors, les fouettes sautes, les fouettes sur pointes ou demi-pointes. The dancer performs a pique on the right leg. At this time, the left one rises forward, the dancer performs a tour on a finger (surlapointe) or half-finger (demi-pointe), and the left one remains extended in the air. The movement ends at en arabesque sur pointe (oudemi-pointe).

At the American ballet school Fouette en tournant at 45° En dehors. Unlike the Russian school, where during the tour the working leg touches the middle of the calf from behind, and then moves to the front of the calf of the left leg (petit battement), in the American school the working leg performs a demi rond at 45°. This gives the figure additional force, but at the same time it can threaten to “release the hip” and cause the ballerina to go off the axis. Due to this execution, Fouette is performed with advancement to the side or forward.

• Grand Fouette. He absorbed the teachings of the French and Italian schools;
• Les fouette sendehors. Croisee pose means back of the left leg. Coupe on the half toes of the left foot, hands move to second position, left leg lowers into demi-plie, and left hand in 1 position. At the moment when the dancer moves her half-bent right leg forward 90 degrees, she rises to the half-toes of her left, quickly moves her right leg around the Grand Rond de Jambe back and ends on her left leg in demi-plie in III arabesque (in the en face position - facing on viewer). The hands perform Port de bras: the left one is raised to 3rd position and passes to 2nd, while the right one is moved to 3rd and passes through the right one to III arabesque while lowering the left leg into plie;
• Les fouette sendedanse tendedans – identical principle of execution;
• Grand Fouette en tournanten dedans. The dancer takes a croisee position forward with her left leg, lowers herself into a demi-plie on her left leg, jumps up onto her toes and throws her right leg into the 2nd position (alaseconde) at 90° (120°) - Grand battement jete. During the turn, he swings his right leg through passe parterre (passing position). At this moment, the supporting leg rotates on half toes, and the right leg remains at the same height.
• Grand Fouette entournanten dedans. Or Italian fouette. It is performed on the fingers according to the same pattern. The only difference: the movement begins not with plie, but with surlecou depied. Ends in attitude on pointe shoes. 3rd position for the right hand and first for the left.
• Grand Fouette en tournant saute execution is the same as Grand Fouette en tournan tendedans, only the left leg leaves the floor in a jump, the turn is performed in the air as the left leg jumps.

CH-SH

• Chaines, tours (literally a chain of turns). The movement is the same as tour schaines-deboules - several quick half-turns on the fingers/half-fingers in a row. At the time of execution, advancement can be made in a circle or diagonally. Each turn is performed 180 degrees by stepping from foot to foot. Depending on the dancer’s physique and artistic goals, the movement can be performed in 1, 5 or 6 positions on straight legs or in a demi-plie. In classical ballet, this movement often completes variations or dance compositions. There may be other options at the discretion of the stage director;
• Changement depied (literally translated - change of legs) - change of feet in 5th position in any way. Usually this term means changement depied saute - a jump on both legs with advancement in any direction (changement depied de volee). At the moment of execution, the legs change in 5th position. The movement can be performed at any amplitude of jumps, with a maximum fixation of the 5th position before changing legs (grand changement depied), or on small jumps with minimal lifting of the toes from the floor (petit changement depied). It can be performed with a turn to any part of the circle, up to a full turn of 360 degrees. Italian changement depied is performed by bending the legs while jumping (the bend angle can be completely different);

On the toes/half-toes, the figure is performed as a jump on both legs with a simultaneous change of legs in position, or in the form of a jump that begins and ends on the fingers/half-toes in position 5, without completely lowering onto the foot;

• Chasse, pas (verb chasser - to drive, accelerate) - a jump during which the outstretched legs gather in the air in the 5th position, and the dancer moves in any direction. The beginning can be with sissonne tombee, pas failli, running and other movements that allow you to jump and move forward in the air. Can be used as a preparatory movement for a jump or big spin. Performs independently several times in a row. In historical and everyday performances, it is performed without a jump in a slide and lifting onto half-toes in the 5th position;
• Chat - the same as Pas dechat.

