Sales Manager Full name
A trainee salesperson is usually called those salespeople who are not yet ready to work completely independently. Process...
Educational and methodological manual on music on the topic: a brief dictionary of French terms of classical dance. Ballet terms
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 central 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) the upper part and the lower part, “above” and “under”. 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”.
Choreographic terminology is a system of special names designed to designate exercises or concepts that are difficult to briefly explain or describe.
In the 17th century (1701), the Frenchman Raoul Feuillet created a system for recording elements of classical dance. These terms are recognized by experts in the field of world choreography even today.
Turning to specialized literature, students experienced difficulties when faced with unfamiliar terms, such as: “Eversion of the legs,” and this is a necessary and obligatory condition for the technique of performing elements of classical dance; “Body” is an unacceptable term in gymnastics; it is replaced by “Posture” , "Balloon" - the ability to fix a pose in a jump, "Force" - the necessary preparatory movement of the arms to perform pirouettes, "Aplomb" - a stable position of the student, "Elevation" - the ability of an athlete to show the maximum phase of flight in a jump, "Priporasion" - preparatory exercises hand or foot before starting to perform an element, “Cross” - performing elements in the following directions: forward, sideways, backwards, to the side or in the opposite direction.
Knowledge of special terms speeds up the learning process. Choreographic terminology characterizes movement in more detail than gymnastics. This is the international language of dance, the opportunity to communicate with choreographers, understanding of specialized literature, the ability to briefly record training combinations, lessons, etudes, floor exercises, compositions.
Terminology is always constructed in accordance with the rules of word formation. The main advantage of the term is its brevity. This makes it possible to reduce the time for explaining tasks and maintain the density of the lesson.
But students are not always able to remember choreographic terminology, so the idea arose of writing choreographic elements using gymnastic terminology, for a more accessible perception by students of the material being studied.
Experience shows that it is precisely students who do not have choreographic training who have difficulty remembering the names of movements. As a rule, these are trampolineists and jumpers on the acrobatic track. But even athletes who have fulfilled the CCM and MS standards do not always have knowledge of the terms and the correct technique for performing even the simplest elements. The creation of this kind of table and a large number of illustrations for the elements make it possible to organize students’ knowledge in the field of choreographic training, to be fluent in choreographic terms and, if necessary, to use special literature on choreography.
POSITIONS OF HANDS AND LEGS IN CLASSICAL DANCE POSITIONS OF HANDS
preparatory
Hands down, rounded at the elbow and wrist joints with the palm up. Thumb inside the palm
I – first
Arms forward, rounded at the elbow and wrist joints
II – second
Arms forward to the sides, rounded at the elbow and wrist joints with palms facing inward
III – third
Hands forward upward, rounded at the elbow and wrist joints, palms inward
HAND POSITION OPTIONS
Right hand in third position, left hand in second position
Right hand forward, palm down, left hand back, palm down
Right hand in second position, left hand in preparatory position
Right hand in first position, left hand in preparatory position
Right hand in third, left hand in preparatory position
LEGS POSITIONS
I – first
Closed toe post outward. Heels closed, toes out. The legs are located on the same line with an even distribution of the center of gravity throughout the foot
II – second
Wide stance with your feet apart and your toes out. The legs are located from each other on the same line at a distance of one foot with an even distribution of the center of gravity between the feet
III – third
The right one is placed in the middle of the left foot (toes out)
IV – fourth
Stand with your feet apart, right in front of the left (at a distance of one foot), toes outward (performed on both feet)
V – fifth
Closed stance right in front of the left, toes out (the right heel is closed with the toe of the left, performed on both legs)
VI – sixth
Closed stance (heels and toes closed)
LIST OF EXERCISE ELEMENTS
Exercise – choreographic exercises in a set sequence at the support or in the middle.
ROTATIONS 90°, 180°, 360°, 540°, 720°, 1080°.
METHOD OF TRAINING THE BASIC ELEMENTS OF EXERCISE
DEMI PLIE, GRANA PLIE (HALF SQUIET, SQUT)
The purpose of the exercise is to develop the elasticity of the articular-ligamentous apparatus and “eversion” in the hip, knee and ankle joints. This exercise helps develop jumping ability by stretching the Achilles tendon.
Half squat(demi plie)
The half squat is performed in all positions. In this exercise, the heels do not come off the floor, the weight of the body is distributed evenly on both legs. Bending and extension of the legs is performed smoothly, without stopping, “inverted”, the knees are directed to the sides, along the line of the shoulders. Posture is straight.
Squat(grand plie)
The squat is performed in all positions. First, a half-squat is performed smoothly, then the heels are gradually raised, and the knees are bent as much as possible. When extending, the heels are first lowered to the floor, then the knees are straightened. When raising your heels, do not rise high on your toes. The exception is the grand plié in the second position, where the heels do not come off the floor due to the wide position of the legs.
Flexion and extension should be performed smoothly, at the same pace. The pace is average. Before starting the exercise, the hand (if the movement is performed at the machine) or both hands (if the movement is performed in the middle) are transferred from the preparatory position through the first position to the second. Then, with the beginning of leg bending, the arm (or both arms) is lowered from the second position to the preparatory position, and with the beginning of leg extension, the arm is again transferred through the first position to the second.
BANTMAN TANDYU (STRETCHED)
(position of the foot on the toe forward, to the side, back)
Flexion and extension of the foot by sliding along the floor until the foot is on the toe. Performed from the first or fifth position in three directions: forward, sideways, backward.
The purpose of the exercise is to teach how to correctly stretch the leg in the right direction, to develop strength and elasticity of the instep (ankle joint) and a beautiful line of the legs.
Batman tandu(right to the side on the toe)
Batman tandy forward(right forward on toe)
Banman tandyu back(right back to toe)
Batman tandu forward and backward is performed along a line strictly perpendicular to the body, and to the side - exactly along the line of the shoulder. When performing batman tandu, first the entire foot slides along the floor, then the toes and instep are gradually extended. The center of gravity of the body is on the supporting leg, the toe does not come off the floor.
Make sure that your knees remain as extended as possible and that both legs remain turned out. When stretching your leg, there should be no emphasis on the toe. As the leg returns to its original position, the foot gradually lowers to the floor. The heel is lowered to the floor only in the starting position.
When performing forward, sliding begins with the heel, and back the foot returns with the toe to the IP. When performing backwards, the toe begins to slide, and the foot returns back with the heel to the IP.
4/4 , the pace is slow. Later, the movement is performed from the beat. Musical time signature -2/4, the pace is average.
BATMAN TANDUE JETE (WASH)
Develops muscle strength, beauty of the leg line and clarity of execution.
Small clear swings of the leg to the downward position and return to the starting position through the batman tandu.
Performed in the first or fifth position in three directions: forward - downwards, to the side - downwards, back - downwards.
Batman tandu jete to the side
(swipe the right one to the side - downwards)
Batman tandu jet forward
(swipe right forward downwards)
Batman tandu jete back
(swipe right back down)
Batman tandu jete is performed in the same way as batman tandu, but when reaching the position on the toes, the leg does not linger, but continues to move with a swing, where it is fixed at the height of the middle shin of the supporting leg (45°). Both legs should be “turned out”, the leg muscles should be tightened, and during the swing the instep and toes of the working leg should be extremely stretched.
Returns to IP with a sliding movement through the position on the toe.
Musical size at the beginning of learning - 4/4 or 2/4, the pace is slow. As you master the exercise, the leg swing is performed from a beat, the tempo is average.
GRAND BATMAN (RIGHT SWING FORWARD, SIDEWAY, BACKWARD)
The leg is in this position both when performing large batman jetés (swings), fixed at 90°, and when slowly raising the leg - relevé lan.
Foot forward position
Leg position to the side
Leg position back
Large swings into the air and return to the starting position are performed in the first or fifth positions in three directions: forward, sideways, backward. From the starting position, the leg rises into the air with a swing, passing along the floor with a sliding movement, as in the batman tandu jet, with the leg fixed at 90° (hereinafter higher), and returns by sliding through the batman tandu jet to the IP. Make sure to maintain the “turnout” and tension of the knees, instep and toes of the working leg. Transfer the center of gravity of the body to the supporting leg. When performing a large swing forward and to the side, the torso should remain strictly vertical. When swinging backwards, a slight forward tilt of the torso is allowed.
Musical size – 4/4. At the beginning of learning the pace is slow. As the leg swing is mastered, it is performed out of beat, the tempo is average, and the height of the swing increases in three directions: up and then up.
When performing a relevé, the leg slowly rises forward, to the side or back and just as slowly lowers to the starting position (through the batman tandu). As it is mastered, the height also increases, as in Grand Batman up and up.
RONDDE DE JAMBE PARTERRE (CIRCULATORY MOVEMENT OF THE TOE ON THE FLOOR)
The main objective of the exercise is to develop and strengthen the hip joint and the necessary “turnout” of the legs.
The movement is performed forward – an deor and backward – an de dan.
