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Adage, Adagio [French: a-DAHZH] Adage is
a French word derived from the Italian ad agio, meaning at ease or leisure.
English ballet teachers use "adage," the French adaptation, while Americans
prefer the original Italian. In dancing it has two meanings:
(1) A series of exercises following the centre practice, consisting of
a succession of slow and graceful movements which may be simple or of the
most complex character, performed with fluidity and apparent ease. These
exercises develop a sustaining power, sense of line, balance and the beautiful
poise, which enables the dancer to perform with majesty and grace. The
principal steps of adagio are pliés, développés, grand
fouetté en tournant, dégagés, grand rond de
jambe, rond de jambeen l'air, coupés, battements tendus, attitudes,
arabesques, preparations for pirouettes and all types of pirouettes. (2)
The opening section of the classical pas de deux, in which the ballerina
assisted by her male partner, performs the slow movements and enlèvements
in which the danseur lifts supports or carries the danseuse. The danseuse
thus supporte dexhibits her grace, line and perfect balance while executing
développés, pirouettes, arabesques and so on, and achieves
combinations of steps and poses which would be impossible without the aid
of her partner.
Air, en l' [ahn lehr] In the air. Indicates:
(1) that a movement is to be made in the air; for example, rond de jambe
en l'air; (2) that the working leg, after being opened to the second or
fourth position à terre, is to be raised to a horizontal position
with the toe on the level of the hip. Allégro
[a-lay-GROH; Italian: al-LAY-groh] Brisk, lively. A term applied to all
bright and brisk movements. All steps of elevation such as the entrechat,
cabriole, assemblé, jeté and so on come under this classification.
The majority of dances both solo and groups, are built on allegro. The
most important qualities to aim at in allégro are lightness, smoothness
& ballon.
Arabesque [a-ra-BESK] One of the basic
poses in ballet, arabesque takes its name from a form of Moorish ornament.
In ballet it is a position of the body, in profile, supported on one leg,
which can be straight or demi-plié, with the other leg extended
behind and at right angles to it, and the arms held in various harmonious
positions creating the longest possible line from the fingertips to the
toes. The shoulders must be held square to the line of direction. The forms
of arabesque are varied to infinity. The Cecchetti method
uses five principal arabesques; the Russian School (Vaganova), four;&
the French School, two. Arabesques are generally used to conclude
a phrase of steps, both in the slow movements of adagio and the brisk,
gay movements of allégro.
Arrière, en [ah na-RYEHR] Backward.
Used to indicate that a step is executed moving away from the audience.
As, for example, in glissade en arrière.
Assemblé [a-sahn-BLAY] Assembled
or joined together. A step in which the working foot slides well along
the ground before being swept into the air. As the foot goes into the air
the dancer pushes off the floor with the supporting leg, extending the
toes. Both legs come to the ground simultaneously in the fifth position.
If an assemblé is porté it requires a preparatory step such
as a glissade to precede it. If an assemblé is en tournant it must
be preceded by a preparatory step. Assemblés are done petit
or grand according to the height of the battement and are executed dessus,
dessous, devant, derrière, en avant, en arrière
and entournant. They may be done en face, croisé, effacé
or écarté. Assemblé may also be done with a beat for
greater brilliance. In the Cecchetti assemblé both knees are bent
and drawn up after the battement so that the flat of the toes of both feet
meet while the body is in the air.
Assemblé en tournant, grand [grahn
ta-sahn- BLAY ahn toor-NAHN] Big assemblé, turning. This assemblé
Is done in the same manner as grand assemblé. It is taken only dessus
or derrière. It is traveled directly to the side, on a diagonal
traveling upstage, in a circle, etc. It is usually preceded by a pas couru
or a chassé. The battement at 90 degrees to the second position
is taken facing upstage, then the dancer completes the turn en dedans and
finishes the assembléfacing the audience.
Attitude [a-tee-TEWD] A particular pose
in dancing derived by Carlo Blasis from the statue of Mercury by Giovanni
da Bologna. It is a position on one leg with the other lifted in back,
the knee bent at an angle of 90 degrees and well turned out that the knee
is higher than the foot. The supporting foot may be à terre, sur
la pointe or sur la demi-pointe. The arm on the side of the raised leg
is held over the head in a curved position while the other arm is extended
to the side. There are a number of attitudes according to the position
of the body in relation to the audience.
