The leading foot brushes out to dégagé as weight bears on the trailing leg, weight is shifted to the leading leg via a jump and the trailing foot extends out of plié into degagé. Abbreviation of battement frappé. Making sure to create proper turn out by rotating the inner thighs forward and you go down. Variants include: (French pronunciation: ​[pɑ d(ə) ʃa]; 'step of the cat.') For example, a battement tendu derrière is a battement tendu to the rear. This motion is normally done at the barre during warm-up. (French pronunciation: ​[balɑ̃swaʁ]; "swing [children's toy]") Swinging the working leg between front (devant) and back (derrière) through first position, usually in conjunction with grands battements or attitudes and involving seesaw like shifting of the upper body in opposition to the legs. Performing steps while on the tips of the toes, with feet fully extended and wearing pointe shoes, a structurally reinforced type of shoe designed specifically for this purpose. Cecchetti and RAD's eight include croisé devant, à la quatrième devant, effacé (devant), à la seconde, croisé derrière, écarté, épaulé, and à la quatrième derrière. A sturdy horizontal bar, approximately waist height, used during ballet warm-up exercises and training. the cast that performs the most amount of shows). (French pronunciation: ​[tɑ̃ l(ə)ve]; literally 'time raised.') A pirouette may return to its starting position or finish in arabesque or attitude. A traveling step starting in fifth position from demi-plié. ('Step of four.') In addition, the French school further divides écarté into écarté devant and écarté derrière. (French pronunciation: ​[asɑ̃ble]; literally 'assembled') Sometimes also pas assemblé. This is employed in various movements, including grand jeté and arabesque penchée. Indicates: (1) that a movement is to be made in the air; for example, … 2. As the ballet dancer’s supporting leg straightens, the working leg also extends to a straight position. A particularly large or complex coda may be called a grand coda. (French pronunciation: ​[ɡlisad pʁesipite]; "precipitated glide".) This term relates only to the movement of the body from the waist up. This step is often done turning ("en tournant"), where each jump rotates 1/2 turn. In the Cecchetti method, the specifically indicates a spring from fifth position while raising one foot to sur le cou-de-pied. Turned out legs with the feet pointing in opposite directions, heels touching. The feet will have now changed position with the left foot in front in 5th position. Converse of fermé(e) ('closed'). Facing or moving to the front, as in tendu devant or attitude devant. 4.2 Danseur . an improvisational theater ensemble; a woodwind ensemble. In the Russian school, a pointed foot at cou-de-pied extends directly out to dégagé height without brushing through the floor. (French pronunciation: ​[atityd]) A position in which a dancer stands on one leg (the supporting leg) while the other leg (working leg) is raised and turned out with knee bent to form an angle of approximately 90° between the thigh and the lower leg. (French pronunciation: ​[pwasɔ̃]; literally 'fish.') A bending at the waist in any direction, forward, backward, or to the side. (French pronunciation: ​[alɔ̃ʒe]; meaning 'elongated.') (French pronunciation: ​[fwɛte]; literally 'whipped.') Parola del giorno: 'remercy' Definizione … En face indicates facing something directly, generally the audience. An assemblé (dessus/over) to the opposite corner would reorient the body back to its original position. Italian, or French adage, meaning 'slowly, at ease. As ballet was created in France, the names for each movement are French, I will translate and go over these with you, so that you can clearly understand the meanings and pronunciation. Translator. Croisé is used in the third, fourth, and fifth positions of the legs. Frappés are commonly done in singles, doubles, or triples. Converse of ouvert(e) ('open'). (French pronunciation: ​[ɑ̃tʁəʃa]; from Italian intrecciata, 'intertwined.') A slide or brush-through transition step following a preceding jump or position. Instead, the leading foot is pushed along the floor in plié as described above, as a transition into another movement or position. To pull up, a dancer must lift the ribcage and sternum but keep the shoulders down, relaxed and centered over the hips, which requires use of the abdominal muscles. Coupé can only be performed through a closed leg position. Manèges is a classical ballet term meaning “circular.” It describes when a dancer does steps in a circular pattern around the stage. A series of small walks done on pointe or demi-pointe, traveling either forward (, A variation on the typical tour piqué/piqué turn, where the dancer does 1/2 piqué turn as usual, then, without coming off relevé, steps onto the previously working leg and lifts the previously supporting leg to retiré to finish the turn. That means there is a bend in the knee before the dancer raises higher. French pronunciation: ​[poze]; A term of the Cecchetti school and RAD. ), or fifth en bas (Cecc.) Soloists also often dance in principal roles, but most of the time not in the first cast of the show (i.e. A term indicating the transfer of weight from one leg to another by shifting through to the position without any sort of gliding or sliding movement. The dancer may or may not return to the initial position, depending on the choreography. A ballet master or ballet mistress is a person in a ballet company whose duty is to give a daily company ballet class and rehearse ballets that the dancers will perform. (French pronunciation: ​[epolmɑ̃]; 'shouldering.') In the Vaganova school, the full term is sissonne ouverte tombée. An attribute of many movements, including those in which a dancer is airborne (e.g.. Used in ballet to refer to all jumps, regardless of tempo. Other schools may use a flexed foot without the strike or a non-brushed pointed foot on demi-pointe. The ensemble of a ballet company, especially the ensemble apart from the featured dancers. When done at the barre en demi-pointe to switch sides, only half a turn is done instead of a full turn, and the foot does not extend out into tendu. (French pronunciation: ​[fʁape]; 'struck.') This is known as a glissade en tourant in the Russian school. This chassé passé is the (pas) failli. E.g. sixth position) instead of turned out as in ballet. (French pronunciation: ​[ʁəvɔltad]) A bravura jump in which one lands on the leg from which one pushes off after that leg travels around the other leg lifted to 90 degrees. (French pronunciation: ​[kɔʁife]) In some systems, a dancer of higher rank than a member of the corps de ballet, performing in small ensembles and small solo roles but not ranked as a soloist. In Cecchetti, the hands stay a little lower at tutu height. Playlists. In dance (particularly ballet), arabesque (French: [aʁabɛsk]; literally, "in Arabic fashion") is a body position in which a dancer stands on one leg (the supporting leg) with the other leg (the working leg) extended, straight, behind the body. A quick glissade generally done leading into a following step, such as with glissade jeté or glissade assemblé. En dehors turns clockwise (to the right) if the right leg is working and the left leg supporting/standing.) petit allegro (small, generally fast jumps) and grand allegro (large, generally slower jumps). (French pronunciation: ​[pɑ̃ʃe]; 'tilted'.) A dancer is in croisé derrière if at a 45 degree angle to the audience, the upstage leg (farthest from the audience) is working to the back and the arms are open in third, fourth, or allongé in arabesque with the upstage arm being the one out towards second, e.g. 'Second position'. *Note: Heels do not come up off the floor in a second position. Log In Dictionary. Most schools of ballet use the definition adage, while the Italian musical term ‘adagio’ is also used in some schools, which means ‘at ease, or ‘at leisure.’ A dancers line, extension, balance, turnout and control are all put to the test during adage as she moves with slow, fluid serenity from one position to the next, all while trying to look and feel at ease. / jeté entrelacé (Rus. Refers to a foot and leg position when the toes and knees are extended and elongated, rather than forming the usual soft curve. A dance by four dancers. (See "Piqué turn."). A term from the Cecchetti school indicating a hop on one foot while the other is raised in any position. A grand pas danced by three or four dancers is a, pas de bourrée derrière – 'behind' / pas de bourrée devant – 'front', pas de bourrée dessus – 'over,' initially closing the working foot in front / pas de bourrée dessous – 'under,' initially closing the working foot behind, pas de bourrée en arriere – 'traveling backward' / pas be bourrée en avant – 'traveling forward', pas be bourrée en tournant en dedans – 'turning inward' / pas de bourrée en tournant en dehors – 'turning outward', pas de bourrée piqué – 'pricked,' with working leg quickly lifted after pricking the floor, pas de bourrée couru – 'running,' also 'flowing like a river'. The Russian equivalent of this may be, Third position in Cecchetti holds one arm in a Cecchetti first and the other arm in. Vaslav Nijinsky was known to perform triple tours en l'air. A common abbreviation for battement tendu. The word is of Russian origin c. 1930, with the suffix -mane coming from maniya (mania).[1]. For example, assemblé, pas de bourrée, and glissade can be designated as under or dessous. In échappé sur le pointes/demi-pointes a dancer begins with a deep plié, springs onto les pointes or demi-pointes, ending in either second position (when starting from first position) or fourth (when starting from fifth) with knees straight. Bending at the waist is otherwise known as cambré. (Italian pronunciation: [braˈvuːra]) A flashy, showy and elaborate style of dance that involves a lot of elaborate steps and style to similar music. This could be in front (["conditional"] devant), behind (derrière), or wrapped (sur le cou-de-pied: arch of the foot wrapped around the ankle with the heel in front of the ankle and the toes behind, often interchangeable with the devant/conditional position), depending on the activity and the school/method of ballet. (French pronunciation: ​[kabʁijɔl]; meaning 'caper.') 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