An deor(outside)
From the first position, a sliding movement forward onto the toe (batman tandu), maintaining maximum “turnout” and tension of the legs, is transferred by sliding to the second position to the right position to the side on the toe, then, maintaining “turnout” and tension, it is carried back to the toe (batman tandu) and returns by sliding to the starting position
An dedan(inside)
When performing the exercise backwards (an dedan), the leg from the first position is sliding back onto the toe, then sliding to the side onto the toe (to the second position), from the second position sliding to the right position forward on the toe (batman tandyu) and sliding back to the starting position. position
The center of gravity of the body is maintained on the supporting leg. The working leg should move “inverted” through all the main positions of the legs on the toes at the same pace. Through the first position, the leg is carried out in a sliding motion with the obligatory lowering of the entire foot to the floor.
Musical size 3/4, 4/4, medium tempo.
PORT DE BRAS (EXERCISES FOR THE TORSO AND ARMS)
A group of exercises that develop body flexibility, smoothness and softness of the hands and coordination of movements.
Here is one of the forms of por de bras, which consists of bending the torso forward and straightening it, tilting the torso back and returning to its original position.
The exercise is performed at the support and in the middle of the hall from the fifth position in a facing position (en face) or in a half turn (croise, hilt). Before starting the exercise, the hands are transferred from the preparatory position through the first to the second.
Fifth position of legs, second position of arms
Closed stance, right in front of the left, toes out, right heel closed with the toe of the left. Arms to the sides, rounded at the elbow and wrist joints, palm forward, thumb inward.
Fifth position of legs, third position of arms
Port de bras forward, arms in third position (torso tilted forward, arms up, rounded at the elbow and wrist joints).
Fifth position of legs, first position of arms
Closed stance, right in front of the left, toes out, right heel closed with the toe of the left. Hands forward, rounded at the elbow and metacarpal joints with palms facing inward.
Port de bras back, third hand position
Tilt the torso back, arms up, rounded at the elbow and wrist joints, turn the head to the right (tilt the torso back only with your shoulders back, without relaxing the muscles of the lumbar region).
Perform the exercise smoothly, observing the exact positions of your hands, accompanying their movement with your gaze and turning your head. The musical size is 3/4, 4/4, the tempo is slow.
SUR LE COU AE PIE (FIXED POSITIONS OF THE BENT LEG ON THE ANKLE)
Position the foot on the ankle (sur le cou de pied) to perform batman frappe, batman fondue, petit batman, botu. The right one, bent with a slightly straightened foot, is located above the ankle of the other leg, touching it with the outer part of the foot. Fingers are pulled back.
The position sur le cou de pie is performed in front and behind. In both cases, the knee of the bent leg should be “turned out” and directed exactly to the side along the line of the shoulder.
Sur le cou de pied
(basic position of the foot is on the ankle in front)
Sur le cou de pied
(basic position of the foot is on the back of the ankle)
Batman frappe consists of bending the working leg into the position sur le cou de pied and extending it onto the toe at the initial stage of training, and as it is mastered, in a downward position in groups UTG-2,3, and in groups UTG-4, SS, VSM - on half toes with lowering in various poses to the toe or downward position.
First, the exercise is learned by extending the leg to the side, then forward and later back, facing the support at a slow pace. It is necessary to monitor the maximum “eversion” of the leg in the hip, knee and ankle joints.
When flexion and extension of the leg in all three directions is mastered, the leg flexion will be performed from the beat with an emphasis on leg extension.
Musical size – 2/4, the pace is average.
First, only the position sur le cou de pied in front and behind is learned. The leg from fifth position is fixed above the ankle of the other leg and lowered again to fifth position. It is recommended to practice this exercise facing the support. It is necessary to monitor the maximum “turnout” of the leg in the hip, knee and ankle joints, maintaining correct posture and the center of gravity of the body on the supporting leg.
As you master the position of the foot on the ankle in front and behind, you learn to change the position in front and behind at a slow pace, and as you master it, at a fast pace. To learn double frappe in groups UTG-3, UTG-4 on half-toes and in combination with demi-plie poses.
The position of the foot on the ankle (sur le cou de pied) to perform batman fondue. This exercise consists of bending the leg into a sur le cou de pied position with an extended “lift”, simultaneous half-squatting on the supporting leg and extension of the working leg to the toe or downwards in one of three directions.
Sur le cou de pied
in front (conditional position of the foot on the ankle in front)
Sur le cou de pied
from behind (conditional position of the foot on the ankle behind)
First, only the position sur le cou de pied is learned in front, then behind. After this, a half-squat on the supporting leg and extension of the working leg, first to the side, then forward and backward, facing the support, are learned.
Musical size – 2/4, the pace is slow. The movement is very smooth.
It is necessary to monitor the “turnout” of the legs and the distribution of the center of gravity of the body on the supporting leg. Once the movement is well understood, various hand positions can be introduced, especially when performing exercises in the middle of the gym. In the UTG-3 group, the batman fondue double is learned, and in the UTG-4, SS, VSM groups, the exercise is performed on half fingers.
PASSE (TRANSLATIONS – “EVERYTHING” POSITION OF THE BENT LEG IN FRONT, TO THE SIDE AND BACK, TOE AT THE KNEE).
DEVELOPMENT (FLEXION AND EXTENSION OF THE LEG 90° AND HIGHER)
The exercise develops “turnout” in the hip, knee and ankle joints and is a lead-in exercise for performing development.
Passe to perform development forward
Stand on the left, the right is bent at the knee with the toe in front.
Passe to perform development back
Stand on the left, the right is bent to the side, the toe is at the back of the knee.
Passe to perform development aside
Stand on the left, the right is bent to the side, the toe at the knee to the side.
If the leg extends forward, then from the starting position it is transferred from the position sur le cou de pied in front. If the leg is extended back, from the position sur le cou de pied from behind.
Then the working leg slides upward along the supporting leg (but without touching it) and opens in the required direction. If the leg is extended to the side, then, without bringing the toe slightly to the knee of the supporting leg, it must be moved to the inside of the supporting leg and then straightened.
When performing, it is necessary to monitor the “turnout” of the hip, the tension of the instep and fingers.
When the passé is well mastered, the second part of the movement is introduced - extension of the leg in one of three directions forward, sideways, backward. First, the developer learns to the side, then forward and later back. Sideways and backward leg extension is learned facing the machine. The movement is performed smoothly. It is necessary to monitor the “turnout” of the leg during its extension and return to its original position. The musical size is 3/4, 4/4, the tempo is slow. When performed in the middle, various rotations of the torso and positions of the arms can be given. The passé position can also be used when moving the leg from one pose to another.
Development is performed from the fifth position in groups UTG-3, UTG-4, SS, VSM in the upward position, and as mastered, upward in three directions and on the half-toes, into poses in combination with elements of the chosen sport.
Adagio (adagio) - a slow part of the lesson.Allegro (allegro) - fast part of the lesson, jumping.
Allongee (alange) - lengthen, extend. Swish of the brush.
A la seconde (a la sgon) – en face position, and the working leg is open to the side by 90*.
Aplomb (aplomb) - stability.
Arabesque (arabesque) - a pose; in classical dance there are four types of “arabesque” poses.
Arch – (arch) – arch, bending of the torso back.
Assemble (assemble) - connect, collect; jump with outstretched legs collected in the air; jump from two legs to two
Attitude (attitude) - posture, body position; the raised leg is half bent.
Balance (balance) - swaying.
Balancoire (balance) – swing; applied in grand battement jene.
Pas ballonee (pa ballonee) - legs are strongly extended in the air until the moment of landing and bending one leg sur le cou-de-pied.
Battement retire – (batman retire) – transfer through sliding of the working leg, through a passé of 5 poses. Forward in 5 positions. Back.
Battement developpe (batman development) - slowly raising the leg 90* and higher in the desired direction.
Battement double frappe (batman double frappe) - a movement with a double strike.
Battement fondu (soft batman) - soft batman (melting).
Battement frappe (batman frappe) - kick of the foot on the ankle of the supporting leg.
Battement soutenu (batman soutenu) - movement in a turn by pulling the legs into the fifth position.
Battement tendu (batman tandu) - bringing the leg to the toe.
Batterie (batterie) - the leg in the sur le cou-de-pied position makes a series of small striking movements.
Body roll (body roll) - a group of body tilts, a wave.
Bounce (bounce) - springboard swaying of the torso, up and down.
Pas de bourree (pas de bourree) - a dance step, stepping with a slight advance.
Brize (breeze) - a jump with a skid.
Changement de pieds (shazhman de pied) - a jump with a change of legs in the air.
Contraction - (contraction) - compression, reduction of the volume of the body and rounding of the spine, begins in the center of the pelvis, gradually capturing the entire spine, is performed while exhaling.
Corkscrew turn - turns that increase or decrease the level of rotation.
Curve – (kerf) – bending of the upper part of the spine (to the solar plexus) forward or to the side.
Pas chasse (pa chasse) is a ground jump with advancement, during which one leg kicks the other.
Pas de chat (pas de sha) - cat step.
Pas ciseaux (pas siso) - scissors, the movement of the legs thrown forward one by one and extended into the air.
Coupe - position of the foot on the ankle.
Pas coure (I smoke) - jogging through the sixth position.
Croisee - a pose in which the legs are crossed, one leg covering the other.
Ecartee (ekarte) - a classical dance pose, deployed diagonally forward or backward, the body is tilted away from the leg.
