Glossary of ballet

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Since ballet becomes formal in France, a significant part of ballet terminology is in French.

Video Glossary of ballet

A

ÃÆ' â,¬ la seconde

( French pronunciation: Ã, [a la s ???? d] ) The position of the foot to the side with the body facing directly forward ("en face").

ÃÆ' â,¬ la quatriÃÆ'¨me

( French pronunciation: Ã, [a la kat? ij? m] ) One direction of the body, facing the audience ( en face ), the arms are in second position, with one leg extended either to the fourth position in front (quatriÃÆ'¨me devant) or the fourth position behind ( quatriÃÆ'¨ me derriÃÆ'¨re ).

ÃÆ' â,¬ terre

( French pronunciation: Ã, [a ??] ) Touch the floor.

Adagio

Italian, or French adage , which means 'slow, quiet.'

1. Slow motion is done with flexibility and elegance.
2. One of the typical exercises of a traditional ballet class, performed in barre and in the middle, displays slow and controlled movements.
3. Part of the grand fitting (for example, grand pas de deux ), often referred to as the great adage , featuring a partner dance.

Allegro

( Italian pronunciation: Ã, [al'le:? ro] ; meaning 'happy')

1. Quick and lively movements. An attribute of many movements, including where a dancer is in the air (eg, assemblà ©  , change , entrechat , sautà Sebuah  © , sissonne , soubresaut ).
2. Used in a ballet to refer all jumps, regardless of tempo.
3. Exercise categories found in traditional ballet classes, e.g. petit allegro (small jumps, generally fast) and large allegro (big jumps, generally slower).

AllongÃÆ'Â ©/span>

( French pronunciation: Ã, [al ??? e] ; meaning 'elongate'.) Refers to hand and position of the arm when the fingers and elbows are extended and elongated, rather than forming a regular soft curve.

Aplomb

Clear elegance and accuracy are demonstrated by a confident and accomplished dancer.

Arabesque

In the dance (especially ballet), arabesque (literally "in Arabic mode") is the position of the body in which the dancer stands with one leg (the supporting leg) with the other leg (the leg works) extended, straight, behind the body. The position of the arm can vary and generally allongÃÆ' ©. Support legs may be flat on the floor, on footballs (by-pointe/relevà © Ã… ©), or at the tip of the toes (en pointe).

Arrondi

( French pronunciation: Ã, [a ??? di] ; meaning 'round') Hand position. Rounded, unlike allongÃÆ'Â © ('stretched', as in Arabic).

AssemblÃÆ'Â ©/span>

( French pronunciation: Ã, [as] ; literally 'assembled') Sometimes also fitting assemblà ©  © . Leap that landed on two legs. When it starts from two legs, the working foot performs a battement glissà © / dÃÆ'  © gagÃÆ' ©, , bruses it out. The dancer jumps into the jump, with the second leg then meets the first leg before landing. A collection of petit is when a dancer stands on one foot with the other extended. Dancers then make a small jump to meet with the first leg.

Attitude

( French pronunciation: Ã, [atityd] ) Position where the dancer stands on one foot (> Support leg) while the other leg ( working leg) is raised and turned with knees bent to form an angle of approximately 90Ã, Â ° between the thighs and lower legs. The knee versus leg and knee flexion heights will vary depending on the technique. Working legs can be held behind ( derriÃÆ'¨re ), in front ( devant ), or sideways ( ÃÆ' la seconde ) of the body. Thigh alignment compared to the midline in DerriÃÆ'¨re Attitudes will vary depending on the technique. Support legs may be flattened on the floor, en by-pointe (foot ball), or en pointe (toe). Standing feet can be straight or crooked ("fondu").

Avant, en

( French pronunciation: Ã, [n av ??] front, as opposed to en arreÃÆ'¡re , which in turn is a movement towards the back. For example, travel steps en avant move forward towards the audience, as in sissonne en avant .

ArriÃÆ'¨re, en

( French pronunciation: Ã, [?? na? j?:?] ; meaning 'backwards') A movement towards the rear, as opposed to en avant.

Maps Glossary of ballet

B

BalancÃÆ' Â ©

( French Pronunciation: Ã, [bal ?? se] i> fondu , relevÃÆ' Â © , fondu (down, up, down) - executed in three instances. Before the first count, one leg extends in dÃÆ'Â © gagÃÆ'Â © to the second position ( balancÃÆ'Â © de cÃÆ'Â'tÃÆ'Â © ) or forward ( balancÃÆ' Â © en avant ) or back ( balancÃÆ'Â © en arriÃÆ'¨re ). The second leg in the sequence (in any direction) gathered behind the first for relevance in fifth or fourth position.

BalanÃÆ'§oire

( French pronunciation: Ã, [bal ?? swa?] ; "swing [children's toys]") Swinging leg work between the front (devant) and return (derriÃÆ'¨re) through the first position, usually in relation to the grands battements or attitude and involves a seesaw such as body shift part top in opposite to the foot. Similar to en cloche.

Ballerina

(Italy) The main female ballet dancer.

Ballet technique

The basic principles of body movement and shape used in ballet.

Balletomane

Ballet or fan fans. The word comes from Russia c. 1930, with the -mane suffix coming from maniya (mania).

Ballon

Shows light movement in jumps and jumps. A dancer showing off ballon will appear easily, float in the air, and land softly like a balloon.

