vocab 3

Russian Arabesques
First arabesque: the body is supported on one led with the other lifted at a right or greater angle to the supporting left. The body is inclined forward from the waist with a strongly arched back. The arm on the side of the supporting led is extended forward and the other taken out to the side a little behind the second position.
Second arabesque: the body and legs are the same as in the first arabesque but the arms are reversed. That is, the arm on the side of the supporting leg is taken back far enough to be seen behind the body while the other arm is extended forward. The head is turned toward the audience.
Third arabesque: this arabesque faces diagonally toward the audience. The supporting leg is nearer the audience with the other raised in croisé derrière at right angles to the supporting leg. The body is inclined forward with the arm opposite the supporting leg extended forward on a level with the shoulder and the other arm extended to the side. The head is turned toward the forward arm.
Fourth arabesque: The legs are in the same position as in third arabesque but the arms are reversed and held at shoulder level. The arm on the side of the supporting leg is brought forward and the other arm taken back far enough to be seen behind the back. The body is half turned away from the audience by the strong arching of the back, with the head turned toward the audience.

Cecchetti Arabesques
First arabesque: The body is held upright from the waist and is supported on a straight led with the other leg extended and at right angeles to the supporting leg. The shoulder are held square to the line of direction with the arms extended, palms down, so that the extended fingertips of the forward arm (which is the one on the same side as the supporting leg) are in line with the centre of the space between the eyes, and the extended back arm slightly lowered so that the arms are in one straight line. The forward hand should be slightly turned outward
Second arabesque: the arms are reversed so that the forward arms is the opposite to the supporting left. The head is slightly inclined and turned toward the audience.
Third arabesque: Both arms are extended forward to the side of the supporting leg. The fingertips of the arm farther from the audience are in line with the centre of the space between the eyes while the arm nearer the audience is in line with the shoulder.
Fourth arabesque: The supporting led is nearer the audience and is in demi-plié. The arms and head are held as in first arabesque with the arm on the side of the raised leg being forward.
Fifth arabesque: The arms and head are held as in the third arabesque with the arm farther from the audience being the higher. The supporting leg is the leg nearer the audience and is in demi-plié.

*the fourth and fifth arabesques are usually taken facing the right front corner of the room or stage if the supporting leg is the left, or facing the left front corner if the supporting left is the right.*

Demi Pointe- on the half points, dancer is to stand high on the falls of the feet under part of the toes.

Relevé- raised, raising the body on the points or the demi pointes. The toes do not move from the spot at which the relevé began.

Sous sus- under-over, a term of the cecchetti method. Sous sus is a relevé in fifth position performed sur place or trailed forward, backward or to the side. The dancer springs on the points or demi-pointes, drawing the feet and legs tightly together.

Coupé - cut/cutting. A small intermediary step done as a preparation for some other step. It takes its name from the fact that one foot cuts the other away and takes its place.

Cou de pied- The working foot is placed on the part of the leg between the base of the calf and the beginning of the ankle.

5 Classes of Jumps

Saut - 2 to 2 - jump. A jump off both feet, landing with the feet in the same position.

Sissonne - 2 to 1 - sissonne is named for the originator of the step. It is a jump from both feet onto one foot.

Assemblé - 1 to 2 - 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 of the floor with the supporting leg, extending the toes. Both legs come to the ground simultaneously in the fifth or third position.

Jeté -  2 - 1 to other (leap) - throwing step. A jump from one foot to the other in which the working led is brushed into the air and appears to have been thrown.


Temps levé - 1 to same (hop) - Time raised, or raising movement. A term of the Cecchetti method. This is a hop from one foot with the other raised in any position. The instep is fully arched when leaving the ground and the spring must come from the pointing of the toe and the extension of the led after the demi-plié.

Plié New Routine

Second Position Plie
- 2 grande plié (four counts each)
- Reach outer arm up towards the barre for (four counts) then switch sides and reach inner arm towards opposite side.