Effacee - expanded position of the legs and body.
En face (en face) - straight, straight position of the body, head and legs.
En dedans (an dedan) - inside, in a circle.
En dehors (an deor) - out, from the circle.
Epaument (epoleman) – the position of the performer, turned 3)4 to the 8th point or 2; a distinction is made between epaulement croise (closed) and epaulement efface (open).
Echappe (eshappe) - a jump with the legs opening to the second position and collecting from the second to the fifth.
Flat back (flat back) - tilting the torso forward, to the side (90*), back with a straight back, without bending the torso.
Flat step - a step in which the entire foot is simultaneously placed on the floor.
Flex (flex) - shortened foot, hand or knees.
Flik (flick) - a stroke of the foot along the floor towards the supporting leg.
Fouette is a turning technique in which the performer’s body turns towards a leg fixed in a certain position (on the floor or in the air).
Frog – position (frog position) – a sitting position in which the legs bent at the knees touch each other with the feet, the knees should be as open as possible to the sides.
Fouette (fouette) - a type of dance turn, fast, sharp; During the turn, the open leg bends towards the supporting leg and opens again with a sharp movement.
Entrechat (antrashakat) - jump with a skid.
Degage (degage) - transition from foot to foot.
Plie (plie) - squatting.
Demi-plie (demi plie) - a small squat.
Deep body bend (deep body bend) - tilting the torso forward below 90 *, maintaining a straight line of the torso and arms.
Deep contraction (deep contraction) is a strong compression in the center of the body, in which all parts of the body, arms, legs and heads are involved.
Demi rond (demi rond) - a semicircle with the toe of the foot on the floor forward and to the side, or back and to the side.
Drop - falling of a relaxed torso forward or to the side.
Grand-plie (grand plie) - a large squat.
Glissade (glissade) - a jump performed without lifting the toes off the floor.
Grand battement (grand batman) - a leg throw 90* or higher forward, backward or to the side.
Grand jete (grand jete) - a jump from one leg to the other moving forward, backward or to the side. The legs open as much as possible and take a position in the air
Pas emboite (pa ambuate) is a jump during which there is a change of half-bent legs in the air.
Pas faille (pa faille) - this movement is fleeting in nature and often serves to prepare for the next jump, one leg seems to cut the other.
Jete - a leg throw on the spot or in a jump.
Jete entrelase (jet entrelase) - a flip jump.
Jete ferme (jet ferme) - closed jump.
Pas (pa) – step, movement, combination.
Passe - passing, sliding movement.
Petit battement (petit batman) - a small batman, on the ankle of the supporting leg.
Pirouette (pirouette) - fast rotation on the floor.
Pointe (point) – pointe shoe, toe, toes.
Port de bras (port de bras) - exercise for arms, body, head; tilts of the body and head.
Preparation (preparation) - preparation for movement.
Peleve (releve) - raising on toes or half-toes.
Releve lent – slowly raising the leg by 90*.
Renverse (ranverse) - tipping the body back in a strong bend and in a turn.
Rond de jambe par terre (Ron de jambe par terre) - circle with your foot in the air.
Rond de jambe en lair (ron jambe en lair) - circle with your foot in the air.
Saut de basque (so de basque) - a jump from one leg to the other with a turn of the body in the air.
Saute (saute) - jump in place in positions.
Sissonne fermee (Sisonne fermee) - closed jump.
Sissonne ouverte (sison oververt) - a jump with the opening of the leg.
Sissonne simple (sison sample) - a simple jump from two legs to one.
Sissonne tombee (sison tombe) - jump with a fall.
Sur le cou-de-pied (sur le cou de pied) - the position of the foot on the ankle of the other, supporting leg.
Temps lie (there) - a connecting, smooth, united movement of the arms, legs, head and body.
Tire-bouchon (tyre bouchon) - a movement in which the leg is in a half-bent position in front.
Tour chaine (tour shene) - fast turns, following one after another.
Tour en lair (tour en ler) - turn in the air.
V-position (in position) – position of the hands (lowered 2nd and 3rd positions)
Encyclopedic YouTube
-
1 / 5
French school
Looks like Russian. Movements: les fouettés en dedans et en dehors, les fouettés sautés, les fouettés sur pointes ou demi-pointes:
A pique is made on the right leg, the left leg is raised forward, a tour on the toe (sur la pointe) or half-toe (demi-pointe) occurs and the left leg remains extended in the air. ends in en arabesque sur pointe (ou demi-pointe).
American school
Fouette en tournant at 45° En dehors. If in the Russian school during a tour the right leg touches the back of the calf of the supporting left leg, then moves on to touch the front of the calf of the left leg (like a petit battement), then here the working leg makes a demi rond at 45°, which gives the movement additional force, but it’s dangerous “ release of the hip,” which can cause the ballerina to go off axis, and Fouette is achieved by moving forward or to the side.
- Grand Fouette. It has something from both the French and Italian schools (approx. Vaganova).
- les fouettes en dehors. Pose croiseé back with the left leg. Coupé on the left foot on the half-toes, hands in the second position, lower on the left leg to the demi-plié, the left hand goes down to the 1st position. Moving your half-bent right leg forward 90° (currently 120°), rise on your left half-toes, quickly moving your right leg Grand rond de jambe back and finish it on the left leg on demi-plié in III arabesque (en face position). The hands do the following Port de bras: The left one rises to the third position and passes to the II, while the right goes to the III position and passes through the first to the III arabesque while lowering the left leg to the plié.
- les fouettés en dedans et en dedans- The movement is done according to the same principle.
- . Stand in a forward croiseé position (left leg in front), lower yourself into a demi-plié position on your left leg, jump onto it on your toes and throw your right leg into the second position (alaseconde) at 90° (120°) - Grand battement jeté. Turning, swing your right leg across the floor through a passé par terre (passing motion). The supporting leg turns on its toes (turn to en dedans), keeping the right leg at the same height. Finish the movement with 3 arabesques on plié mli on arabesque.
- Grand Fouette en tournant en dedans (Italian fouette). It is performed on the fingers according to the same principle. Only it starts not with plié, but with sur le cou de pied, but is swayed in the attitudé position on pointe shoes, croisé, the right hand in the third position, and the left in the first.
- Grand Fouette en tournant sauté is carried out according to the principle Grand Fouette en tournant en dedans, only the left leg comes off the floor with a jump, the turn is also made in the air, on the jump of the left leg.
Sh - Ch
- Сhaînes, tours(lit. chain of turns); same as tours chaînés-déboules- a series of quick half-turns on half-toes (fingers) moving diagonally or in a circle ( en manège), each 180° turn is performed by stepping from one foot to the other. The movement can be performed in I, V or VI (I straight) positions both on outstretched legs and on demi-plié - depending on the physique of the performer and the artistic tasks assigned to him. In ballets of classical heritage, this movement most often completes a variation or dance combination, but there are other examples: in the soloist’s variation (Grand Pas from the ballet “Don Quixote”) tours chaînes performed in the middle part, moving diagonally backwards.
- Changement de pied(literally change of foot) - changing the feet in the V position in some way. Usually this term means changement de pied sauté- jump from two legs to two, on the spot or with advancement in any direction ( changement de pied de volée), in which the legs change places in the V position in the air. Can be performed as on a big jump, fixing the V position in the air for as long as possible before changing it ( grand change de pied), and at minimum takeoff, so that the outstretched toes barely lift off the floor ( petit change de pied). The movement can be performed en tournant- with an air turn to any part of the circle, up to a full 360° turn.
- Chassé, pas(from ch. chaser- drive, accelerate) - a jump with gathering of outstretched legs in the air in the V position and simultaneous advancement in any direction. May start with sissonne tombée, pas failli, running and other movements that allow you to jump while moving in the air. Used to approach big jumps and big spins. As an independent movement, it is usually performed several times in a row (as, for example, in the “Dance of the Cupids” from the ballet “Don Quixote”). The most virtuosic form - en tournant with ending in any position.
- Chat- cm. Pas de chat.
E - É
- Écartée, pose(from ch. ecarter- deviate) - a pose built from a position epaulement in the V position, moving one leg to the side, while the body from the waist slightly deviates from the vertical line towards the supporting leg. Small poses écartee demi-plié. The leg raised in the air is extended at the knee and foot. The pose can also be performed in the air, while jumping. Hand position may vary.
- Écartée forward: the working leg is open to the 2nd position ( à la 2nd) diagonally forward, that is, towards the viewer, the head is turned in the same direction and slightly raised, the gaze is directed upward.
- Back: working leg open 2nd position ( à la 2nd) diagonally back, away from the viewer, the head is turned towards the supporting leg, the gaze is directed downwards.
- Échappé, pas(from ch. échapper- to break away, to break forward) - a jump with two legs, during which the position of the legs in the air changes. Usually it consists of two movements: in the first, the legs from the V position open in the air to the II or IV position, in the second they gather again in V. There is another version of the execution - pas échappé ending on one leg, when the other, at the end of the second movement, fixes the position sur le cou-de-pied front/back, or opens in any direction, fixing the pose. The same way pas échappé performed with a jump on half-toes (fingers).