BallonnÃÆ' Â ©

In classical ballet, the term ballonnÃÆ' © is a step in which the leg is extended (can be in front, side, or back) at 45 degrees. The knee is then bent and the foot is brought to sur le cou-de-pied position. This can also be done as relevà © or jump.

BallottÃÆ'Â Â ©

BallottÃÆ'Â © is a leap step in a classical ballet consisting of short and small developments done with rocking and swaying movements. This step can be done with leg extensions at 45 or 90 degrees.

Barre

Solid horizontal bars, approximately waist-high, are used during warm-up exercises and ballet training. Fixed barrres are usually mounted on mirror-covered walls; portable barres can be moved as needed.

Battement

A side-to-side movement of the working foot (not supportive). Usually done in multiples, fast and in rapid succession so that the working legs appear to vibrate or vibrate.

Batterie

( French pronunciation: Ã, [bat? i] ) The general term for jumps where the legs open slightly to the side and close (crossed in fifth position) several times, legs alternately. (See "Battu.)

Battu

( French pronunciation: Ã, [baty] ; meaning 'beaten') A movement with extra beating on the foot including, as in jetÃÆ' Â © battu .

Brisà ©  ©

( French pronunciation: Ã, [b? ize] ; literally 'broken') A leap consisting of a < i> assemblà ©  © travels either en-avant or backward (en arriÃÆ'¨re), with an extra tap that "destroys" the jump in its journey. To execute brisÃÆ'  © en avant, the dancers by-pliÃÆ'  © in the fifth position and brushed the back foot (through the first position) forward, then jumped into the air and brought the second leg to meet in the back before moving forward to the ground, creating action beating with legs. In a brisÃÆ'  © en arriÃÆ'¨re, the process is reversed, with the front foot brushing back and hitting ashore in front.

Bras croisà ©  ©

( French pronunciation: Ã, [b? ak waze] ; literally 'crossed arms') Placement of the arm where one arm extended in the second position of the audience while the other curved in the first position (fourth position Cecetti) en avant or RAD/third position France).

Bravura

( Italian pronunciation: Ã, [bra'vu: ra] ) The striking, striking and elaborate dance style involving many complicated steps and styles for similar music. Usually during key solos.

BourrÃÆ'Â © e

( French pronunciation: Ã, [bu? e] ) Abbreviation of pas de bourrÃÆ' Â © e couru . Fast, even step, often en pointe, giving the glide look. The word comes from ancient French dance that resembles gavotte..

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C

Cabriole

( French pronunciation: Ã, [kab? ij? l] ; meaning 'caper.') Step allegro in where Extendable legs are struck in the air. Cabrioles are divided into two categories: petite, which is executed at 45 degrees, and grande, which is executed at 90 degrees. Working legs are pushed into the air, feet below it follow and hit the first leg, sending it higher. The landing was then made under his feet. Cabriole can be done well, derriÃÆ'¨re and ÃÆ' la seconde in certain positions of the body like croisà ©, effacÃÆ' ©,  © cartà © Ã… ©, and so on.

CambrÃÆ'Â ©/span>

( French pronunciation: Ã, [k ?? b? e] ; literally 'curved.') A bent at waist in all directions, forward, backward, or sideways.

ChaÃÆ'®nÃÆ' Â © s

( French pronunciation: Ã, [?? ne] ; 'chained', plural.) Also known as "chaa ®nÃÆ'  © s turns, "a common abbreviation for the tour tour chaÃÆ'®nÃÆ'Ã… © sà © à © boulÃÆ' © s , a series of fast, 360-degree turns that alternate legs while traveling along a straight line or on a path circular. The majority of turns are at the forefront, with the legs held in tight first position, en pointe or by-pointe.

Changement

( French pronunciation: Ã, [???? m ??] ; literally 'change, change.' ) Common abbreviated name for change pieds. A jump where the foot changes position in the air. For example, starting from the fifth position with the right front foot, pliÃÆ' Â © , jumping to the right foot to the back, and landing in the fifth position with the front left foot. In Vaganova's vocabulary, petit changement de pieds shows changes in which the foot barely leaves the floor.

ChassÃÆ' Â ©

(Literally 'pursued.')

1. Movement sliding forward, backward, or sideways with both legs bent, then jumping into the air with your legs straight and fused. This can be done either in running or by pushing a prominent foot along the floor in a pliÃÆ' Â © causing springs to the top. Usually performed in series or as part of a combination of other movements.
2. Slide motion as described above, but without a leap aspect. Instead, the forefoot is pushed along the floor as described above, as a transition to movement or other positions.

Cloche, en

( French pronunciation: Ã, [?? kl ??] ; meaning 'like bell.') Refers to brushing through the first position of the fourth or fourth derriÃÆ'¨re to the fourth position opposite to the upright-held upper body. Can be done continuously, as is often done with combat and attitude. Similar to BalanÃÆ'§oire, which also allows the seesaw as the upper body shifts in counter to foot.

The Vaganova system may refer to bell as "passing elephants" or "defeat past feet".

Coda

( Italian pronunciation: Ã, ['ko: da] ); literally 'tail'.) The closing segment of the show or series of dances consisting of grand pas (eg, grand pas de deux). A very large or complex coda may be called grand coda . If a large group of dancers participates, the term coda gÃÆ' Â © nÃÆ' Â © rale or grand coda gÃÆ' Â © nÃÆ' Â © rale can be used.

Corps de balet

Ensemble from the ballet company, especially the ensemble apart from the top dancers. Being part of a corps means that a person is not a soloist or a main dancer.