Avant, en [ah na-VAHN] Forward. A direction
for the execution of a step. Used to indicate that a given step is executed
moving forward, toward the audience. As, for example, in glissade en avant.
Balancé [ba-lahn-SAY] Rocking step.
This step is very much like a pas de valse and is an alternation of balance,
shifting the weight from one foot to the other. Balancé may be done
crossing the foot either front or back. Fifth position R foot front. Demi-plié,
dégagé the R foot to the second position and jump on it lightly
in demi-plié, crossing the L foot behind the R ankle and inclining
the head and body to the right. Step on the L demi-pointe behind the R
foot, slightly lifting the R foot off the ground; then fall on the R foot
again in demi-plié with the L foot raised sur le cou-de-pied derrière.
The next balancé will be to the left side. Balancé may also
be done en avant or en arrière facing croisé or effacé
and en tournant
Ballerina [bahl-lay-REE-rlah (Italian)]
A principal female dancer in a ballet company. In the days of the Russian
Imperial Theatres the title was given to the outstanding soloists who danced
the chief classical roles. At the Maryinski Theatre in St Petersburg the
ballet company consisted of ballerinas, premiers danseurs, first and second
soloists, coryphees and corps de ballet.
Ballet master, ballet mistress The person
in a ballet company whose duty is to give the daily company class and to
rehearse the ballets in the company repertoire.
Balletomane A ballet fan or enthusiast.
The word was invented in Russia in the early nineteenth century.
Cavalier The male partner of the ballerina
Choreographer, choregrapher This is the
term applied to one who composes or invents ballets or dances
Corps de ballet [kawr duh ba-LAY] The dancers
in a ballet who do not appear as soloists.
Birtuoso A performer with great technical
ability.
Ballon [ba-LAWN] Bounce. Ballon is the
light, elastic quality in jumping in which the dancer bounds up from the
floor, pauses a moment in the air and descends lightly and softly,
only to rebound in the air like the smooth bouncing of a ball.
Barre [bar] The horizontal wooden bar fastened
to the walls of the ballet classroom or rehearsal hall which the dancer
holds for support. Every ballet class begins with exercises at the bar.
See Exercices à la barre.
Battement [bat-MAHN] Beating. A beating
action of the extended or bent leg. There are two types of battements,
grands battements and petits battements. The petis battements are: Battements
tendus, dégagés, frappés and tendus relevés:
stretched, disengaged, struck and stretched-and- lifted
Battement dégagé [bat-MAHN
day-ga-ZHAY] Disengaged battement. A term of the Cecchetti method. The
battement dégagé is similar to the battement tendu but is
done at twice the speed and the working foot rises about four inches from
the floor with a well-pointed toe, then slides back into the the first
or fifth position. Battements dégagés strengthen the toes,
develop the instep and improve the flexibility of the ankle joint. Same
as battement tendu jeté (Russian School), battement glissé
(French School)
Battement fondu développé
[bat-MAHN fawn-DEW dayv-law-PAY] Battement, sinking down, developed. This
is an exercise in which the supporting leg is slowly bent in fondu with
the working foot pointing on the ankle. As the supporting leg is straightened,
the working leg unfolds and is extended to point on the floor or in the
air. The movement is done devant, derrière and à la seconde.
In fondu forward, the conditional position sur le cou-de-pied devant is
used. In fondu back, the basic position sur le cou-de-pied derrière
is used.
Battement frappé [bat-MAHN fra-PAY]
Struck battement. An exercise in which the dancer forcefully extends the
working leg from a cou-de-pied position to the front, side or back. This
exercise strengthens the toes and insteps and develops the power of elevation.
It is the basis of the allegro step, the jeté.
Battement sur le cou-de-pied, petit [puh-TEE
bat-MAHN sewr luh koo-duh-PYAY] Small battement on the ankle. This
is an exercise at the bar in which the working foot is held sur le cou-de-pied
and the lower part of the leg moves out and in,changing the foot
from sur le cou-de-pied devant to sur le cou-de-pied derrière and
vice versa. Petits battements are executed with the supporting foot
à terre, sur la demi-pointe or sur la pointe.