- Effacée, pose(from ch. effecter- remove, hide) - a pose built from a position épaulement effect in the V position by moving the legs forward (pose effacee forward) or back (pose effacee back). Small poses effacee are performed with an extended toe to the floor, medium ones - by raising the leg to a height of 45°, large ones - by 90° and higher. The supporting leg can stand on the entire foot or be on the toes/toes, extended at the knee or demi-plié. The leg raised in the air can be either extended at the knee or bent ( pose attitude). It can also be performed in the air, while jumping. Combining different positions of the arms and head allows you to vary the pose endlessly.
- Epaulement: (from epaule– shoulder) - a position in which the dancer stands half-turned to the mirror or to the audience: feet, hips and shoulders are turned to the right or left of the viewer (t. 1) by 45° or 135°, while the head is turned towards the shoulder directed diagonally forward. Position between positions en face and profile, giving the dance three-dimensionality, expressiveness and artistic coloring. When performing it, the performer is required to have precision in the position of the shoulders and turn of the head, and a confident direction of the gaze.
Divided into positions croise And effacé:“The position of the arms and head, not supported and complemented by a corresponding rotation of the body (épaulement) or its tilt, which is visually perceived as movement of the shoulders, cannot be sufficiently expressive and purposeful”: 185
- Epaulement croisé(from the verb croiser - to cross) - in this position, the feet stand in any crossed position (III, IV, V), while in front is the leg of the same name with the shoulder turned towards the viewer: if the right shoulder is pushed forward and the head is turned to the right , the right leg will be in front, but if the left shoulder is extended and the head is turned to the left, then the left leg. From this position, opening your leg forward or backward, you can take any pose croisee.
- Epaulement effect(from the verb effacer - to remove, hide) - in this position, the feet stand in any crossed position (III, IV, V), while in front there is a leg opposite the shoulder, turned towards the viewer: if the right shoulder and head are pushed forward turned to the right, the left leg will be in front, but if the left shoulder is extended and the head is turned to the left, then the right leg. From this position, opening your leg forward or backward, you can take any pose effacee.
Known techniques
- American: Balanchine technique
- Danish: Bournonville School
- Italian: Cecchetti technique
- Cuban: Alicia Alonso technique
- Russian:
ADAGIO, adagio (Italian - slowly, calmly): 1) designation of a slow tempo. 2) A dance composition of a predominantly lyrical nature (duet using supports) and in choreographic miniatures. 3) The main part of classical dance forms (pas de deux, and pas, pas d'action), performed at a slow tempo 4) A complex of movements in exercice, based on various forms of relevés and developpes. Performed at the stick and in the middle of the hall. Develops stability , the ability to harmoniously combine the movements of the legs, arms, and body. The composition of the Adagio can be simple or complex. An expanded Adagio in the middle of the hall allows the inclusion of all the pas of classical dance from port de bras to jumps and spins.
À LA SECONDE (French, in second position), classical dance pose: foot on
the second position is raised to the side by 90° or higher.
ALLEGRO (allegro, Italian - joyful), 1) fast, lively music tempo. 2) Part of a classical dance lesson consisting of jumping. The special importance of allegro as a lesson was emphasized by A. Ya. Vaganova. 3) Classical dance, which means a part of which is based on jumping and finger techniques. All virtuoso dances (entrées, variations, codas, ensembles) are composed in allegro tempo.
ALLONGE (allonger, French - elongated, prolonged, elongated), 1) a classical dance technique based on straightening the rounded positions of the arms. 2) Classical dance pose, the leg raised back is straightened at the knee (arabesque), the corresponding arm is raised up, the other is laid to the side, in contrast to the rounded positions (arrondi), the elbows of the arms are straightened, the hands are turned outward, which gives the pose a “flying” character . 3) One of the names is arabesque.
APLOMB (aplomb, French - balance, self-confidence), 1) confident, free manner of performance. 2) The ability to keep all parts of the body in balance. To do “aplombs” in the 18th century (faire des aplombs) meant to remain balanced on half toes for several beats. In the first third of the 19th century, dancers, trying to give airiness to their poses, rose to their fingertips.
ARABESQUE (arabesque, French literally - Arabic), one of the main poses of classical dance, the difference of which is the leg raised back with an extended (and not bent, as in the attitude pose) knee. In the Russian school of classical dance, four types of arabesque are accepted. The first and second arabesques are the legs in the efface position. In the first arabesque, the arm corresponding to the supporting leg is extended forward, the head is directed towards it, the other arm is moved to the side, the hands are facing palms down, the body is slightly tilted, but the back is concave (this also applies to other types of arabesque). In the second arabesque, the arm corresponding to the raised leg is directed forward, and the other is moved to the side. The head is turned towards the audience. The third and fourth arabesques are legs in the croisé position. In the third arabesque, the hand corresponding to the raised leg rushes forward, the gaze is directed towards it, the other hand is moved to the side. In the fourth arabesque, the hand opposite the raised leg is in front. The body is turned with its back to the viewer. The line of the hand goes into the line of the shoulders and is extended with the other hand. Arabesque is performed on an outstretched leg, in plié on half toes, on pointe shoes, in a jump, with a turn and rotations. The pose can be varied endlessly. Changes in the positions of the legs and arms, the position of the back, and the direction of the head entail a transformation of the expressive essence of the arabesque.
ARRONDI (arrondi, French - rounded, rounded), a designation for the rounded position of the arms (from the shoulder to the fingers) in classical dance, as opposed to the allonge position. According to the Arrondi principle, the main positions of the arms are determined: softly (roundly) bent elbows, wrists, hands.
ASSEMBLE (assembly, French - assembled), in classical dance a jump with throwing the leg forward, to the side and back at an angle of 45° (petit assemble) and 90° (grand assemble). The main difference between assemble is the connection (gathering) of the legs in the air into the fifth position. The jump ends with two legs in the same position. The assembly is performed on the spot and moving towards the throw of the leg in the positions en face, croise, efface, écarte. There are also other forms of assemble - double, with a skid (battu), with a turn (en tournant).
ATTITUDE (attitude, French - pose, position), one of the main poses of classical dance, the main feature of which is the bent knee of the leg raised back. In attitude, the main line is formed from the supporting leg, body and arms in third position. The main types of attitude are attitude effacée and attitude croisée. In the attitude effacée pose, the raised leg is open, gently turned. The corresponding hand is in third position. The head is turned towards the raised hand. In the attitude croisée pose, consisting of intersecting lines, the body obscures the raised leg, allowing only its toe to be seen. Various changes are possible for attitude, which enriches the means of stage expression. The attitude is characterized by an inflection because the leg bent at the knee allows the body to bend strongly. Attitude in a variety of forms is often a choreographic leitmotif (for example, the strict classical attitudes of Aurora, choreographer M. Petipa, or the sharp acrobatic attitudes of the Mistress of the Copper Mountain, choreographer Yu. Grigorovich).
BALANCÉ (balance, French, balancer - swing, sway, oscillate) is a dance movement in which stepping from foot to foot and alternating demi-plie lifting onto half-toes is accompanied by tilting the body of the head and arms from side to side, which creates the impression of measured swaying. In exercice there are other types of balance: battement jeté B. - a quick, short swing (down-up) of an extended leg or a quick abduction of it by 1/2 or 1/4 of a circle with a return to the previous position grand battement jeté, when performed after the grand battement jeté forward with the body tilted back, the leg passes through the first position and is thrown back with the body tilted forward. In the middle of the hall, grand battement jeté V. is performed to the side, alternately with one and the other foot in the first or fifth position.
BALLON (balloon, French, literally - balloon, ball) is an integral part of elevation. In the ballet art of the 19th century, the ability to elastically, like a ball, push off the floor before high jumps. In the 20th century, the ability to stay in the air during a jump, maintaining a pose.
BALLONNÉ (ballonne, French, literally - swollen, swollen), a jump on one leg or a jump on the toes with advancement behind the working leg, which, stretching out during the jump or leap, is returned to the position sur le cou-de-pied at the moment lowering the supporting leg into demi-plié.BALLOTTÉ (ballotte, French, from ballotter - swing, swing), a jump with forward or backward movement, during which the outstretched legs are held in the fifth position, then one rises through sur le cou-de-pied and is extended according to the movement (forward and back), the other falls to the floor in a demi-plie. The body avoids the raised leg. Then the movement is performed in the opposite direction.
BATTEMENTS (batman, French - beats), a group of movements of the working leg. Classical dance has many forms of batmans - from the simplest - tendus (in English terminology, brack) to complex, multi-component ones. Each pas necessarily contains a batman element, so in exercice they are given great importance. Batman exercises pursue training goals, developing certain skills to stretch the legs in straight lines, clearly perform various evolutions (from a sharp throw of the leg and its smooth raising to the reverse lowering or bending).
BATTEMENT AVELOPPE (batman avloppe) - the opposite movement to battement developpe, the “working” leg from the open position through passe is lowered to a given position.
BATTEMENT DEVELOPPE (batman development) - taking the leg forward, backward or to the side by sliding the “working” leg along the supporting leg. Grand battement developpe in English terminology corresponds to - kick.
BATTEMENT FONDU (batman fondue) - a movement consisting of simultaneous bending of the knees, at the end of which the “working” leg comes to a position sur le cou-de-pied in front or behind the supporting leg, followed by a simultaneous extension of the knees and the “working” leg opens forward, sideways or backward. Modern jazz dance also uses the fondu form from the folk stage dance lesson.