CoryphÃÆ' Â © e

( French pronunciation: Ã, [k ?? ife] ) In some systems, higher ranking dancers than members corps de ballet, performing in a small ensemble and a small solo role but not classified as a soloist.

CÃÆ'Â'tÃÆ' Â ©, de

( French pronunciation: Ã, [d? kote] ; 'to the side.') Movement moves sideways.

Cou-de-pied

( French pronunciation: Ã, [ku d? pje] ; 'neck of the foot.') curved lifted to, and rest, ankles. This can be in front (["conditional"] devant ), behind ( derriÃÆ'¨re ), or wrapped ( sur le cou-de-pied CoupÃÆ' Â ©

( French pronunciation: Ã, [kupe] ; meaning 'cut.') CoupÃÆ'Â © is a step and action. Usually executed from cou-de-pied front to cou-de-pied again or vice versa. This can also be done from the leg position extended to fondu or directly through the fifth position (as in concluding jetÃÆ'Â © ). CoupÃÆ'Â © only can be done through a closed leg position.

The Vaganova School rarely uses the term coupÃÆ'Â © except as a preparation for a particular allegros. Conversely, "tombÃÆ'ÂÂ © through the fifth position" is more commonly used.

In the United States, "coupÃÆ' Â ©" can be used to indicate a cou-de-pied position, unlike "passÃÆ' Â ©" is used to indicate the position of retirÃÆ'Â © next to action past the retirÃÆ'Â ©.

Couru

( Pronunciation French: Ã [ku? Y] ; 'run', past participle, as in 'making small quick steps. ') In most cases, it holds the joint and legs in a tight fifth position en pointe or by-pointe and moves forward, backward, or sideways. For example. pas de bourrÃÆ' Â © e couru (also called bourrÃÆ' Â © e for short).

CroisÃÆ'  © croisà ©  © e

( French pronunciation: Ã, [k? w? ze] ; meaning 'to cross.') body or ÃÆ' Â © paulement . Facing one corner of the stage, the body presents at an angled angle to the audience, so the viewer can see both shoulders and hips. Working legs can be crossed forwards (devant) or backward (derriÃÆ'¨re).

CroisÃÆ' © is used in the third, fourth, and fifth positions of the foot. A dancer is on croissà © devant if at the 45th angle to the audience, the legs below the stage (closest to the audience) work forward and the arms open in the third or fourth position with the downstage arm being the second. A dancer is in croissants croisÃÆ'  © derriÃÆ'¨re if at a 45-degree angle to the audience, the upper leg (farthest from the audience) works backwards and arms open in third, fourth, or allongÃÆ'  © in arabesque with the upper arm coming out into seconds, for example arabesque croisà ©  © e or the fourth Russian Arabic. CroisÃÆ' © derriÃÆ'¨re in Russian school or have the legs on stage working backwards, but the forearms came out to second place.

Example croisÃÆ' Â © : the forefoot is the right foot and the dancer is facing the left front corner of the stage; or the front leg is left, and the dancer faces the right front corner.

Croix, en

( French pronunciation: Ã, [?? k? w?] ; meaning 'in the cross.') which is often used during barre exercises to show that the steps are carried forward, sideways, backwards, and then again sideways (as in the shape of a cross), finishing either the first closed or the fifth position.

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D

Danseur

( French pronunciation: Ã, [d ?? soe?] ) Male ballet dancers.

Danseur noble

( French pronunciation: Ã, [d ?? soe? n? bl] ) Superior male ballet dancers in classic subtle roles, often playing princes or other royalty in classical ballet.

Danseuse

( French pronunciation: Ã, [d ?? sÃÆ'¸z] ) Female ballet dancer.

DÃÆ'  © boulà ©  ©

( French pronunciation: Ã, [debule] ); literally 'glide,' as in 'at high speed.') Another name that shows the same steps as chaÃÆ'®nÃÆ' Â © (ie les tours chaÃÆ'®nÃÆ' Â © sÃÆ' Â © boulÃÆ'Â © s ). A quick series of half-turns is done by stepping on one foot, and completing the turn by stepping onto one leg, performed on the ball of the foot or high on the toes, with both legs close together.

Dedans, en

( French pronunciation: Ã, [?? d d '] ;' into. movement.

1. A circular motion where the legs that start behind or the sides move towards the front. For the right foot, this is a counterclockwise circle. For the left foot, this is a clockwise circle. For example, in a rond de jambe en dedans , starting from the first position, the foot first extends to tendu again, then moves to tendu to the side , and then tendu in front, and back again to the first position.
2. Rotate the motion toward the support leg. In pirouette en dedans , dancers will spin to their right if their left leg is lifted, or vice versa. Opposite to en dehors .

DÃÆ' Â © gagÃÆ'Â ©/span>

( French pronunciation: Ã, [de? a? e] ; 'disengaged.') Common abbreviation for battement dÃÆ' Â © gagÃÆ'Â ©, feet of the foot that work sharply combing the floor through a tendon that points to the air 45 degrees or lower. DÃÆ' Â © gagÃÆ' Â © is part of (starting) jump execution like jetÃÆ'Â ©, assemblÃÆ'Â ©, brisÃÆ'Â ©, and glissade.

Especially the term Cecchetti/RAD, this is known as the battement tendu jetà ©  © at the Russian School or battement glissà ©  © at the French School.