Battement tendu [bat-MAHN tahn-DEW] Battement
stretched. A battement tendu is the commencing portion and ending portion
of a grand battement and is an exercise to force the insteps well outward.
The working foot slides from the first or fifth position to the second
or fourth position without lifting the toe from the ground. Both knees
must be kept straight. When the foot reaches the position pointe tendue,
it then returns to the first or fifth position. Battements tendus may also
be done with a demi-plié in the first or fifth position. They should
be practiced en croix.
Battement, grand [grahn bat-MAHN] Large
battement. An exercise in which the working leg is raised from the hip
into the air and brought down again, the accent being on the downward movement,
both knees straight. This must be done with apparent ease, the rest of
the body remaining quiet. The function of grands battements is to loosen
the hip joints and turn out the legs from the hips. Grands battements can
be taken devant, derrière and à la seconde.
Battu [ba-TEW] Beaten. Any step embellished
with a beat is called a pas battu. As, for example, in jeté battu.
Bras [brah] Arms.
Bras bas [brah bah] Arms low or down. This
is the dancer's "attention." The arms form a circle with the palms facing
each other and the back edge of the hands resting on the thighs. The arms
should hang quite loosely but not allowing the elbows to touch the sides.
Brisé [bree-ZAY] Broken, breaking.
A small beating step in which the movement is broken. Brisés are
commenced on one or two feet and end on one or two feet. They are done
dessus, dessous, en avant and en arrière. Fundamentally a brisé
is an assemblé beaten and traveled. The working leg brushes from
the fifth position to the second position so that the point of the foot
is a few inches off the ground, and beats in front of or behind the other
leg, which has come to meet it; then both feet return to the ground simultaneously
in demi-plié in the fifth position.
Brisé volé [bree-ZAY vaw-LAY]
Flying brisé. In this brisé the dancer finishes on one foot
after the beat, the other leg crossed either front or back. The foundation
of this step is a fouetté movement with a jeté battu. In
the Russian and French Schools the raised leg finishes sur le cou-de-pied
devant or derrière and the brisé volé is done like
a jeté battu. In the Cecchetti method, the working foot passes
through the first position to the fourth position, the calves are beaten
together and on alighting the free leg is extended forward or back
with a straight knee.
Cabriole [ka-bree-AWL] Caper. An allegro
step in which the extended legs are beaten in the air. Cabrioles are divided
into two categories: petite, which are executed at 45 degrees, and grande,
which are executed at 90 degrees. The working leg is thrust into the air,
the underneath leg follows and beats against the first leg, sending it
higher. The landing is then made on the underneath leg. Cabriole may be
done devant, derrière and à la seconde in any given position
of the body such as croisé, effacé, écarté,
etc.
Cecchetti method Enrico Cecchetti, one
of the world's outstanding teachers of ballet, established a system of
passing on the tradition of ballet to future generations of dancers.
This system, the Cecchetti method, was codified and recorded by Cyril Beaumont,
Stanislas Idzikowski, Margaret Craske and Derra de Moroda.
The method has a definite program of strict routine and includes a table
of principal set daily exercises for each day of the week. The Cecchetti
Society was formed in London in 1922 to perpetuate his method of teaching.
In 1924 the Society was incorporated into the Imperial Society of Teachers
of Dancing. Entrance to the Society by examination and students must
pass through a carefully graded system which has done much to raise the
standard of dancing and teaching throughout the British Empire.
Centre practice Centre practice, or exercices
au milieu, is the name given to a group of exercises similar to those à
la barre performed in the centre of the room without the support
of the bar. These exercises are usually performed with alternate feet and
are invaluable for obtaining good balance and control.
Chaînés [sheh-NAY] Chains
links. This is an abbreviation of the term "tours chaînés
déboulés": a series of rapid turns on the or demi-pointes
done in a straight line or in a circle.
Changement de pieds [shahnzh-MAHN duh pyay]
Change of feet. The term is usually abbreviated to changement. Changements
are springing steps in the fifth position, the dancer changing feet
in the air and alighting in the fifth position with the opposite foot in
the front. They are done petit and grand.
