Opposite (the audience); facing the audience. En croix is commonly given during barre for a well rounded exercise, but also can be done in the center. Demi-plié and push off the floor into the air, turning en dehors (to the right). Cat’s-step. This position corresponds to the fifth position en bas, Cecchetti method. Ballet, Modern, Pointe, and Hip Hop dance classes for age 3-adult. Arms low or down.

A term applied to a whipping movement.

Glide. The step is usually done in a series either en manège or en diagonale. The passage of the arms from one position to another constitutes a port de bras. Refers to grands battements executed continuously devant and derrire through the first position. Even-numbered entrechats are done en face or en tournant, while odd-numbered entrechats are done devant, derrière, en tournant, the côté or de volée. Shouldering. From a demi-plié in the fifth position the working foot glides along the floor until it reaches a position à la demi-hauteur.

As, for example, in glissade en arriére. Copyright © 2020 BalletHub LLC, unless otherwise noted. The body must be well centered over the supporting leg with the back held strongly and the hips and shoulders aligned. Demi-plié in the second position (R arm curved in front of the body, L arm in second); spring onto the L demi-pointe, throwing the R leg to the second position and touring en dehors. Execute a pirouette en dehors on the L leg. This term may refer to a step, movement or the placing of a limb in front of the body. A Polish folk dance in 3/4 time which has been introduced into a number of ballets as a character dance. The forms of arabesque are varied to infinity. There is a wide variety of pas jetés (usually called merely jetés) and they may be performed in all directions. It is done forward to attitude croisée or effacée, and to all the arabesques. An exercise at the barre or in the centre in which one leg is made to describe a series of circular movements on the ground. As, for example, in battements tendus en croix.

If the développé is at 90 degrees, the working leg is brought from sur le cou-de-pied to retiré, that opens in the desired direction as the supporing knee straightens. See Plié. Double cabriole. BalletHub is an online education, news, event, and discussion resource for the art of ballet. The working foot is placed on the part of the leg between the base of the calf and the beginning of the ankle. En dedans (Cecchetti method): After a pirouette en dedans the working leg is extended to the fourth position derrière en l’air; then with a demi-rond de jambe en l’air en dedans the foot is brought to the front of the supporting knee. The arms assist and the head must spot as in pirouettes. Sissonne is named for the originator of the step. In reference to a particular step (for example, glissade derriére), the addition of derrière implies that the working foot is closed at the back. Entrechats are counted from two to ten according to the number of crossings required and counting each crossing as two movements, one by each leg; that is, in an entrechat quatre each leg makes two distinct movements. This is an abbreviation of the term “tours chaînés déboulés”: a series of rapid turns on the points or demi-pointes done in a straight line or in a circle. It may be done in all directions or in a circle. Large jeté. which has little épaulement.

Big open sissonne. As the supporting leg straightens, the working leg does développé at either 45 or 90 degrees. The next balancé will be to the left side. The hips are kept level and square to the direction in which the dancer is facing. The force for the first turn is taken by the R arm, which opens to the second position.

There are a number of attitudes according to the position of the body in relation to the audience:for example, attitude croisée, attitude effacée, attitude de face. Both jeté dessus and jeté dessous may be beaten. A term of the French School. This pose may be taken devant or derrière, either à terre or en l’air. See Tour lent. The toe of the working foot does not rise off the ground and does not pass beyond the fourth position front (fourth position ouvert) or the fourth position back.

Battement stretched. A raising of the body on the points or demi-pointes, point or demi-pointe. Large battement.