Dehors, en

( French pronunciation: Ã, [?? d ???] ; 'outwards.') Which circular motion legs that start in front or side move towards the back. For the right legs, this is a clockwise circle. For example, in a rond de jambe en dehors , starting from the first position, the foot (left or right) will first expand tendu ahead, move to tendu to the side, and then tendu back, and back to the first position. In the pirouette en dehors, the body rotates toward the working foot (the foot is raised in retirÃÆ'Â © passÃÆ'Â © ). Contrary to en dedans .

Bye

( French pronunciation: Ã, [d? mi] ; meaning 'half.') Applied to plià (  © , pointe , and other movements or positions to show smaller or smaller versions.

Demi-dÃÆ' Â © tournÃÆ' Â ©

( French pronunciation: Ã, [d? mi detu? ne] ) Half-spinning turn running on both legs. For example, if you start your right front foot in 5th position, by-pliÃÆ'Â © and relevÃÆ' Â © into by-pointe while turning half-turns into/ en dedans towards the back foot (left here ). The legs will now change position with the left foot in front in the 5th position.

Demi-pointe

( French pronunciation: Ã, [d? mi pw? t] ) Supports a person's weight on balls one or both legs, the heel lifted from the floor.

DerriÃÆ'¨re

( French pronunciation: Ã, [d ?? j?:?] ; literally 'behind.') On or back. For example, battement tendu derriÃÆ'¨re is battement tendu backward.

Dessous

( French pronunciation: Ã, [d. su] ; literally 'below.') Used to indicate that the front of the foot should be brought to close behind the other foot for one step. For example, assemblà ©  © , pas de bourrÃÆ'  © e , and glissade can be set as below or < i> dessous .

Dessus

( French pronunciation: Ã, [d? sy] ; literally 'over.') Used to indicate that part the back foot should be brought to close in front of the other foot for one step. For example, assemblà ©  © , pas de bourrÃÆ'  © e , and glissade can be set as over or < i> dessus .

Devant

( French pronunciation: Ã, [d? v ??] ; literally 'ahead.') Facing or moving to the front, as in tendu devant or attitude devant .

DÃÆ' Â © veloppÃÆ' Â ©

( French pronunciation: Ã, [devl? pe] ) Common abbreviation for temps dÃÆ' Â © veloppÃÆ'Â © . A motion in which the foot is lifted to cou-de-pied or retirÃÆ'Â © and then fully extended out, passing the attitude . It can be done in the future ( devant ), sideways ( ÃÆ' la seconde ), or backward ( derriÃÆ'¨re ).

Duplicate

( French pronunciation: Â [dubl] ; 'ganda.') Membuat dua gerakan, seperti di double rond de jambe en l'air .

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E

ÃÆ' ‰ cartÃÆ' ©

( French pronunciation: Ã, [ātā te] ; literally 'spread,' as in 'separated'. ) One of the basic positions of the body that is facing the audience at an angled angle and with the downstage leg open to the side of the body, along the other diagonally, either touching the floor or en l'air . The arm on the same side with the working foot (ie the forearm) is raised en haut and the other arm is in second position. The gaze is directed to the raised arms along the same diagonal.

In schools that recognize à © à © cartà © Ã… © derriÃÆ'¨re , like the French school, ÃÆ'  © cartÃÆ' © devant described above, and ÃÆ'  © cartà ©  © derriÃÆ'¨re is different in having the legs working in second position on the same side with the angle of the body encountered, ie the foot on the stage is the working leg; the upper arm is en haut, and the gaze is directed along the arm in the second.

ÃÆ' â € ° chappÃÆ' Â ©

( French pronunciation: Ã, [e? ape] ; from closed (first or fifth) position to open position (second or fourth). There are two types ÃÆ'Â © chappÃÆ'Â © s : ÃÆ' Â © chappÃÆ'Â © sautÃÆ'Â © © and ÃÆ' Â © chappÃÆ'Â © sur les pointes or demi-pointes . In a song, a dancer took pliÃÆ'Â © followed by a jump in which the leg "escaped" to the second second (usually when starting from initial position) or fourth position (usually when starting from fifth position) landed at demi-pliÃÆ'Â © . In the ÃÆ'Â © chappÃÆ'Â © sur le pointes/demi-pointes the dancer starts with a deep pliÃÆ'Â © , appearing to les pointes < i> demi-pointes , ending with the second position (when starting from the first position) or fourth (when starting from the fifth) with a straight knee. Dancers may or may not return to the starting position, depending on the choreography.

ÃÆ' â € ° levÃÆ' Â ©

( French pronunciation: Ã, [elve] ; 'picked up, lifted.') i> or by-pointe of straight legs and flat feet. The term is used in several different schools with relevà ©  © (actually, 'relifted'), taken to indicate the increment of the pliÃÆ' © (knees bent). In other schools (French, Russian, Cecchi textbooks), relevà © covers both of these concepts.

EmboÃÆ'®tÃÆ' Â ©

( French pronunciation: Ã, [?? bwate] )

1. A small travel step (en avant or en arriÃÆ'¨re) in which each leg is alternately taken to the cou-de-pied, past the previous standing foot in doing so. Both legs straight down in the air, and landed with one foot in the cou-de-pied. This step is often done turning ("en tournant"), where each leap rotates 1/2 rotation.
2. A series of jumps in which each leg is alternately brought to a faithful stance in the air, each leg passing the previous one in turn.
3. A series of paths done at pointe or by-pointe, traveling forward ( en avant ) or backward ( en arriÃÆ'¨re ); the dancer stands on the sous-sus and brushes one foot to the side, then closes it in the opposite (front or back) position from where it started, and repeats this movement several times in a row, legs alternating.
4. A variation on a typical tour of the piquÃÆ' ©/piquÃÆ' Â © turn, where the dancer performs 1/2 turn as usual, then, without getting out of the relevÃÆ'Â ©, stepping onto the foot that previously worked and lifting the leg previously supported for retirÃÆ'Â © to complete the turn. This can be done several times in a row. (See "Turn the turn.")