BATTEMENT FRAPPE (batman frappe) - a movement consisting of a quick, energetic flexion and extension of the leg, the foot is brought to the sur le cou-de-pied position at the moment of flexion and opens with the toe to the floor or to a height of 45 ° at the moment of extension forward, to the side or back.
BATTEMENT RELEVE LENT - a smooth lift of the leg through sliding along the floor 90° forward, sideways or backward.
BATTERIES (batry, French, from battre - to beat), jumping movements, ornamented with skids, i.e. kicking one foot against the other in the air. During the impact, the legs are crossed in the fifth position (before the impact and after it, the legs are slightly spread apart). They are divided into battu, entrechat and brise. Battements tendus pour batterries serve as preparation for mastering drifts.
BATTUS (battu, French, from battre - to beat), 1) battus jumping movements, complicated by a blow, or several blows of one leg against the other. For example, échappe battus, assemble battus, jeté battus. 2) Battements battus, a series of quick, short blows from the toe of the working leg to the heel of the supporting leg in front or the heel of the working leg to the ankle of the supporting leg from behind. During impacts, unlike battements frapp, the knee of the active leg does not extend. Usually battements battus is performed on the efface back and forth.
BODY ROLL (body roll) - a group of torso tilts associated with alternate movement of the center of the body in the lateral or frontal plane (synonymous with “wave”).
BOUNCE (bounce) - springboard rocking up and down, mainly occurs either due to bending and straightening of the knees, or pulsating tilts of the torso.
BOURRÉE, pas de bourrée (bourre, pas de bourrée, French, from bourrer to stuff, stuff), small dance steps, chased or merged, are performed with and without changing legs, in all directions and with a turn. The main training form is simple (en dehors and en dedans), which is a cross-stepping from foot to foot with movement to the side. The first two steps are performed on the half toes or toes, changing legs and lowering to the demi plié on the third beat. During the step, the working leg clearly rises sur le cou-de-pied. Pas de bourrée suivi (continuous, coherent) - characterized by the uniformity of small steps in the first or fifth positions with advancement in all directions.
BRISÉ (breeze, French - broken, broken), jump, during execution - the leg from the fifth position behind (in front) is carried forward (back), giving direction to the jump, hits the supporting leg in the air and returns to its previous position. In dessus-dessous it ends on a forward or backward leg, while the other is brought sur le cou-de-pied and begins to move in the opposite direction: B. dessus is performed moving forward, B. dessous - backward.
BRUSH - sliding or brushing the entire foot across the floor before opening the leg into the air or when closing into a position.
CABRIOLE (cabriole, French—jump), one of the complex jumps in classical dance, when one leg hits the other from bottom to top one or more times. Performed in all poses at 45° and 90°. As a rule, the approach to a cabriole is the steps pas glissade, pas coupe, pas failli, jumps sissonne tombée, sissonne ouverte, etc. There is cabriole fermée, cabriole tombée, cabriole fouettée.
CAMBRÉ (cambre - from the French word “cambrer” - to bend, bend, bend. A slight bend of the body back or to the side.
CHAÎNĖ (chené; from the French verb “chainer” - to measure with a measuring chain, tape and the French noun “chaine” - chain.)
In the French school of classical dance there is also the term “déboulé” (debule; from the French verb “debouler” - to roll down from top to bottom, to fall, to quickly rotate around oneself, to move forward, rotating, which almost corresponds to the term “chainé”. In the modern school of classical dance The “chainé” dance is performed on the half-fingers and on the fingers.
During the execution of “chainé,” the center of gravity is transferred from one leg to the other, with a rotation of the body and a gradual increase in the speed of the body around its axis, moving in all directions, where one leg, overtaking the other, imitates a continuous chain.
CHANGEMENT DE PIED (change of legs, French - change of legs), jump from fifth position to fifth with changing legs in the air. Can be performed on a small (petit de p.) and large jump (grand Changement de p.) and with a turn in the air (tour en l"air).CHASSÉ, pas (chasse, French, from сhasser - to hunt, to chase). A jump with advancement, during which one leg seems to catch up with the other, connecting in the fifth position at the top point of the jump. It can be an independent movement, and also serve as an auxiliary, connecting pas for performing large jumps.
CODA (coda, Italian, from Latin cauda - tail), 1) the final part of many dance forms, mainly of a virtuoso nature, following the variations 2) The finale of the act with the participation of all characters, the corps de ballet, representing, as a rule, a general dance (for example , the last acts of The Sleeping Beauty).
COUPÉ, pas coupe (coupe, French, from coup - push, blow), auxiliary movement before a jump or another pas (quickly replacing one leg with the other, gives impetus to the next movement).
CORKSCREW TURN - “corkscrew” turns in which the performer increases or decreases the level of rotation.
COURU, pas couru (I smoke, French, from courir - to run), auxiliary movement - dance running. It is used to connect individual parts of the dance, as a run-up before a jump (on the fingers - running in an inverted position).CROISE (croise, French, letters - crossed), one of the main provisions of classical dance, in which lines are crossed. The croisée position is achieved by turning the body 1/8 of a circle from the fifth position en face in the direction en dedans.
CURVE (English curf) - bending of the upper part of the spine (to the “solar plexus”) forward or to the side.
DÉGAGÉ (degage, French literally - extracted, released), abduction of the leg to the desired height according to the principle of battements tendus for subsequent transition to it.
DEEP BODY BEND (English deep body bend) - bending the torso forward below 90°, maintaining a straight line of the torso and arms.
DEEP CONTRACTION (English: deep contraction) - strong compression into the center of the body, in which all joints participate, i.e. This movement includes the arms, legs and head.
DEMI (demi, French - half, half), the term indicates the execution of only half of the movement. Direction, demi -plie - half squat; demi -pointe - half fingers; demi-rond - 1/2 circle.DEMI-PLIE; RELEVE (demi-plie; releve - French, from demi-plié - half-bent, relevé - raised), the term combines two movements into an inextricable whole, a half-squat and subsequent rise onto the half-toes, fingers. Pirouettes, finger techniques and many other movements are associated with this most important element of dance.
DEMIROND (English demi rond) - a semicircle with the toe of the foot on the floor forward and to the side, or back and to the side.
DESSUS-DESSOUS (dessus - dessu - under-above, or from above from below), (Bourrée, Brise).DÉVELOPPÉ (devloppe French literally - developed, expanded) movement, a type of battements. The working leg from the fifth position, bending, slides the toe along the supporting leg, rises to the knee and stretches forward, to the side or back. Having reached the maximum height, it descends to the fifth position. There are complex forms of D. passe (passing) - after the devloppe, the leg is bent, the toe is brought to the knee without touching it, and again extended in the desired direction; D. ballotte (swinging) - the raised leg with a sharp movement lowers slightly and returns to its previous position again or is moved to the side by 1/2 or 1/4 of a circle and brought to the same position, D. tombe (falling) - raised leg, like When stepping over an obstacle, it falls to the floor, dragging the body along with it; the supporting one, with its toe pulled out, rests on the floor or rises.
DOUBLE (double, French - double), the term indicates a double execution of pas. Direction in double battement tendu: after extending the leg, the heel drops to the second or fourth position, then lifts off the floor again, as if repeating the batttment tendu. Battement double frappe has a double movement of the working leg sur le cou-de-pied back and forth. double assemble is performed twice on one leg.
DROP (English drop) - falling of a relaxed torso forward or to the side.
ÉCARTÉE (écarte, French, from écarter - to move apart), a classical dance pose in which the dancer’s body is turned diagonally, the leg is raised to the side (a la seconde), the body is tilted away from the raised leg, the arm corresponding to the raised leg is in the third position , the other is abducted to the second position, the head is turned in the direction of this leg (ÉCARTÉE forward) or away from it (ÉCARTÉE back).ÉCHAPPÉ, pas (échappé, French, from échapper - to escape, to escape), the movement consists of two jumps, during which the legs are moved from a closed position
(V) to open (II or IV) and back to closed. Performed on a small and large jump - petit ÉCHAPPÉ and grand ÉCHAPPÉ, as well as with a skid - ÉCHAPPÉ battu. Using the same principle, pas ÉCHAPPÉ is performed on the fingers - from a closed position, a relevé is made on the fingers to an open position and then a descent from the fingers to the starting position.EFFACE (French efface, from effacer - to smooth), one of the main positions in classical dance. Determined by the open, expanded nature of the posture, movement. The EFFACE position is achieved by turning the body 1/8 of a circle from the fifth position en face in the direction en dehors.
EMBOÎTE (ambuate, French, from emboîter le pas - to follow), 1) successive transitions from foot to foot on half-toes or toes. Performed en tournant with each transition in half a circle, without demi-plie 2) Jumps EMBOÎTE - alternate throwing out of bent knees legs forward or backward by 45° (petit EMBOÎTE) or 90° (grand EMBOÎTE) with advancement behind the toe of the raised leg EMBOÎTE en tournant with a jump according to the pattern repeats EMBOÎTE on the half-toes and fingers, but the transition from foot to foot is carried out after the jump with a turn to half a circle.