The exercise at the barre is usually preceded by a preparation from the first or fifth position which is done on two introductory chords. Petits battements are executed with the supporting foot à terre, sur la demi-pointe or sur la pointe. In front. Battements dégagés strengthen the toes, develop the instep and improve the flexibility of the ankle joint. Half-bend of the knees. As, for example, in arabesque penchée. Chord 1: demi-plié (lowering the R arm to the first position) and slide the R foot forward to the fourth position, pointe tendue (raising the R arm to the first position and inclining the head toward the bar). A term of the French School and the Cecchetti method. No dictionary terms found. In each case échappés are done to the second or fourth position, both feet traveling an equal distance from the original center of gravity. Indicates that the dancer is to stand high on the balls of the feet and under part of the toes. Pricked, pricking. Sissonne may be performed petite or grande. Over. the leg moves evenly until reaching the angle of 45 or 90 degree and is sustained momentarily in the extended position before slowly returning to sur cou-de-pied as the suppoting leg executes a demi-plié.
The polonaise is a march in which two steps are taken forward on the demi-pointes and then the third step is taken flat with the supporting knee bent in fondu and the other leg raised in front. They may be executed en dehors or en dedans. See Battement en cloche, grand. When the foot reaches the position pointe tendue, it then returns to the first or fifth position.

An échappé is a level opening of both feet from a closed to an open position. Carried. The Russian School (Vaganova) has a preparatory position and three standard positions of the arms. The arms remain in the second position during the series of turns, then close in the first position for the concluding pirouettes. Ballonné may be executed in all the directions of the body. 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. Croix, en ( French pronunciation: [ɑ̃ kʁwɑ] ; meaning 'in the shape of a cross.')

In this position the feet form one line, heels touching one another. A term of the Russian School. A term used to indicate a movement of the torso from the waist upward, bringing one shoulder forward and the other back with the head turned or inclined over the forward shoulder. Sideways.

It is usually preceded by a pas couru or a chassé. The petites sissonnes are sissonne simple, sissonne fermée, sissonne ouverte at 45 degrees and sissonne tombée at 45 degrees.

They are done dessus, dessous, en avant and en arrire.

The feet should glide rapidly to the open position and both feet must move evenly. Both legs come to the ground simultaneously in the fifth position. Whipped.

The petits battements are: Battements tendus, dégagés, frappés and tendus relevés: stretched, disengaged, struck and stretched-and-lifted . → l'auteur a été poursuivi pour incitation à la violence et peut faire une croix sur les récompenses littéraires, Translation French - English Collins Dictionary, Free: Learn English, French and other languages, Reverso Documents: translate your documents online, Learn English watching your favourite videos, All French-English translations from our dictionary. The thigh must be kept motionless and the hips well turned out, the whole movement being made by the leg below the knee.

Grands battements en cloche are continuous grands battements executed from the fourth position front or back en l’air to the fourth position back or front en l’air, passing through the first position. Fifth position R foot front. The art of using the face and body to express emotion and dramatic action. Same as piqué tour en dedans. In all entrechats both legs beat equally. Shaded.
En dedans (Russian School): Fouetté en dedans is done in the same manner as en dehors. This is essentially a male dancer’s step although contemporary choreographers use this tour for girls. Bounce.

The movement is done en dehors and en dedans. This is the classical fourth position but it may also be done with the feet in the first position, only separated by the space of one foot. This term may refer to a movement, step or placing of a limb in back of the body. As, for example, in piqué en arabesque, piqué développé and so on. Jeté interlaced. Withdrawn. Fundamentally a brisé is an assemblé beaten and traveled. The function of grands battements is to loosen the hip joints and turn out the legs from the hips. Execute a pirouette en dehors on the L leg. Fifth position R foot front. Stand on the R leg facing corner 2 in the second arabesque à terre.

Balancé may also be done en avant or en arrire facing croisé or effacé and en tournant. Although the positions of the feet are standard in all methods, the positions of the arms are not, each method having its own set of arm positions. Used to indicate that a given step is executed moving forward, toward the audience.

A step of beating in which the dancer jumps into the air and rapidly crosses the legs before and behind each other. The body should rise at the same speed at which it descended, pressing the heels into the floor.

A particular pose in dancing derived by Carlo Blasis from the statue of Mercury by Giovanni da Bologna. Rocking step. Same as battement tendu jeté (Russian School), battement glissé (French School). The landing is made on the R leg in demi-plié in the first arabesque facing corner 2, on the spot from which the jump began. (2) A term for a group of exercises designed to make the arms move gracefully and harmoniously.

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