En

( French pronunciation: Ã, [?] ; dancers (for example, en pliÃÆ' © , en relevà ©  © , en pointe ) or hold the meaning of ' i> en avant , en arriÃÆ'¨re , en dedans , en dehors = 'forward, , 'into,' 'out').

En avant

Lihat Avant

Then arsipkan

Look back

In the bell

Look at Bell

Straightening

See Croix

The back side of the front side (cross-shaped)

En dedans

Lihat In

Foot movement in the direction of rotation inside

En dehors

Lihat Dehors

En face

View Face

Advanced

Lihat Pointe

Entrechat

( French pronunciation: Ã, [?? t ??? a] ; from Italian intrecciata , 'intertwined.') "The hit step in which the dancer jumps into the air and quickly crossed the legs before and after." In the entrechat quatre ('four'), ​​starting from the fifth position, the right front foot, the dancer will jump with the legs crossed, make the shift hit the right thigh behind the left thigh, then bring the right foot forward again while hitting the front of the left thigh, and landing in the same position as it started. In a sixth entrechat ('six'), three foot changes are made in the air, eventually changing which legs are in front. An even quote indicates how many times the foot crosses in and out in the air: regular change is two (one out, one at), entrechat quatre two out, two ins; six are three and three; hippos are four and four. An odd numbered quote refers to the previous number, but makes a landing with one foot with the other in the cou-de-pied: for example, entrechat cinq (five) equals entrechat-quatre, but landed on one foot.

Entrà ©  © e

( French pronunciation: Ã, [?? t? e] )

1. The early part of the grand pas , which serves as an introduction to a dance sequence consisting of a grand fitting.
2. The initial appearance of the main character or ballet character on stage.

Entrà © à © e de balet

The autonomous scene of ballet de cour, divertissement, comÃÆ'  © die-ballet, opÃÆ'  © ra-ballet, even tragà © lyrique, which brings together several dancers in and out of scenarios.

ÃÆ' â € ° paulÃÆ' Â ©

( French pronunciation: Ã, [epole] ; 'carry.') One body position or à (  ¢ à ¢ ul¬Ã, paulement where the body is at an angled angle to the audience, the forearm's arms are allongÃÆ' © in front and the downstage shoulder stands out prominently to the audience as a footwork on under the stage. backward (eg the second arabesque).

ÃÆ' â € ° paulement

( French pronunciation: Ã, [epolm ??] ; 'shouldered.') Rotation of shoulder and head relative to hip with poses or steps. This term only relates to the movement of the body from the waist up. The head is generally visible on top of the forward shoulder (downstage).

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F

Face, en

( French pronunciation: Ã, [?? fas] ; 'facing, up front.') En face shows facing something directly, generally the audience.

Failli

( French pronunciation: Ã, [faji] 'given way', past participle.) Slide or brush step transition follow leap or previous position. Failli is often used as an abbreviation for the sissonne (ouverte pas) failli, which shows the jump of two legs landing on one ( sissonne ) with the hind legs then slid forward ( chassÃÆ'  © passÃÆ' © ), and this is often done in conjunction with the assemblà ©  ©: (sissonne) failli assemblà ©  © . For example. From croisà ©, the upper legs open behind on the sissonne when the body changes direction in the air to land the efface; hind legs are now downstage sliding through in chassÃÆ'  © passÃÆ'  © to the fourth in front, ending the croisà © dancer the opposite corner to the original. ChassÃÆ'  © passÃÆ'  © This is (fitting) failli. An assemblÃÆ' © (dessus/over) to the opposite corner will change the direction of the body back to its original position. Failli was phrased with arabesque showing a follow-up that was brushed from the legs of the arab from the back to the fourth in front as a clue to the next step.

First position (feet)

Turning your feet with your feet pointing in the opposite direction, heels touching.

FermÃÆ' Â ©, fermÃÆ' Â © e

( French pronunciation: Ã, [f ?? me] ; 'closed.') The opposite of ouvert (e) ('Open'). FermÃÆ'Â © can refer to position (first, fifth, and third positions are fermÃÆ'Â Â © es), limbs, direction, or a particular exercise or step. Example: a sissonne fermÃÆ' Â © e ends with closed legs, as opposed to sissonne ouverte, that land on one leg with another (generally) extended.

Diving fish

A partnered dance, often performed as part of pas de deux, in which male dancers support women in poisson positions.

Flic flac

( French pronunciation: Ã, [flik flak] ) The French term known for battement fouettÃÆ'  © à ( terre . A step in which the legs of the working feet sweep bent on the floor from pointing ÃÆ' la seconde (en l'air, as in dÃÆ'Ã… © gagà © Ã… ©) to point to the cou-de-pied devant or derriÃÆ'¨re.

Fondu

( French pronunciation: Ã, [f ?? dy] ; literally 'melt'.)