First Position
- 2 demi plié (two counts each)
- 1 grande plié (four count)
- port de bra forward (four counts)
- cambe backwards (four counts)

Fourth Position
(move outside foot to forth position from first)
- 1 demi plié (two counts)
- reach outer arm up toward the bar and move upper body forward in a circular motion. arm ends in second position.
- 1 demi plié (two counts)
-  Cambre back and move torso in half circle away from the barre

Third position
(move feet into third - bring outer foot into third)
- 2 demi pliés (two counts each)
- 1 grande plié (four counts)
- port de bra forward (four counts)
- cambre backwards (four counts)
- demi plié
- rise up to demi pointe

Vocab 2

Croisé - 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.

Effacé - Shaded. One of the directions of épaulement, in which the dancer stands at an oblique angle to the audience so that a part of the body is taken back and almost hidden from view. This direction is termed "ouvert" in the French method. Effacé is also used to qualify a pose in which the legs are open. This pose may be taken deviant or derrière.

écarté - seperated, thrown wide apart. Écarte is one of the eight directions of the body. Cecchetti method. In this position the dancer faces either one of the two front comers of the room. The leg nearer the audience is pointe in the second position á terre or raised arms are held en attitude with the raised arm being on the same side as the extended leg. The head is raised slightly and turned toward the raised arm so that they eyes look into the palm of the hand.

Arm Positions 

Bras Bas - arms low or down this is the dancer's "attention." The arms from a circle with the palms facing each other and the back edge of the hands resting on the thigh. The arms should hang quite loosely but not allowing the elbows to touch the sides. This position corresponds to the fifth position en bas, Cecchetti method.

first position: the arms form a circle in front of the body in line with the fork of the ribs.

second position: the arms are held out to the sides in a sweeping line so that the elbow is slightly lower than the shoulder and the wrist slightly lower than the elbow. The palms of the hands face the audience.

lower third position: one arm is curved in front of the body while the other is held out to the side.

upper third position: one arm is curved above the head while the other is held out to the side.

fourth position: one arm is curved above the head while the other is curved in front of the body in line with the fork of the ribs.

fifth position - both arms are curved above the head.

Balancé- Rocking Step. This step is very much like the pas de valse and is an alternation of balance, shutting the weight from one food to the other. Balancé may be done crossing the food either from or back. Fifth position R foot front. Demi-plié, dégagé the R foot to the second psotion and jump on it lightly in demi-plié, crossing the L foot behind the R ankle and inclining the head an body to the right. Step on the left 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 co-de-pied derriére. The next balancé will be to the left side.

Glissade - glide. A traveling step executed by gliding the working foot from the fifth position in the required direction, the other foot closing to it.

Pas de bourrée - bourrée step. pas de bourrée is done dessous, dessus, devant, derrière, en avant, en arriére and en tournant en dadas and en dehors, on the point or demi-pointe. (fifth position E foot back. Demi-plié and dégagé the R goût to the second position en l'air á la demi-hauteur. Bring the R foot to the fifth position front, rising on the demi-pointes, and immediately open the L good to the sec on position, stepping on the demi-pointe. Bring the r food in front of the L and lower both heels to the ground in the fifth position, demi-plié. The dégagé movement of this step may be started from the fifth position front or back.

Therapeutic Barre

Torso Fold- Hold bar with left hand and face perpendicular. Feet should be shoulder width apart. Bend down while keeping legs straight and hip squared, repeat.

Front Torso Stretch- place both hands on bar and face towards the bar. Gently lift chin up until you feel the stretch in your abdomen, repeat.

Side Body Stretch- left hand on the barre, right foot crosses over standing leg, right arm in high fifth, stretched towards the bar while allowing the body to pull away. Then move right foot behind standing leg, right arm still in fifth and stretch towards bar.  Repeat on other side.

Hyper Tension of Spin- Facing the barre, roll through the spine toward and then back up in four counts (twice). repeat in two counts (four times).

Circumduction of Spine- away from the barre with feet parallel, clamp both hands in a fist, raise arms above the head. Move the upper body in a circular motion away from the bar first at a 45 degree angle, then at a 90 degree angle and finally a full circular port de bras. Turn around and repeat for other side.