E-E

• Ecartee, pose (verb ecarter - to deviate) - a pose that is built from epaulement in 5th position with one of the legs moving to the side. At this time, the body tilts from the waist to the supporting leg. Small ecartee poses are performed with the toe extended to the floor, medium poses with the leg raised by 45 degrees, and large ones by 90 degrees or higher. The supporting leg stands on the full foot, toes/half-toes, the knee is fully stretched, or in the demi-plie position. The working leg is extended at the knee, the foot is stretched. The movement can be performed in a jump, any position of the hands. The ecartee pose has two types:

• Ecartee forward. The working leg is open forward diagonally in position 2, that is, towards the viewer. At this time, the head is turned in the same direction, raised, the gaze is directed upward;
• Ecartee back. The working leg is open back diagonally in 2 positions, away from the viewer. The head turns to the supporting leg, and the gaze goes down.

• Echappe, pas (verb echapper - go forward, break free) - a jump on two legs, at the moment of which the position of the legs changes in the air. Often there are two movements:
  • first: the legs open from 5th position in a jump to 2nd or 4th position;
  • second: the legs are brought back to the 5th position;

There is an execution option when the pas echappe ends on one leg, while the second leg, after the second movement, remains in the surlecou-de-pied position in front/back, or is fixed in an open position in any direction. Using the same principle, pas echappe is performed with a jump on the fingers;

Pas double echappe is that between the two main movements a temps leve is inserted on a jump or with a lift to the toes/half-toes without changing the position. It is also possible to change the epaulement position.

Jumps can be small and large. At the moment of performing the grand pas echappe during the jump, the legs are held for as long as possible in the starting or pushing position, and open in 2 or 4 positions just before landing.

The jump can be performed to advance, in a turn, or with a skid. For petit pas echappe battu, one skid is made, and for grand pas echappe, the required double skid is required at maximum takeoff;

Effacee, pose (verb effacer - to remove, hide) - a pose that is built from the epaulement efface in 5th position with the leg moving forward or backward. Small effacee poses are performed with the toe extended to the floor, medium ones - at a height of 45°, large ones - 90° and above. The position of the supporting leg is on the full foot, toes/half-toes, stretched at the knee, or in demi-plie. The working leg can be straight or bent at the knee. Performed in the air or while jumping. The position of the hands and head can change endlessly, varying the changes in posture;

• Epaulement: (from epaule - shoulder) - a position during which the dancer stands half-turned towards the mirror, or towards the viewer. Feet, hips and thighs are turned to the right or left side from the viewer at 45 o or 135 o. The head turns onto the shoulder, which is directed forward. This position gives the dance three-dimensionality, making it more expressive and artistic. When performing, the dancer must control the angle of rotation of the head, the position of the shoulders and the direction of gaze.

The movement is divided into two types - croise and efface:

• Epaulement croise (verb croiser - to cross) - a pose during which the legs are in any crossed position (3,4,5). The shoulder and leg of the same name are turned towards the viewer. The head turns towards the rotated shoulder. This position allows you to take any pose through an open leg;

• Epaulement efface (verb effacer - to remove, hide) - a pose during which the legs are in any crossed position (3,4,5), but the leg opposite the shoulder facing the viewer is in front. This position allows you to take any effacee position by opening your legs forward or backward.

So, you have become familiar with the basic terms of classical choreography. We hope that this knowledge will help you better understand ballet, understand the meaning of dance and enjoy the performances.

battement - “batman”) - abduction and adduction of the leg in a dance movement. Groups together most of the exercise elements necessary to improve the technique of classical dance (and therefore dance in general):

• Batman tandu (fr. tendu - “stretched” ) (and its modifications)
• Batman tandu jete (fr. jet - “throw”) (and its modifications)
• Grand Batman Jeté (French) grand - “big”, jet - “throw” ) (and its modifications)
• Batman developer (fr. developpé - “unfolding”, “unfolded” ) (and its modifications)
• Batman frappe (fr. frappe - “chasing”, “blow” ) (and its modifications)
• Batman fondue (fr. fondu - “softened”, “vague”, “melted” ) (and its modifications)

Batman makes up the main part of a classical dance class, developing the ability to correctly abduct and extend (straighten) the leg while performing dance movements, and also contributes to the development of aplomb, helping the dancer learn to control individual muscle groups.