1. The abbreviation of battement fondu , the decline of the body made by bending the legs of the supporting legs, the working legs extending out of the terre or in the air. Saint-LÃÆ' © on writing, "Fondu is on one foot what is meant by pliÃÆ'  © are on two." Fondu in barre often refers to battement fondu dÃÆ'  © veloppÃÆ'  © , where the support legs start fondu with the foot legs working in the cou-de-pied; the working leg extends out through petit dà © à © veloppÃÆ' © as the supporting leg straightens.
2. Term used to change the position of one foot to show bent legs (eg, arabesque fondu).

FouettÃÆ'Â ©/span>

( French pronunciation: Ã, [fw? te] ; literally 'whipped.') FouettÃÆ' © itself refers to the movement in which a quick pivot on the support leg alters the orientation of the body and the working foot. For example. A 180 degree or 90 degree fouettà © can involve working feet starting extended in the future; the support legs go up to the point-pointe or point quickly to a "half-hearted" movement within the en dans, leading to the end of the foot working in the arabesque and the body now facing the opposite direction or the direction of the stage. (The brand of this action can be seen both in the jet and walt tour it turns out ( pas de valse en tournant ).) A fouettÃÆ'  © can also change the orientation of the foot/body from, for example, en face ÃÆ' la seconde to © arabesque/croisÃÆ'  © first arabesque or effacÃÆ'  © devant, if outside/en dehors, through a 45 degree rotation.

FouettÃÆ'  © is also a common abbreviation for fouettÃÆ'  © rond de jambe en Tournant (pictured here en dehors ). A fouettÃÆ'  © turn is a bend that begins with a support leg in the pliÃÆ' ©. When the supporting leg transition to demi-pointe or pointe , in a companion motion, leg work extends to the front and then turned sideways when the foot work withdrawn. to the supporter's knee in retirà ©  ©, creating an urge to rotate one round. The legs worked back out of retirÃÆ'  © near the end of a single rotation to restart the entire leg movement for successive rotations.

FouettÃÆ' jetÃÆ' Â © Â ©

( French pronunciation: Ã, [fw? te ?? te] ) Leap starting with fouettà ©  © .

FrappÃÆ'Â ©/span>

( French pronunciation: Ã, [f? ape] ; 'struck.') Abbreviation of battement frappà (  ©. The action of extending the legs works out of the cou-de-pied. In Cecchetti, RAD, and American ballet, in a flat manner, this action involves touching a bent (or not spiky) leg from a cou-de-pied through the floor, a striking (light) foot ball as it extends out through the dÃÆ' © gagÃÆ' ©. At the Russian school, the pointy legs in the cou-de-pied extend directly to the heights without brushing the floor. On a point-by-point, Cecetti combines Russian style with unbrushed feet straight out. Other schools may use unlinked legs without strikes or pointless toes on a point-by-pointe.

FrappÃÆ'Â © s is generally done in singles, doubles, or triples. Double and triple frappÃÆ'Â ¢ s involve knocking feet (flexed or pointed) in both cou-de-pied devant (or wrapped) and derriÃÆ'¨re before stretching out. (Eg Double frappÃÆ' Â © ahead will be cou-de-pied back, front cou-de-pied, dÃÆ' Â © gagÃÆ' Â © ahead.free frappÃÆ' Â © back will be front, back, [dÃÆ' Â © gagÃÆ'Â ©] Triple frappÃÆ' Â © ahead will be front, back, front, front [dÃÆ' Â © gagÃÆ'Â ©].)

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G

Glissade

( French pronunciation: Ã, [? lisad] ; literally 'glide.') Step journey begins in fifth position from demi-pliÃÆ'  © . The forefoot moves toward the dÃÆ'Ã… © gagÃÆ' © because of the heavy bear on the trailing foot, the weight shifts to the main leg through the leap and the trailing leg extends out of the pliÃÆ' © into the degagÃÆ' ©. The forefinger landed tombà ©  © and slid legs on the inside to fill the front foot in the fifth position by-pliÃÆ' ©. A glissade can be done en avant , en arriÃÆ'¨re , dessous (front end ends back), < i> dessus (the rear end of the foot is pointing forward), or without leg change.

Glissade prà ©  © cipitÃÆ'  © e

( French pronunciation: Ã, [? lisad p? esipite] ; " i> glissade is generally done leading to the next step, as with glissade jetÃÆ' © or glissade assemblà ©  © .

Grand ÃÆ' Â © cart

( French pronunciation: Ã, [??? t eka?] ; literally "big gap".) Opening feet to 180 Â °, front or sideways. Known as 'spagat' in German or 'split' or 'leap jump' in English.

Grand pliÃÆ'Â ©

( French pronunciation: Ã, [??? plije] ) Full pliÃÆ' Â © or bend the knee. Throughout the movement, the pelvis must remain neutral, the back straight and parallel to the heel, the legs change, and the knees on the feet. From standing to bending, this should be liquid. The purpose of the great trophy is to warm the ankle and stretch the calf.

Grand jetÃÆ'Â ©/span>

( French pronunciation: Ã, [????? te] ) Long horizontal jump, starting from one leg and landed on the other side. Known as a split in the air. This is most often done forward and usually involves the separation of the full legs in the air. It basically consists of grand ÃÆ'  © cart with moving jumps. The front legs move straight into the air in the grand battement, as opposed to the veloppà © © ©/or (or ongoing movement). The rear legs follow making a split in the air. This can be done en avant (advanced), ÃÆ' la seconde (to the side), en arriÃÆ'¨re (backwards), and (change en dedans). Dancers should remember to hit the full split at the height of the leap, with the weight pushing slightly forward, giving the dancer a performance.