Chassé [sha-SAY] Chased. A step
in which one foot literally chases the other foot out of its position;
done in a series.
Cinq [senk] Five. As, for example, in entrechat
cinq.
Coda (1) The finale of a classical ballet
in which all the principal dancers appear separately or with their partners.
(2) The final dance of the classic pas de deux, pas de trois
or pas de quatre.
Corps [kawr] Body.
Côté, de [duh koh-TAY] Sideways.
Used to indicate that a step is to be made to the side, either to the right
or to the left.
Cou-de-pied, sur le [sewr luh koo-duh-PYAY]
On the "Neck" of the foot. The working foot is placed on the part of the
leg between the base of the calf and the beginning of the ankle.
Coupé jeté en tournant [koo-PAY
zhuh-TAY ahn toor-NAHN] A compound step consisting of a coupé dessous
making a three-quarter turn and a grand jeté en avant to complete
the turn. The step is usually done in a series either en manège
or en diagonale.
Couru [koo-REW] Running. As, for example,
in pas de bourrée couru.
Croisé, croisée [kmJah-ZAY]
Crossed. One of the directions of épaulement. The crossing of the
legs with the body placed at an
oblique angle to the audience. The disengaged leg may be crossed
in the front or in the back.
Danse [dahnss] Dance.
Danse de caractère [dahnss duh ka-rak-TEHR]
Dance of character, character dance. Any national or folk dance, or a dance
based on movements associated with a particular profession, trade,
personality or mode of living. See Mazurka and Polonaise.
Dedans, en [ahn duh-DAHN] Inward.
In steps and exercises the term en dedans indicates that the leg, in a
position à terre or en l'air, moves in a circular direction,
counterclockwise from back to front. As, for example, in rond de jambe
à terre en dedans. In pirouettes
the term indicates that a pirouette is made inward toward the supporting
leg.
Dehors, en [ahn duh-AWR] Outward. In steps
and exercises the term en dehors indicates that the leg, in a position
à terre or en l'air, moves in a circular direction, clockwise.
As, for example, in rond de jambe à terre en dehors. In pirouettes
the term indicates that a pirouette is made outward toward
the working leg.
Demi-plié [duh-MEE-plee-AY] Half-bend
of the knees. All steps of elevation begin and end with a demi-plié.
See Plié.
Demi-pointes, sur les [sewr lay duh-mee-PWENT]
On the half-points. Indicates that the dancer is to stand high on the balls
of
the feet and under part of the toes. Also used in the singular,
"sur la demi-pointe."
Derrière [deh-RYEHR] Behind, back.
This term may refer to a movement, step or placing of a limb in back of
the body. In
reference to a particular step, the addition of derrière
implies that the working foot is closed at the back.
Dessous [duh-SOO] Under. Indicates that
the working foot passes behind the supporting foot. As, for example, in
pas de bourrée
dessous.
Dessus [duh-SEW] Over. Indicates that the
working foot passes in front of the supporting foot. As, for example, in
pas de bourrée
dessus.
Deux [duh] Two.
Deuxième [duh-ZYEM] Second.
Devant [duh-VAHN] In front. This term may
refer to a step, movement or the placing of a limb in front of the body.
In reference to a
particular step the addition of the word "devant" implies that the
working foot is closed in the front.
Développé, temps [tahn dayv-law-PAY]
Time developed, developing movement. Through common usage the term has
become abridged to développé. A développé
is a movement in which the working leg is drawn up to the knee of the supporting
leg and slowly extended to an open position en l'air and held
there with perfect control. The hips are kept level and square to the direction
in which the dancer is facing.
Diagonale, en [ahn dya-gaw-NAL] In a diagonal.
Indicates that a step is to be done traveling in a diagonal direction.
Divertissement [dee-vehr-tees-MAHNLAY]
Diversion, enjoyment. A suite of numbers called "entrées," inserted
into a classic
ballet. These short dances are calculated to display the talents
of individuals or groups of dancers.
Double [DOO-bluh] Double. As, for example,
in pirouette double (a double pirouette) |