EN ARRIERE (en arrier - back) - a term indicating that one leg is behind the other, or that the dancer is moving backwards.
EN DEDANS (an dedan, French - inward), 1) “closed” position of the legs: toes and knees are brought together. 2) Direction of movement of the working leg: back - to the side - forward, i.e. inward, towards the supporting leg 3) Rotation directed towards the supporting leg, inward.
EN DEHORS (an deor, French - outward), 1) the main position of the legs, accepted in classical dance, is unfolded, open (see Turnout). 2) The direction of movement of the working leg in a circle is forward - to the side - back, i.e. from the supporting leg. 3) Rotation directed from the supporting leg outward.
EN FACE (en face, French - opposite, in the face), the frontal position of the performer’s figure in relation to the audience, strictly vertical and without épaulement.
EN L"AIR (an l"er, French - in the air), designation of a pas performed in the air, in contrast to the movement par terre - on the ground. For example, rond de jambe en l"air, tour en l"air.
EN TOURNANT (en tournant, French - in a turn), designation of a turn during the execution of pas for 1/4, 1/2 of a circle, a whole circle. For example, battement tendu EN TOURNANT, pas de bourrée EN TOURNANT, jeté EN TOURNANT, assembly EN TOURNANT, saut de basque EN TOURNANT
ENCHAÎNEMENT (anchenman, French - connection, connection), a series of combined movements that make up a dance phrase.
ENTRECHAT, entrechat (French, from the Italian intrecciato - intertwined, crossed), a vertical jump with two legs, during which the legs, spreading several times, are quickly crossed. Entrechat demonstrates the technical virtuosity and elevation of the performer. A brilliant entrechat depends on the precision in opening and crossing the highly extended legs, with the lowest possible jump height. The number of short lines that the legs produce during entrechat determines the name of the jump: entrechat trois, entrechat quatre, entrechat cinq, entrechat six. The jump ends with an even count (entrechat royal quatre, six, huit) in the fifth position, with an odd count (entrechat trois, cinq, sept) - on one leg, while the other is brought sur le coude-pied.
ENTRÉE (entre, French - entrance), 1) dance entry onto the stage of one or more performers. 2) The first part of expanded classical dance forms (pas de deux, pas de trois, grand pas, pas d'action, etc.), often serving as an exposition. (Entre in the act of “Shadows” in “La Bayadère” is a choreographic exposition of everything classical ensemble; Aurora's entre in Act 1 is an exposition of character, just like Raymonda's first entre.)
EPAULEMENT (epoleman, French, from épaule - shoulder), a certain position of the dancer, in which the figure is turned half-turn towards the viewer, the head is turnedto the shoulder extended forward. epaulement croisé and epaulement effacé are the starting position for the formation of the basic poses of classical dance, as well as for the performance of most dance pas.
EXERCICE (exercise, French - exercise), the first part of a classical dance lesson - exercises at the barre and in the middle of the hall, developing prof. qualities necessary to perform dance techniques: turnout and strength of the leg muscles, correct positioning of the body, arms and head, stability, coordination of movements. From the elementary movements that make up exercice, various forms of classical dance are composed.
FAILLI, pas (failly, French, from faillir - to weaken), a jump from two legs to one, in which immediately after landing the free leg is smoothly carried through the first and fourth positions and the center of gravity is transferred to it. Failli is characterized by complex coordination of movements of the body, legs and head. The jump begins épaulement croisé, a quick turn of the body occurs in the air in the effacé position, and the jump ends in épaulement croisé from the other leg. At the moment of the jump, the arms and head change position and give failli lightness and beauty. Failli can be a pas in its own right and serve as an approach for large jumps (eg grand pas assemblé, grand pas jeté.
FERMĖ, sissone ferme (ferme; from the French verb “fermer” - to close, lock, close. Ferme - literally means closed; fermée - closed.
Used to denote a closed form in body positions and in various types of movements, including jumping: sissonne fermée, jeté fermé, la cabriole fermée.
FLAT BACK (English flat back) - tilting the torso forward, to the side (90°), back with a straight back, without bending the torso.
FLAT STEP (English flat step) - a step in which the entire foot is simultaneously placed on the floor.
FLEX (English flex) - abbreviated foot, hand or knees.
FLIC-FLAC (flick-flac, French - slap-slap or clap-clap), a movement that develops dexterity and agility. The working leg, previously opened to the side, forward or backward, bending at the knee 45°, with a light touch of the ball of the foot passes behind the supporting foot, opens slightly to the second position, then passes in the same wayin front of the supporting foot and opens to the side (forward or backward). Can start fromposition the leg open at 90° and end in a large pose. Performed en face and with a turn (en tournant).
FONDU (fondue, from fondre - to melt), definition of a soft, elastic plie in various movements (battement fondu, sissonne fondue).FOUETTEÉ (fouette, French, from fouetter - to whip). The term refers to a series of dance steps that resemble the movements of a whip, spinning or straightening sharply in the air. FOUETTEÉ at 45° - a masterly rotation on the toes: during the turn, the working leg, swinging behind the calf of the supporting leg, bends at the knee, its toe from behind is moved forward, then the leg sharply straightens to the side simultaneously with the lowering of the supporting leg onto the demi-plie. The dynamic rotation of FOUETTEÉ often becomes the climax of extended classical dance forms. For example, in “Swan Lake”, “Don Quixote”, “The Legend of Love”. Other forms of FOUETTEÉ are complicated by a whimsical change of angles, raising the leg by 90°, and are performed with sautés and cabrioles. Grand FOUETTEÉ is one of the varieties of fouette, a more developed form. So, in grand FOUETTEÉ with a change of épaulement, the half-bent leg, raised 45° forward (back), from the effacé position is extended, raised 90° and through à la seconde
carried out in attitude effacée (effacé - forward). Grand FOUETTEÉ en tournant begins with a grand battement jeté to the second position at 90°, then through the demi-plie in the first position the leg is sharply thrown forward (back) with a turn of the body en dedans (en dehors). The movement ends in an arabesque croisée forward. Grand FOUETTEÉ is performed on the half-fingers and fingers.
FRAPPEÉ (frappe, French, from frapper - to hit), a movement belonging to the group of battements with bending the leg at the knee. From an extended position with the toe to the floor or slightly below 45°, the working leg is brought with a foot strike to the supporting leg to the position sur le cou-de-pied (forward or backward), then sharply opens to the side (forward or backward).
FROG-POSITION (English frog-position) - a sitting position in which the legs bent at the knees touch each other with the feet, the knees should be as open as possible to the sides.GARGOUILLADE (garguiad, French, from gargouiller - to gurgle), or rond de jambe double, a small jump of a dancer, during which a rond de jambe en l "air (at 45°) is performed, first with one leg, then with the other. Initial and final position - fifth. There are varieties en dehors and en dedans. Rarely found in modern stage dance. Used to develop speed, dexterity and unity of movements. Garguiade is performed in the pas de trois in the third act of “The Corsair” staged by M. Petipa.
GLISSADE, pas (glissade, French - sliding), a small jump from the fifth position with advancement following the extended toe of the leg sliding along the floor, followed by sliding the toe of the other leg into the fifth position. Performed together, without lifting the socks off the floor (with or without changing legs). It is used as an independent movement, as a link that unites various passes, and can also serve as an impetus for other jumps.
GLISSEÉ, pas (glissé, French, from glisser - to slide), a step in which the toe slides along the floor from fifth to fourth position or moves tombé on one leg into demi-plie. Used as an approach to pirouettes, to jumps. Glisse in arabesque, repeated several times, is one of the most beautiful and expressive movements of classical dance. Used in the dance of the Wilis (“Giselle”) and swans (“Swan Lake”).
GRAND (gran, French - large), denotes the most expressed essence of movement. For example, grand plié - deep squat; grand battement jeté - throwing a leg to the greatest possible height; grand fouette - the most developed form of fouette; grand changement - big jump, Grand pas - multi-part, complex dance and musical form, etc.
GRAND FOUETTE (grand fouette, French), a developed form of fouette, in which the leg is raised by 90°. Varieties of grand fouette, while maintaining the imagery of fouette, differ significantly from it. There is a form of grand fouette with a change of épaulement, when the leg from the effacé position in front from below is brought up to the back to the same position. Another grand fouette (en tournant) begins à la seconde and ends in the 3rd arabesque. Grand fouette is performed en dehors and en dedans.
GRAND PAS (grand pas, French, literally - big step, big dance), a complex multi-part dance and musical form that originated in the era of romanticism and was completed in the work of M. Petipa. The structure of the grand pas is similar to the sonata form in music: entrée (exposition), adagio and variations (development) and then coda. In grand pas, the choreography expresses the inner content of the ballet in a generalized and poetic way. Dance themes develop symphonically, intertwine, and confront each other. Such are the grand pas in La Bayadère, Raymond, and Laurencia. Performed jointly by soloists, luminaries, and corps de ballet. Some grand pas are effective, as in the second act of the ballet Giselle.