Grand fitting

A set of individual dances that serve as performances for main dancers, by soloists, and in some cases corps de ballet . Often considered as piÃÆ'¨ce de rÃÆ' Â © sistance of a ballet. It usually consists of entreÃÆ'Â , a great saying , and coda , which brings the group to a conclusion. After the saying, it may include dance for corps de ballet (often referred to as ballabile), variations for solo sake, variations for ballerina and danseur leads, or some combination of these.

Different types of "grand fitting" are found in ballet, including:

• A grand pas d'action is one that contributes to the ballet story.
• In grand pas classique , classical ballet techniques apply and no character dances are included.
• A grand pas de deux serves as a piÃÆ'¨ce de rÃÆ' Â © sistance for the main male and female characters of the long ballet.
• A large pair danced by three or four dancers is grand pas de trois or grand pas de quatre , respectively.

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H

Hortensia

"The step of a male dancer in which the dancers jump into the air with their legs drawn, one in front of the other, then reverses their position [...] several times before landing with the legs apart again." This step can look like swimming in the air.

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J

JetÃÆ' Â ©

( French pronunciation: Ã, [?? te] ; 'thrown.') Leap where one foot appears for thrown in the direction of movement (en avant, en arriÃÆ'¨re, or sideways). There are several types of jetÃÆ' © s , including jetÃÆ' ©/jetÃÆ'  © ordinaire (RAD)/ pas jetÃÆ'  © (Rus.) , < grand jetà ©  © , and tour jetÃÆ' © (ABT)/ grand jetÃÆ'   id tournant (Fr./Cecc.)/ jetÃÆ'  © entrelacÃÆ'  © (Rus.), or a general merge step coupÃÆ'  © jetÃÆ'  © (en tournant) .

• JetÃÆ' © ( jetÃÆ'  © ordinaire/pas jetÃÆ'  © ) refers to a jump that is triggered directly, with the foot pointing work brushing out at dà ©  © gagÃÆ' © from cou-de-pied (derriÃÆ'¨re) to a non-Russian similare (a similar action to frappÃÆ'  © fr), the weight transferred through a leap is pushed by pushing the foot that stands out from the pliÃÆ' ©, the main leg landing tombà ©  © and the other leg/footstand stand ends cou-de-pied (derriÃÆ'¨re). Some schools (including ABT at one point) may still consider this as petit jetÃÆ' © .
• Grand jetÃÆ'Â © : see grand jetÃÆ' Â © , jump starts with a big battle with avant of the main foot while pushing trailing feet from pliÃÆ'Â © (usually led by moving several steps like chassÃÆ'Â ©, glissade en avant, or couru fitting), trailing leg brushing onto the grand battement derriÃÆ'¨re while in the air, the leap finally landed on the leading leg. Resembles a split (en l'air).
• Tour jetÃÆ' Â © / jetÃÆ' Â © entrelacÃÆ' Â © ('turn'/'interlaced') is grand jetÃÆ'Â © finish spinning: jump starts with grand en avant of the leg leading, followed by fouettÃÆ'Â Â © change the direction of the body 180 degrees and trailing leg brushing through the grand struggle derriÃÆ'¨re, arabesque landing jump with the leading leg now standing (landing) leg./li>
• CoupÃÆ'  © jetÃÆ'  © id tournant is a compound step, usually done in multiples en manÃÆ'¨ge ('in a circle'), from a coupà © (changed ) foot supporters) start the first quarter turn leading to grand jetÃÆ'  © complete rotation of 360 degrees rotation.
• Petit jetÃÆ' Â © at RAD and the French school refers to a one foot change that goes through cou-de-pied and what other schools call the emboÃÆ'® change © .

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O

Ouvert, ouverte

( French pronunciation: Ã, [uv, (t)] ; 'open, open.') fermÃÆ' © (e) ('closed'). Ouvert can refer to the position (second and fourth position of the foot is the ouvert position), limb, direction, or a particular exercise or step. At the French School, this term is used to denote a position or body direction similar to effacà ©.

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P

Partner

The dance is performed by a pair of dancers, usually male and female, in which the couple strives to achieve a coordinated movement alignment so that the audience remains unaware of the mechanics. The dance that is focused on a pair of pair dancers is pas de deux. For male dancers, partnering can involve lifting, capturing, and carrying spouses, and providing help and support for jumps, promenades and pirouettes.

Pas

( French pronunciation: Ã, [p?] ; as in grand pas .

Pas de basque

( French pronunciation: Ã, [p? d (?) bask] ; 'Basque step.') Halfway between jumps, leaps on the floor ( glissà ©  © ) or by leaps ( sautÃÆ' © ); it can be done moving towards the front or toward the rear. This step can also be found in Scottish highland dances.

Starting in the fifth position croisÃÆ'  © , the dancer executes pliÃÆ'  © while brushing the downstage leg forward tendu . Downstage feet do for rond de jambe to the opposite angle as the body turns towards that corner. The weight is quickly transferred to the brushed feet, now rising onto the stage, allowing the dancer to pass the new leg under the stage through the first position through the loyal fourth chassÃÆ' to the fourth, ending croisà ©  © a new angle, and finishing by bringing the feet on stage to close the fifth.