Methodology and objectives

Batman is performed at the support (the so-called “machine”) or “in the middle”:

• Batman tandu- flexion to the starting position and extension of the foot by sliding along the floor to a pointe position (the leg, while maintaining a turned-out position, gently touches the floor with the elongated toe). During the exercise, the center of gravity is on the supporting leg, the muscles (legs and body) are extremely tight. Performed from I or V position forward, to the side and backward.
  Purpose of the exercise- develop the ability to correctly stretch the leg, strength and elasticity of the ankle joint, as well as a beautiful line of the legs.

• Batman tandu jete (in the hierarchy it stands out separately from Batman Tandu, and not as its modification)- small (up to 45°) clear swings of the leg to the downward position and return to the starting position (IP) through the batman tandy while maintaining the eversion of the working and supporting legs, as well as the tension of the instep and toes of the working leg.
  Purpose of the exercise- developing the ability to control individual muscle groups, as well as orientation in space (the ability to quickly move the leg into the desired position and clearly fix it in it).

• Grand Batman
  When using the term grand batman most often this means an element such as Grand Batman Jet, A Batman Relevant (also relevyan, relevant) is an abbreviation for the element name Grand Batman Relevant.
  Grand Batman Jete- large swings into the air and return to IP are performed in I or V positions forward, to the side and backward. From the starting position, the leg swings up into the air to a position of 90° and above, passing along the floor with a sliding movement, as in the batman tandu jet, and returns by sliding through the batman tandu jet to the IP, maintaining the eversion of the knee and lifting of the working leg, as well as the center of gravity at supporting leg.
  Grand Batman Relevant(fr. releaser - “to raise”, lent - “slowly” )- differs from Grand Batman Jet the fact that the movement is not performed with a wave, but slowly, “using the muscles.”
  Purpose of the exercise- development of swing movements, stretching, balance.

• Batman development- flexion and extension of the leg by 90° and above. Executed via intermediate passe- the leg is bent at the knee, the knee is turned to the side as much as possible, the instep is extremely tense and is located in front of the knee (on the side of the knee, behind the knee) to perform movements forward (to the side, back). If the movement is performed forward (or to the side after performing forward), then the leg is in passe translated via sur le cou de pied ahead (foot at a level just above the ankle, touching it with the outer part, "hugs" leg - heel in front, toes pointing back), if backwards (or to the side after performing backwards) - sur le cou de pied(fr. sur le cou de pied - “at the neck of the leg” ) behind(the leg is located just above the ankle, the heel is pressed against the leg, the instep and toes are not pressed, as if forming a “tail”). When passe will be worked out, the second part of the movement is introduced - extension of the leg forward, to the side and back. The movement is performed smoothly. It is necessary to maintain the eversion of the leg during its extension and return to its original position.
  Purpose of the exercise- develop eversion in the hip, knee and ankle joints.

• Batman frappe- sharp, clear bending of the leg (essentially a blow) to position sur le cou de pied and extension on the toes, as well as in a downward position or on the half-toes in a position on the toes or downwards. Performed forward, to the side, backward, with an emphasis on impact. The knee is turned out as far as possible, directed to the side along the line of the shoulder.
  Purpose of the exercise- develop eversion in the hip, knee and ankle joints when performing movements quickly; practice “placing points” in movements.