JETÉ (jeté, French, from jeter - to throw, throw), the term refers to movements performed by throwing a leg. 1) Battement tendu JETÉ - moving the leg forward, to the side or back with a throw to a height of 45°, grand battement tendu JETÉ - throwing the leg to 90° and above. 2) JETÉ - jump from foot to foot. The JETÉ jump group is varied in form and is widely used in stage dance. Grand JETÉ, JETÉ entrelacé, grand JETÉ en tournant, etc. are especially expressive and effective. The formation of the grand JETÉ pas de chat form in modern ballet is caused by the glorification of dance.
JETE ENTRELACE (lit. - intertwined jump), a type of flip jeté - a jump from one leg to another with a turn, during which the legs are alternately thrown into the air, as if intertwined, with one leg thrown forward, and the other, after a half-turn in the air , - back, for yourself. Jeté entrelace is possible with a skid, as well as a double, landing in arabesque or fourth position.
HIGH RELEASE (English high release) - high expansion, a movement consisting of lifting the chest with a slight bend back.
HINGE (English hinge) - the position of the dancer, in which the straight, without bending, torso leans back to the maximum distance, knees bent, feet on half toes,
HIP LIFT (English hip lift) - lifting the hip up.
NOR (hop) - step-hop, the “working” leg is usually in the “knee” position.
JACK KNIFE (English Jack Knife) - the position of the body in which the torso leans forward, the back is straight, the support is on the hands, the knees are extended, the legs are in the second parallel position, the heels do not come off the floor.JERK-POSITION (English jerk position) - a position of the arms in which the elbows are bent and slightly pulled back, behind the chest, the forearms are parallel to the floor.
JUMP (English jump) - jump on two legs.
KICK (English kick) - throwing a leg forward or to the side at 45° or 90° through removal using the developpe technique,
LAY OUT (English lay out) - a position in which the leg, open 90° to the side or back, and the torso form one straight line.
LEAP (English liip) - a jump from one leg to the other, moving forward or to the side.
LENT (lan, French - slow), a term that defines the slow execution of pas. For example tour tape, relevé tape.
LOW BACK (English low back) - rounding of the spine in the lumbar-thoracic region.
OUVERT (over); from the French verb “ouvrir” - to open.
1. Performed with two techniques - par developpe and par jete from two legs to one.
2. Means the open position of the working leg after performing the jump. The sissone ouverte jump can be performed with one or two lifts in any given direction ending in any pose: arabesque, attitude, croise, efface, ecarte.PAR TERRE (par terre, French, literally - on the ground) is a term indicating that the movement is performed on the floor. For example rond de jambe par terre.
PAS (pa, French - step), dance form. 1) Designation of one of the types of dance steps (pas de bourree, pas glissé, pas balancé, etc.). 2) A separate expressive movement performed in accordance with the rules of classical dance pas de chat, pas de poisson, etc.). 3) Multi-part form of classical ballet - grand pas, pas d'action, pas de deux, pas de trois.
PAS D"ACTION (pas d"action, French, literally - effective dance, from pas - step, dance and action - action), a complex musical and dance form, organically connected with the development of the ballet plot. Gradually, the form of pas d'action took shape, consisting of an entrée representing all participants, adagio soloists accompanied by luminaries and corps de ballet, variations of the general code. The form of pas d'action crystallized in the ballets of M. Petipa (The Sleeping Beauty, Raymonda, La Bayadère "), where an extensive dance at key moments of action expressed the innermost feelings of the characters.
PAS DE BASQUE (pas de basque, French, literally - a basque step), a jump from foot to foot, performed as follows: the foot makes a demi-rond with the toe on the floor, the center of gravity is transferred to it with a small (parterre) jump, the other foot through the first position is carried forward and the legs are connected to the fifth position with sliding forward. Pas de basqe are performed backwards in the same way. Grand pas de basqe is done on a large jump with a high throw of the legs.
PAS DE CHAT (pas de cha, French, literally - a cat's step), a jumping movement that emulates a light, graceful jump of a cat: the bent legs are alternately thrown back, the body bends (can also be performed with the legs thrown forward). Hands occupy a variety of positions. Varieties of pas de chat are petits (small) and grands (large).
PAS DE CISEAUX (pas de siso, French, from ciseaux - scissors), a jump from one leg to the other, during which both outstretched legs are alternately thrown high forward; they connect in the air for a moment, and then one of them is sharply carried through the first position into an arabesque.PAS DE DEUX (pas de deux, French, lit. - dance for two), ballet form. It began to take shape in the 19th century, the era of romanticism, and was associated with the emergence of new stage characters, the disclosure of whose images required more sophisticated technology. One of the pas de deux of this type was composed by J. Perrot in the ballet “Giselle” (1841). The final structure of the pas de deux - entrée, adagio, variation (solo) of the dancer, variation (solo) of the dancer and coda - was formed in the second half of the 19th century. In Russia, classical examples of pas de deux were created by M. Petipa (Swan Lake, Sleeping Beauty ").
PAS D "ENSEMBLE (pas d" ensemble, French, from ensemble - together), a dance performed by a large group of dancers. Soloists may participate. Rarely used in modern terminology.PAS DE POISSON (pas de poisson, French, from poisson - fish), a jump from one leg to the other with alternate throwing of the legs back. Performed with a big jump and bending the body backwards. Characterized by complex coordination of movements of the body, arms, and head. The dancer's position in the air with an arched body and legs pulled back is reminiscent of a fish jumping out of the water (hence the name). Another name is jeté passé (back).
PAS DE TROIS (pas de trois, French, literally - dance of three), one of the varietiesclassical ensemble, including three participants. Like other ensemble forms, the pas de trois has a canonical structure: entry (entrée), adagio, variations for each participant, general coda (coda). However, unlike the pas de deux, which mainly carries effective dramatic functions, the pas de trois, as a rule, in ballets of the 19th century had a divertissement (inserted) character. It depicted mainly not the main characters, but their friends and surroundings, the environment of action, and the emotional atmosphere. (“Paquita” by M. Petipa, in “The Little Humpbacked Horse”, pas de trois from the first act of “Swan Lake” - choreographer A.A. Gorsky). In an effort to enhance the effectiveness of choreography, modern domestic choreographers, when staging classical performances, sometimes introduce a pas de trois for the main characters (“Swan Lake,” staged by Yu. Grigorovich). In modern ballet, the canonical pas de trois form is almost never found (in the pas de trois form, choreographer V. Vainonen staged the “Dance of the Shepherds” in “The Nutcracker”, 1934). Usually, a dance trio is constructed more freely depending on the nature of the action (Danila, Katerina, Mistress of the Copper Mountain - “The Stone Flower” staged by Grigorovich).
PAS MARCHÉ (pas march, French, from marcher - to walk), a dance step in which, unlike a natural step, the foot lands on the floor from the outstretched toe, and not from the heel.
PAS SOUBRESAUT (pas subreso, French, from soubresaut - a sharp jump), a jump from two legs to two with a large takeoff from fifth position to fifth. The legs in the air remain in the same position, the body bends strongly back.
PASSÉ (passe, French, from passer - to pass), the path when moving from one pose to another. The leg can pass at the level sur le cou-de-pied or at the knee of the working leg, as well as through the first position - P. par terre.
PETIT (petit, French - small), a term used to denote small movements.
PICCE-(picke) - “stabbing”, stand on the left right forward to the bottom, quickly touch the floor with the toe repeatedly.
PIROUETTE (pirouette), an ancient term for a type of rotation. Now it is used only in men's dance. In women's all types of rotations are tours.
PLIE (plie, French from plier to bend), squatting on two or one leg a) grand plie - bending the knee to the limit, lifting the heel off the floor, b) demi plie - without lifting the heels off the floor.
pointe efface, devant, derriere, a la seconde.La pointe (pointe shoe); from French noun - point, tip. Sur pointe - on pointe.
Pointe tendue - the position of the leg extended at the knee and to the side forward, to the side or back with the toe on the floor.
Grand battement jete pointe - done with a strongly extended leg en-dedans and en-dehors on the whole foot and on a demi-plie with the toe on the floor.PORT DE BRAS (port-de-bras, French, from porter - to wear and bras - hand), transfers of the hands to the main positions (rounded - arrondi or elongated - allonge with a turn or tilt of the head, as well as bending of the body.
PRÉPARATION (preparation, French - preparation), preparation for the execution of movements for performing battements, ronds de jambe, pirouettes, jumps and other complex movements.
PRESS-POSITION (English press position) - a position of the arms in which the arms bent at the elbows with the palms touch the hips in front or on the sides.
RELEASE (English release) - expansion of body volume that occurs during inhalation.
RELEVE (releve, French, from relever - to lift), 1) lifting onto half-toes, fingers) 2) Raising an outstretched leg 90° and higher in various directions and positions of classical dance.
RENVERSE (ranverse, French, literally - overturned), a strong, sharp bend of the body in a large pose, continuing in the pas de bourrée en tournant, which ends with straightening the body. There are many types - renverse en dehors, renverse en dedans. Performed on half fingers, on fingers, with a jump and in plie.
