Ballet terms in French. Batman is an element of classical dance

Friends! Let's repeat the terms of classical dance? Are you ready to test yourself? Over time, what is not used in practice is forgotten, so it is worth periodically doing such intellectual exercises. Or maybe some of you will learn something new!

Adajio [adagio] - Slow, slow part of the dance.
Allegro [allegro] - Jumping.
Aplomb [aplomb] - Stability.
Arabesque [arabesque] - It is called the flying pose, and the name of the pose comes from the style of Arabic frescoes. In classical dance there are four types of “arabesque” poses No. 1,2,3,4.
Assemble [assembly] - Connect, collect. Jump with outstretched legs collected in the air. Jump from two legs to two legs.
Attitude [attitude] - Pose, position of the figure. The leg raised up is half bent.
Balance [balance] - Rock, sway. Rocking motion.
Pas ballonne [pa balloon] - Inflate, inflate. The dance is characterized by progression at the moment of jumping in various directions and poses, as well as legs strongly extended in the air until the moment of landing and bending one leg sur le coude pied.
Pas ballotte [pa ballotte] - To hesitate. A movement in which the legs are extended forward and backward at the moment of the jump, passing through a central point. The body leans forward and backward, as if oscillating.
Balancoire [balanceoire] - Swing. Used in grand battement jete.
Batterie [batri] - Drumming. The leg in the sur le coude pied position makes a series of small striking movements.
Pas de bourree [pas de bourree] - A chiseled dance step, stepping with slight advancement.
Brise [breeze] - To break, to crush. Movement from the section on jumping with skids.
Pas de basque [pas de basque] - Basque step. This movement is characterized by a count of ¾ or 6/8, i.e. triplex. Performed forward and backward. Basques are a people in Italy.
Battement [batman] - Sweep, beat.
Battement tendu [batman tandu] - Abduction and adduction of the extended leg, extension of the leg.
Battement fondu [batman fondue] - Soft, smooth, “melting” movement.
Battement frappe [batman frappe] - Movement with a blow, or shock movement.
Frappe [frappe] - Beat.
Battement double frappe [Batman double frappe] - Movement with a double strike.
Battement developpe [batman devloppe] - Swing, open, remove the leg 90 degrees in the desired direction, pose.
Battement soutenu [batman hundred] - To withstand, support, movement with pulling the legs in the fifth position, continuous movement.
Cabriole [cabriole] - A jump with one leg kicking the other.
Chain [shen] - Chain.
Changement de pieds [shazhman de pied] - Jump with a change of legs in the air.
Changement [shazhman] - Change.
Pas chasse [pa chasse] - Drive, drive. A ground jump with advancement, during which one leg kicks the other.
Pas de chat [pas de sha] - Cat step. This jump is reminiscent of the soft movement of a cat's jump, which is emphasized by the bend of the body and the soft movement of the arms.
Le chat [le sha] - Cat.
Pas ciseaux [pa siso] - 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, short push.
Pas couru [I smoke] - Jogging through the sixth position.
Croisee [krause] - Crossing. A pose in which the legs are crossed, one leg covering the other.
Degagee [degage] - To release, to take away.
Developpee [devloppe] - Taking out.
Dessus-dessous [desu-desu] - The upper part and the lower part, “above” and “under”. View pas de bourre.
Ecartee [ekarte] - Take away, move apart. A pose in which the entire figure is turned diagonally.
Effacee [eface] - Expanded position of the body and legs.
Echappe [eshappe] - Break out. Jump with legs opening to the second position and collecting from the second to the fifth.
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] - Out, from the circle.
En dedans [an dedan] - Inside, in a circle.
En face [en face] - Straight, straight position of the body, head and legs.
En tournant [en tournan] - Rotate, turn the body while moving.
Entrechat [entrechat] - Jump with a skid.
Fouette [fuette] - To whip, whip. A kind of dance turn, fast, sharp. During the turn, the open leg bends towards the supporting leg and opens again with a sharp movement.
Ferme [farm] - Close.
Pas faille [pa faii] - To cut, to stop. Weakening movement. This movement is fleeting and often serves to prepare the springboard for the next jump. One leg seems to cut the other.
Galloper [gallop] - Chase, pursue, gallop, rush.
Glissade [glide path] - Slide, slide. A jump performed without lifting the toes off the floor.
Grand [big] - Big.