Classification

Notes

Sources

Literature

1. Shipilina I. A. Choreography in sports: a textbook for students. - Phoenix, 2004. - 215 p. - ( Educational technology in mass and Olympic sports). -

Just as a book is made of words, a house is made of bricks, any ballet is made of movements. Strict, once and for all established positions of arms and legs, poses, jumps, rotations, connecting movements are the basis of classical dance. By combining these movements and arranging them in a certain order, the choreographer creates a choreographic pattern for the ballet.
The beauty and power of movements depend on whether they accurately express the character of the music, and on the meaning that the director - choreographer and performer - ballet dancer puts into them. And it turns out that the same movement can look different, it can be good and evil, brave and cowardly, beautiful and ugly, and this sometimes depends on the tilt of the head, sometimes on the position of the arms and body, on the strength and expressiveness of the jump, from the smoothness and speed of rotation.
That’s why ballet performances are so different from each other.

ALASGON, ARABESQUE, ATTITUDE, EKARTE. The main poses, the “pillars” on which classical ballet rests. In all these poses, the performer stands on one leg and the other is raised high: to the side (alasgon), back (arabesque), back with a bent knee (attitude), diagonally forward or backward (ecarte).

ADAGIO. A dance of two or more ballet characters in which they reveal their inner state.

ASSEMBLY. A jump during which one leg opens to the side, forward or backward, and at the end of the jump is pulled towards the other leg.

CHOREOGRAPHER. A person who composes, or, as they say, choreographs a ballet. Sometimes a choreographer, or ballerina, is the name given to the performers of male parts in ballet. It is not right. A man in ballet is called a dancer.

VARIATION. Solo dance, dance monologue.


GLISH SAD. Sliding lateral movement. Usually it connects one movement to another, serves as a preparation, a run-up for a jump.

BURN. Jump from one leg to the other. Grand jetés are performed as a jump over an imaginary obstacle in all the main ballet poses - arabesque, attitude, alasgone.

CABRIOLE. A jump during which one leg kicks the other. The legs are strongly extended. This jump is performed in all directions: forward, sideways, backwards.

LIBRETTO. Literary script of the ballet, its content.

PA DE DEUX. The main dance scene in a ballet or one of the acts of a ballet. The pas de deux reveals the relationships between the characters and shows the dancing skills of the performers. The pas de deux consists of an adagio, a dancer's variation and a ballerina's variation and coda - short, technically complex dance pieces between the dancer and the ballerina.

PACK. A ballerina costume consisting of many short starched tulle skirts. These fluffy and light skirts make the tutu airy and weightless.

PIROUETTE. Rotation around its axis on half toes or toes of one foot. Pirouettes are small when, during rotation, one leg is tightly pressed to the other in front or behind. Large pirouettes are performed in all basic poses.

SUPPORT. Required item classical dance. During the dance, the dancer helps the ballerina, supports her, and lifts her up.

POINTE SHOES. One of the main elements of female dance in classical ballet is dancing on the tips of outstretched fingers. For this you need ballet shoes with a hard toe.

FIFTH POSITION. Basic leg position of classical dance. The legs are turned one hundred and eighty degrees. The heel of the right foot is pressed tightly to the toe of the left, and the heel of the left foot is pressed tightly to the toe of the right. The dance most often begins from this position, and this position most often ends.

ROND DE JAMBE. In French it means circle with your feet. In fact, half of the circle is described by the leg on the floor and in the air, during a jump and squat.

SOTE. A jump during which the legs are strongly extended in the first, second or fifth positions.

TOURS. Rotation around its axis during a jump. Tours are made with one and two revolutions. A round with two turns is an element of male dance.

LESSON. Ballet dancers never stop learning. Every day they come to the ballet class for a lesson. It lasts at least an hour. The lesson is divided into two halves: the smaller one – exercise (exercise) at the barre and the larger one – exercise in the middle of the hall. During the lesson, all the movements that a ballet dancer needs in dancing are improved and practiced.

CHAZHMAN DE PIED. A jump during which the legs are in fifth position and change places.

FOUETTE. The ballerina rotates around her axis on the toes of one foot. After each turn she opens the other one to the side. Fouette is usually performed at a very fast tempo, sixteen or thirty-two times in a row.