Second Position - backward hip thrust- through the feet- start in second position with arms in second, flat back over to 90 degrees. Turn feet to a parallel second position and move arms to a straight fifth position. from this position release spine, bend knees, hip thrust forward and roll up and end relevé.

Point Stretch- Face the barre and move feet to demi point and then relax, alternating feet.

Instep Stretch - Face the barre in parallel and both hands on barre. Cross the feet and make sure foot is arched and press calves together until stretch is felt in the middle of the foot.

Ankle Circles- face barre with both hands on barre, start with left foot circle ankle outwards four times and inwards four times and then switch feet.

Achilles Tendon stretch- place one foot directly in front of the other, bend knees and lean forward, switch feet.

calf stretch- facing the barre with both hands on it, put one leg forward and bent and lean into the barre. switch legs.

trudges- facing the barre with both hands on it, legs away from the bar, you will be leaning towards the barre move feet in a "walking action" without removing feet from the ground.

leg swings- facing the barre with both hands on the barre, swing left leg first bending knee 8 times, repeat with other leg.

Plié - Relevé - Balance- Facing the barre - demi plié rise up into relevé and then remove hands from barre and balance.

Blog Post 1 - Vocab

Plié- Bent, Bending. A bending of the knee or knees. This is an exercise to render the joints and muscles soft and pliable and the tendons flexible and elastic, and to develop a sense of balance. 
     Demi-plié - half-bending of the knees. 
     Grande-plié - the full bending of the knees (the knees should be bent until the thighs are horizontal)

Tendu - Stretched. "Battement Tendu" the commencing portion and ending portion of a grand battement and is an exercise to force the insteps well outward. The working foot sides from the first or fifth position to the second or fourth position without lifting the toe from the ground, both knees remain straight. 

Demi Pointe - on the half points. indicates that the dancer is to stand high on the balls of the feet and under part of the toes. 

Pointe - On the points. The raising of the body on the tips of the toes. There are three ways of reaching the points: piqué,  relevé, or sauté. 

Dégagé - disengaged or disengaging step. A dégagé is the pointing of the foot in an open position with a full arched instep. It is not a transfer of weight. 

Rond de Jambe - Round of the led, that is, a circular movement of the leg. Rond de jambe are used as an exercise at the bar, in the centre and in the adage, and are done á terre or en l'air. 
     en DeHors - Rond de jambe in the air, outward. Ronds de jambe en l'air commence and end in the second position en l'air. To start the movement the working leg is opened from the fifth position front to the second position en l'air, From here the toe describes an oval beginning with its backward arc, and finishing in the second position en l'air. The leg may then be lowered into the fifth position back, or the movement way be repeated as many times as desired before lowering the leg. 
     en DeDans- Rond de jambe in the air, inward. The working led is opened from the fifth position back to the second position en l'air. From here the toe describes an oval beginning with its forward arc, passing the knee of the supporting led, through the backward arc, and finishing in second position en l'air. The leg is then lowered to the fifth position front, or the movement may be repeated as many times as desired before lowering the leg. 

Grade Battement - Large Battement. An exercise in which the working led 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. 

en face - opposite (the audience); facing the audience 
de face - in front, full face. A position or step executed facing the audience. 

Devant - 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. 

Derriére - 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 derriére implies that the working foot is closed at the back. 

á la second - To the second. A term to imply that the foot is to be placed in the second position or that a movement is to be made to the second position en l'air.

definitions from: Grant, Gail. Technical manual and dictionary of classical ballet. 3rd rev. ed. New York: Dover Publications, 1982. Print.


Positions of the feet - 


first position - the balls of the feet are turned out completely. The heels touch each other and the feet face outward, trying to form a straight line. 

second position - The balls of both feet are turned out completely, with the heels separated by the length of one foot. Similar to first position, but the feet are spread apart.

third position - One foot is in front of the other with the of the front foot touching the middle of the back foot.

fourth position - The feet are placed the same as third position, but one step apart.

fifth position - With both feet touching, the toes of each foot reaches the heel of the other.

photo from: http://web.georgetownisd.org/ngc/JohnsonLau/images/foot%20positions.BMP