Jete entrelacee [jete entrelacee] - Transfer jump.
Entrelacee [entrelace] - Interlace.
Jete [zhete] - Throw. Leg throw on the spot or in a jump.
Jete ferme [zhete ferme] - Closed jump.
Jete passé [zhete passe] - Passing jump.
Lever [left] - Raise.
Pas [pa] - Step. A movement or combination of movements. Used as equivalent to the concept of “dance”.
Pas d'achions [pas d'axion] - Effective dance.
Pas de deux [pas de deux] - A dance of two performers, a classical duet, usually a dancer and a dancer.
Pas de trios [pas de trois] - Dance of three performers, a classical trio, usually two dancers and one dancer.
Pas de quatre [pas de quatre] - Dance of four performers, classical quartet.
Passe [passe] - Conduct, pass. Linking movement, holding or moving the leg.
Petit [petit] - Small.
Petit battement [petit batman] - Small battement, on the ankle of the supporting leg.
Pirouette [pirouette] - Yula, turntable. Fast spin on the floor.
Plie [plie] - Squatting.
Demi-plie [demi plie] - Small squat.
Pointe [pointe] - Toe, toes.
Port de bras [por de bras] - Exercise for arms, body, head; tilts of the body and head.
Preparation [preparasion] - Preparation, preparation.
Releve [releve] - Raise, elevate. Lifting on fingers or half fingers.
Releve lent [releve liang] - Slow leg lift at 900.
Renverse [ranverse] - To overturn, to turn over. Tip the body at a strong bend and in a 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 [rond] - Circle.
Rond de jambe en l'air [ron de jambe en ler] - Circle your foot in the air.
Soute [sote] - Jump in place in positions.
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 [sisson farm] - Closed jump.
Sissonne ouverte [sisson ouvert] - Jump with leg opening.
Sissonne simple [sisson sample] - A simple jump from two legs to one.
Sissonne tombee [sisson tombe] - Jump with a fall.
Saut de basque [so de basque] - Basque jump. Jump from one leg to the other with the body turning in the air.
Soutenu [soutenu] - To withstand, support, draw in.
Sur le cou de pied [sur le cou de pied] - The position of one leg on the ankle of the other (supporting) leg.
Temps lie [tan lie] - Bound in time. Connective, smooth, united movement.
Temps leve soutee [tan leve soute] - Jump in the first, second or fifth position on the same leg.
Tire-bouchon [tire bouchon] - Twist, curl. In this movement, the raised leg is bent forward.
Tour chainee [tour shene] - Linked, tied, chain of circles. Fast turns, one after another.
Tour en l'air [tour en lair] - Aerial turn, tour in the air.
Tour [tour] - Turn.
Eversion - Opening of the legs at the hip and ankle joints.
Coordination - Compliance and coordination of the entire body.

CLASSICAL DANCE TERMS

The terminology of classical dance developed in the 17th century in France, at the Royal Academy of Dance. Gradually this dance terminology became generally accepted throughout the world. But it underwent many changes and additions before it came to 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 its creator, Professor Agrippina Yakovlevna Vaganova.

However, French remained as mandatory in terminology as Latin in medicine. The pronunciation of French words indicated in brackets is a guide.

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 center 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.

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)

Exercise – choreographic exercises in a set sequence at the support or in the middle.

ROTATIONS 90°, 180°, 360°, 540°, 720°, 1080°.

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”, a simultaneous half-squat 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.

ballet is perfection!

Let's look at the basic concepts of ballet

Plie(from French “to bend”, plie) - squatting on two or one leg. There are two types of plie:

• demi plie - half squat without lifting your heels off the floor,
• grand plie - full bending of the knees until the thighs are parallel to the floor, the grand plie always goes through the demi plie.

Attitude(attitude, “posture, position”) is a pose in which the leg is bent at the knee.
There are 2 types of attitude:

• attitude derriere (leg bent at the back) and
• attitude devant (leg bent in front) - I also know this pas as terbulchon. The body can be in epaulement croise, in epaulement efface, en face and other positions.

This position was invented by Blaisis, inspired by the statue of Mercury by Giovanni de Bologna. Choreographer K. Blazis wrote about Attitude: “A dancer moving against the wind, in any direction, must carefully maintain his center of gravity on the line that supports him. This special position, called attitude, is the most graceful, but also the most difficult of all positions of the dance; in my opinion, this is something from the pose of Bologna's "Mercury".

Arabesque(arabesque) - a position in which the dancer balances on one leg while the other is extended back. Arabesque is one of the most famous and widespread elements of ballet.
In the Russian school of classical dance there are 4 types of arabesques, but this pose can be endlessly varied.