Pas de bourrÃÆ' Â © e

( French pronunciation: Ã, [p? d (?) bu? e] ; 'step bourrÃÆ' Â © e. ') The movement's quick sequence begins with the first temporary leg extension by-pliÃÆ' ©, closing the first leg to the second as a transition to the relevÃÆ'Â © (point-to-pointe or pointe), extending the second leg to the open position while the relevÃÆ'Â ©, and closing first leg to the second in demi-pliÃÆ'Â © (or optionally with straight legs if done quickly or as a last step of an enchainement). Variants include:

• pas de bourrÃÆ' Â © e derriÃÆ'¨re - 'back'/pas de bourrÃÆ' Â © e devant - 'front'
• pas de bourrÃÆ' Â © e dessus - 'over,' first closes the working foot in front/pas de bourrÃÆ' Â © e dessous - 'under', initially closes the working leg behind
• pas de bourrÃÆ' Â © e en arriere - 'traveling backwards'/pas be bourrÃÆ' Â © e en avant - 'traveling ahead'
• pas be bourrÃÆ' Â © e en tournament en dedans - 'turn in'/pas de bourrÃÆ' Â © e en tournament en dehors - 'play out'
• pas de bourrÃÆ' Â © e ouvert - 'open,' order open & gt; closed & gt; open
• pas de bourrÃÆ' Â © e piquÃÆ' Â © - 'stabbed,' with the feet working quickly removed after piercing the floor
• pas de bourrÃÆ' Â © e couru - 'run', also 'flow like a river'

Post de chats

( French pronunciation: Ã, [p? d (?)? the trip to the side jumps where the legs of the leg are bent straight, taken to the retirà ©, feet as high as possible, kneeling. The Dance of the Cygnets from Swan Lake involves sixteen pas de chat performed by four dancers holding hands, arms stretched.

In Cecchi and French schools, this can be called as saut de chat ('cat jump').

Grand pas de chat

A jump where the main leg extends forward through the grand battement or the veloppà © © and the remaining legs remain in the retirement until landed.

"Russia" pas de chat

The leap in which the legs are consecutively taken to the derrière attitude instead of the retirà ©. This passive chat variant appears in several Petipa balloons (eg the 4th variant in Paquita).

Pas de cheval

( French pronunciation: Ã, [p? d ?? (?) val] ; 'horse steps.') Foot movements (when extended) through the first or fifth positions, for cou-de-pied and then vigorously exit to the pointe tende via petit dà © à © veloppÃÆ' ©.

Pas de deux

('Step of two.') Dance duet, usually performed by female and male dancers.

Pas de poisson

( French pronunciation: Ã, [p? d? pwas ??] ; 'fish step.') Type < i> soubresaut , or leap without leg change. From the fifth position, a dancer executes deep demi-pliÃÆ' Â © and then jumps backward with his legs straight at the back, so the body curves like a fish jumping out of the water. Also called temps de poisson .

Pas de quatre

('Step four.') Dance by four dancers.

No three

('Step three.') Dance by three dancers.

Pas de valse

( French pronunciation: Ã, [p> d/? vals] ; 'waltz step.') Third order the steps - fondu, relevÃÆ'Â ©, elevÃÆ'Â © (down, up, up) - always forward (like parade), performed in three counts to common music in ³
₄ time, traveling in any direction or while playing ( tournament id ). Legs do not assemble (or "cross") at each step as occurs in balancÃÆ'Â © ©; every step instead of passing the last one.

PassÃÆ'Â ©

( French pronunciation: Ã, [p> se] ; literally 'passes.') Passing the working legs from back to front or vice versa. Generally used to refer to retirÃÆ' Â © passÃÆ'Â © , showing the passing of the legs from the legs that work past the support leg knee (below, or above) from back to front or front to back. RetirÃÆ' Â © passÃÆ'Â © can start or finish by shifting the legs working up or down the support legs from or to the floor, can be executed directly from open positions such as in the pirouette from the fourth, or perhaps transition from knee to another position such as arabesque or attitude (as in dÃÆ' Â © veloppÃÆ' Â © ). ChassÃÆ' Â © can also pass from back to front as in ( sissonne ) failli: chassÃÆ' Â © passÃÆ'Â ©.

PenchÃÆ'Â ©

( French pronunciation: Ã, [p ??? e] ; 'tilt'.) Leaning forward about hips from the support legs so that the head is lower than the working foot, as in penchÃÆ'Ã… © Arabeque .

Petit saut

( French pronunciation: Ã, [p (?) ti so] ; 'little jump'.) where the feet do not change the position in the air; also called temps levÃÆ' Â © sautÃÆ'Â © in Vaganova's vocabulary.

PiquÃÆ' Â ©

( French pronunciation: Ã, [pike] ; meaning 'stabbed'.) A movement that lifts, points to the foot of the working leg is lowered so that it punctures the floor and then rebounds upward (as in battement piquÃÆ' Â © ) or becomes a support leg. In the latter case, it may be used to transfer the horses from one leg to the other by stepping directly into the feet of point-point or point-and-point and often precedes a movement that requires lifting new working feet, such as piquÃÆ' Ã… © arabesque .

In Cecchetti and RAD, the term posÃÆ'Â © is used instead of piquÃÆ'Â © beyond the battle: piquÃÆ'Â © arabesque and ABT piquÃÆ'Â © rotate/tour piquÃÆ' Â © ( en dedans )/Rus. tour dÃÆ'Â © gagÃÆ'Â © = RAD/Cecc. posÃÆ'Â © arabesque and posÃÆ'Â © turn/posÃÆ'Â © id tournant .

PiquÃÆ' © ©

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Source of the article : Wikipedia