REVOLTADE (revoltad, French, from Italian - rivoltare - to turn over), a jump with a leg crossed over the leg and a turn in the air. It is found mainly in men's dance. It is performed with a body turn en dehors and a simultaneous throw of the leg in front by 90° through which the pushing leg is transferred in the first position. The jump ends with landing on the leg that performed the jump, the other leg rises back 90°. During takeoff, the performer's body assumes an almost horizontal position; the revoltade is performed with a turn en dedans. The approach to revoltade is sissonne tombee, pas failli, pas chasse, followed by a short pas coupe. Revoltade has several types. It can also be performed with two rotations in the air.
ROLL DOWN (English roll down) - a spiral tilt down and forward, starting from the head.
ROLL UP (English roll an) - a reverse movement associated with the gradual unwinding and straightening of the torso to the starting position.
ROND DE JAMBE (ron de jambe, French - circle with the foot), circular movement of the working leg en dehors and en dedans There are varieties: rond de jambe, performed with the toe on the floor (par terre), at a height of 45° and 90° (en l "air"), as well as with a 90° throw (grand rond de jambe jeté. Rond de jambe trains leg mobility in the hip joint. Rond de jambe en l"air - circular movement of the lower leg with a fixed hip, abducted to the side at a height 45° (or 90°), develops mobility of the knee joint. Rond de jambe en l"air saute is performed with a jump.
ROYAL (royal); French - royal. Jumping movement from two legs to two from fifth position to fifth; involves just one punch or one slide followed by a change of legs. It is believed that this jump was named after Louis XIV, who performed this movement while dancing during ballet performances at Versailles.SAUT DE BASQUE (so de Basque, French, literally - Basque jump), jump from foot to foot, moving to the side and turning in the air. Performed with a body turn en dedans by 1/2 circle and a simultaneous throw of the leg to the side by 90°, the pushing leg is brought to the knee. A full turn is completed, landing on the leg that performed the saut de basque throw is done on a high jump. An approach, an auxiliary movement to it is a step - coupe, pas chassée saut de basque. It is also performed with two turns in the air.
SAUTE pas, pas saute, or temps saute (saute, French, from sauter - to jump), 1) a jump from two legs to two while maintaining the original position in the air and upon landing 2) A term indicating that the movement must be performed with jump. For example, temps lie saute, grand fouette saute, etc.
SHIMMI (English shimmy) - a spiral, twisting movement of the pelvis to the right and left.
SIDE STRETCH (English side stretch) - lateral stretching of the torso, tilting the torso to the right or left.
SIMPLE (sample, French - simple), the term indicates that from a group of similar movements the simplest version is performed, for example pas de bourrée simple, sissonne simple, etc.SISSONNE, pas (Sison, French), a group of jumping movements from two legs to two and to one, which has many varieties. sissonne is performed on a medium and large jump, on the spot, with advancement and with a turn in the air (en tournant). The main types of sissonne: simple, fermée, ouverte, tombée, fondue, pas soubresaut.
SOUTENU, pas (soutenu; from the French verb “soutenir” - to support (soutenir comes from the verb “tenir” - to hold)
The extended working leg slowly, by moving through the second or fourth position, opens while the supporting leg bends. When slowly extending the supporting leg, the working leg closes again to its original position. Performed in all directions.
SQUARE (English square) - four steps in a square: forward-to the side-back-to the side.
STEP BALL CHANGE (English step ball change) - a connecting step consisting of a step to the side or forward and two steps on half toes.
SUNDARI (English sundari) - movement of the head, consisting in the displacement of the cervical vertebrae to the right and left and back and forth.SUIVI (suivi, French, literally - sequential, coherent), pas de bourrée suivi, continuous small steps from foot to foot on the toes in the fifth position, which contribute to smooth movement around the stage (Pas de bourrée suivi is based on the miniature by M. Fokine " Dying Swan").
SUR LE COU-DE-PIED (sur le cou-de-pied, French - on the ankle), the position of the extended foot of the working leg on the ankle of the supporting leg (front or back)
TEMPS LEVE (tan leve, French, from lever - to lift), a vertical jump on one leg, while the other is in the sur le cou-de-pied position or in another position. Usually temps leve is repeated several times. In English terminology, temps leve is hop.TEMPS LIE (tan lie, French, from lier - to connect, connect), a special combination of movements that develops unity and coordination of the dance, consists of transitions from foot to foot with sliding steps, which correspond to the definition of port de bras. In addition to the simplest form of temps lie - par terre (below), there are others - complicated by bends of the body with a leg lift of 90°, tours.
TENDU (tandu; French - stretched, tense; from the verb “tendre” - pull, pull. A term meaning stretching a leg
TERBOUSHON- (terbushon) - a pose with a bent leg in front (attitude in front) of a stoic on the left, right forward, shin down to the left.
TERRE À TERRE (literally - ordinary, everyday) - a dance based on movements performed on the floor (par terre) as opposed to a dance based on jumping.
TILT (English tilt) - an angle, a pose in which the torso deviates to the side or forward from the vertical position, the “working” leg can be open in the opposite direction by 90° and above.
TIRE-BOUCHON (tyre-bouchon); French - corkscrew. During rotation, the working leg rises to a passe position of 90°. The rotation ends in the passé position on the extended supporting leg or demi-plie, then the leg opens with a par developpe move forward, backward or to the side at 90°.TOMBÉ, pas (tombe, French, from tomber - to fall), transferring the center of gravity from the supporting leg in demi-plie (in place or with advancement) to the open leg in one of three directions by 45° or 90°. The other leg takes the position sur le cou-de-pied, or extended with the toe to the floor, at 45° and 90°. It is also performed with the sissonné tombée jump, which is both independent and a connecting, auxiliary pas for other jumping movements.
TOUR (tour, French - turn), rotation of the body around a vertical axis by 360°. Tour on the floor (pirouette) or in the air (tour en l"air) has many varieties. Tour is performed dehors and en dedans. Tour and pirouettes can start from the second, fourth, fifth positions and end in various poses, mainly divided into small and large ones, the first with one leg in the position sur le cou-de-pied or passé, the second in large poses - attitude, arabesque, à la seconde, etc.
TOUR EN L "AIR (tour en l'air, French - turn in the air), performed mainly in men's dance. It is a grand changement de pied (i.e. a jump in place from fifth position to fifth with changing legs in air) with a turn. Can also be performed with two turns. Can end in the fifth position, in various poses.
TOUR LENT (tour lan, French), slow turn on one leg in large arabesque poses, attitude, à la seconde, croisée and effacée forward, écartée. Performed on the whole foot, on the half toes and on the demi-plie. There is a variant of tour lent, in which the initial pose changes to another during a turn.TOURS CHAÎNÉS (Tour Chenet, French), a chain of turns, successive half-turns from foot to foot on half-toes or on toes, moving forward, sideways or backward.
LEGATO - Italian. legato "bound". Legato - a smooth transition between dance movements, in which the subsequent element without a pause “follows” from the previous one.Dictionary from A to Z
Random articles
-
-
Download books, textbooks, guides on neurology and diseases of the nervous system
Educational institution "Gomel State Medical University" Department of Neurology and Neurosurgery...
-
Early development according to Tyulenev: a strict system on the path to genius
One of the most controversial and controversial methods for the early development of children was developed in the 80s by a sociologist and...
-
Spanish Front sight for two - how it affects libido in women and men
Contents Dietary supplement based on an extract obtained from the Spanish beetle (or Spanish beetle...
-
Diet of Ekaterina Mirimanova: menu for every day in detail
Ekaterina MirimanovaSystem minus 60. RevolutionSystem minus 60 with Ekaterina Mirimanova"System minus 60. Revolution"...
-
What can unpleasant bloating and heaviness in the stomach indicate?
Heaviness and bloating are the causes of both ordinary overeating and more serious problems with the digestive tract....
Low hemoglobin
-
2021-11-25 03:13:05 
What are the features of the second positive blood group?
The second blood group, Rh-negative, appeared many years ago, when a person ceased to be...
-
2021-11-25 03:13:05 
Psychology of anorexia Psychology of anorexia
PSYCHOLOGICAL ASPECTS OF ANOREXIA PHENOMENON (EXPERIMENTAL STUDY) T. V. Tarasova, E. V. Arsentieva...
ALT and AST
-
2021-11-25 03:13:05 
Red circles under the eyes Red circles under the eyes after
Contents Since the skin in this area is thin, it is more prone to the appearance of various types of spots....
-
2021-09-08 10:32:39 
The Vasileostrovskaya station was opened without the Vasileostrovskaya visor after
vseslav Sat, 10/17/2015 - 20:50 Vasileostrovskaya station is one of the oldest stations...
Lymphocytes
-
2021-08-29 00:19:31 
Is it possible to eat goat mushroom
Most often, the goat mushroom (Suillus bovinus) is called a goat mushroom in the common parlance of mushroom pickers. This tubular...
-
2021-08-09 19:46:08 
Why do you dream about fish in water?
Every person has had dreams at least once in their life. Many do not attach any importance to them, but some...
Leukocytes
-
2021-07-30 05:58:40 
History of lunar exploration
Daedalus (crater). Diameter: 93 km Depth: 3 km (NASA photo) The moon has attracted the attention of people since ancient times. In II...
-
2021-07-20 02:27:11 
Strange facts about US presidents Franklin Pierce hit an old lady and got away with it
Presidents' Day is celebrated on the third Monday of February in the United States. Until the 70s, celebrations were dedicated to...