• 1st arabesque - efface pose, the back leg is raised, the arm opposite to it is extended forward, the gaze is directed at the tips of the fingers of this hand, the other arm is moved to the 2nd position. Both palms are facing down.
• 2nd arabesque - efface pose, the back leg is raised, the arm opposite the supporting leg is extended forward, the other is moved to the side, slightly back. The gaze is directed to the side, towards the audience.
• 3rd arabesque - there are 2 types of this arabesque.
• a) Pose efface, the back leg is raised, the arm corresponding to it is stretched forward, the other is also stretched forward, but a little higher.
• b) Croise pose, the arm corresponding to the raised leg is directed forward, the gaze is directed towards it, the other arm is moved to the side.
• 4th arabesque - croise pose, the arm opposite the raised leg is directed forward, the other is stretched back. The body is slightly turned back at the waist.

Arabesque penche - in this arabesque the body is tilted forward, but the back is concave.

Battements developpes
Developpe means "unfolded" and this movement involves slowly unfolding one leg.
Battements developpes is performed by:

• forward (devant),
• back(derriere),
• to the side (a la second, en ecarte devant and derriere) - batman devlope, lifting the leg through the retreat.

Pass, retire
Passe - crossed. Passe Maybe take from the air, i.e. the leg laid aside (a la second) or another position is bent at the knee in an eversion state and is located next to the depression in the knee. Pass also taken from the appointment retire.

Retire- withdrawn, extracted. A movement in which the hip rotates into a second position, bending the knee in a cou-de-pied position, after which the toe slides along the supporting leg until it reaches the groove of the knee. This movement serves as the beginning for exercise - developpe.

Sur-le-cou-de-pied
Leg position sur-le-cou-de-pied forward, backward, grasping (sur-la-cou-de-pied, from French on the ankle) - the position of the extended foot of the working leg on the ankle of the supporting leg.

Battement means "strike" or "swing" and tendu means "stretched out". This exercise allows you to stretch the leg muscles and strengthen the instep.
During battements tendus, the leg is moved forward (devant), backward (derriere) or to the side (a la second), and then returns to its original position.

Basic poses
En Ecarte(separated or thrown at a distance) - a classical dance pose in which the dancer’s body is turned diagonally.
There are 2 types of ecarte:

• devant and derrier (or simply 1st and 2nd).

• En Ecarte devant is a pose based on apaulement croise (one side is turned from the front, the leg closest to the audience is moved to the side, the hand corresponding to the raised leg is in the 3rd position, the other is in the 2nd, the gaze is directed to the hand raised up hands).
• En Ecarte derrier - this pose is based on apaulement efface (one side of the body is facing away from the front, the leg farthest from the audience is moved to the side, the hand corresponding to the raised leg is in the 3rd position, the other is in the 2nd, the gaze is directed to the hand, located in the 2nd position).

A la second (to the second position, a la zgonde) - a pose in which the leg through the 2nd position is raised to the side by 60, 90, 180 degrees, the position of the body is en face.

Basic provisions of the body

The body can be addressed to the audience in different ways, each of which has its own name.

• En Face (face). The feet can occupy any position on the ground or in the air as long as the body is facing the front.
• Apaulement croise et efface (epalman croise (crossed) and eface (open)) - poses in which the legs and shoulders are deployed: in apaulement croise, one side is turned from the front, the leg closest to the audience is crossed with the other in the 5th position (the leg can be laid forward, to the side, back, raised, bent at the knee, etc.; maintaining the en croise position), in apaulement efface one side of the body faces away from the front, the leg farthest from the audience is located towards the front in the 5th position (same as in apaulement croise the leg can be in different positions and positions, maintaining the apaulement efface pose).

Leg positions

• 1st position - heels are shifted, toes are turned in opposite directions from each other, forming a straight line on the floor.
• 2nd position - similar to the first, but the heels of the inverted legs are spaced from one another by the length of the foot.
• 3rd position - the heel of one foot is located in front of the instep of the other and is in contact with it.
• 4th position - turnout feet stand parallel to each other at approximately the distance of one foot. The heel of one foot should be directly in front of the toe of the other; this way the weight is distributed evenly.
• The 5th position is similar to the fourth, with the difference that the feet fit tightly to one another.
• 6th position - the feet are in a non-reversible state, touching each other.

All classical dance steps are derived from these positions. Initially, the positions are performed with both feet on the floor and knees straight.
Next, various options arise: you can bend one or both knees (plies), lift one or both heels (when standing on your toes), lift one leg into the air (the knee can be straight or bent), lift it off the ground, taking one of the positions in air.
The turn of the feet in any position depends on how much it is possible to turn the thigh to the side at the hip joint.