How to dance like ballet
Atlanta Ballet | Ballet Terms, Positions, and Poses
Gain a deeper appreciation for this art form by learning more about ballet moves, positions, poses, and more with this helpful glossary of dance terminology from Atlanta Ballet. This is not an exhaustive list, but a starting point to help you familiarize yourself with the language used to describe ballet.
Assemblé (assam blay) - Lifting off the floor on one leg, and landing on two. Legs assemble at the same time and return to fifth position.
Grande Jeté (grand jeh tay) - a big jump from one foot to the other in which the working leg is brushed into the air and appears to have been thrown.
Plié (plee ay) - means bent, bending - of the knee or knees.
Pirouette (peer o wet) - a rotation or spin - a complete turn of the body on one foot, on point or demi-pointe (half- pointe).
Tour en l'air (tour on lair) - a turn in the air - usually a male dancer's step, although ballerinas may do them to depending on the choreography.
Ballet Position Terms
Arabesque (Ah rah besk) - a position on one leg with the other leg raised behind the body and extended in a straight line.
Attitude (ah tea tude) - A variation on the arabesque. The extended leg is raised behind the body but bent at the knee at an angle of 90 degrees.
Croisé (quo say) - A dancer stands with legs crossed at an angle to the audience. The disengaged leg may be crossed in the front or in the back.
Turn-out - The dancer turns his or her feet and legs out from the hip joints to a 90-degree position.
Types of Ballet
Classical Ballet - a traditional style of ballet which stresses the academic technique developed through the centuries of the existence of ballet.
Modern Ballet - a type of ballet from the twentieth century. To this day, modern ballet looks to re-invent itself and reach out in an ever-increasing facet of creation and movement.
People of the Ballet
Ballerina - a female dancer in a ballet company.
Danseur - a male dancer in a ballet company.
Choreographer - a person who composes or invents ballets or dances.
Ballet Master or Ballet Mistress - a person in a ballet company whose job is to give the daily company class and to rehearse the ballets in the company repertoire.
Balletomane (bal lay toe mane) - A ballet fan or enthusiast.
Additional Ballet Terms
Choreography - describes the steps, combinations, and patterns of a ballet or dance.
Pointe Shoes - The satin ballet shoes used by dancers when dancing on their pointes (toes). Pointe shoes are reinforced with a box constructed of numerous layers of strong glue in between layers of material. Pointe shoes are not made of cement or wood.
Tutu - the short classical ballet skirt made of many layers of net. A romantic tutu is a long net skirt reaching below the calf.
Barre - a horizontal bar (usually made of wood) along a studio wall for class exercises. Every ballet class begins with barre exercises.
Centre Practice - a group of exercises similar to those at the barre but performed in the center of the room. These exercises are done without the support of the barre and are normally performed with alternate feet.
Pas de Deux - a dance for two.
Adagio (u da zhe-o) - is a succession of slow, soft, lyrical, and continuous movements. Adagio creates the illusion that the positions flow from one into another.
Allegro (a leg grow) - allegro in ballet involves fast and dynamic movements, usually jumping steps and sequences.
6 Easy Tips To Help You Dance Like Bailey Sok
Bailey Sok is one of those dancers who has been grabbing attention since the second she first stepped out on stage.
And from her humble beginnings on teams like Buns & Roses to her recent contract with Nike, she’s been inspiring young dancers all over the world.
But if you’re one of those dancers who's inspired by how dope Bailey Sok looks when she’s hitting every beat, you might not know how to become like her.
Especially if you’ve never danced before.
That’s where we come in!
From studying the details of Bailey Sok's dance style to taking Bailey Sok's dance classes – we've got 6 tips to help you dance just like this rising star.
Read on to get started!1. Learn From Bailey Sok’s Dance Background
Bailey Sok’s dance journey didn’t begin with her training in elite LA choreography classes.
Like many young dancers, she started dancing at a local studio where they taught traditional styles like Ballet.
And it’s her wide range of experience that’s made her an amazing dancer today!
So, if you wanna dance like Bailey, focus on adding to your range with the following types of classes:
Bailey first started dancing under Molly Long, the director of a junior dance team that did primarily Jazz and Jazz Funk.
So, if you wanna look like Bailey, Jazz is the perfect place to start!
Jazz classes help you embrace the more theatrical parts of dancing.
You’ll work on powerful facial expressions, quick footwork, and fast turns.
All of these skills will come in handy when you want to give off that incredible stage presence that Bailey has given all 👏 her 👏 life 👏
Check out STEEZY’s Beginner Jazz program here if you’re ready to start tapping into your inner star quality.
There’s a reason why just about every dope dancer will tell you to take some beginner Ballet classes.
Ballet is all about discipline and technique. It’s about perfecting small details. It’s about focus and care.
When you watch Bailey Sok dance, you probably notice that she seems to hit every tiny sound, has amazing body control, and is consistently in the pocket.
Training in Ballet probably had a huge impact on Bailey developing those abilities!
Wanna learn how to control every muscle in your body with perfect precision just like Bailey?
Check out STEEZY’s Beginner Ballet program too!
Many people describe Bailey Sok as a Hip Hop dancer.
However, we want to make one thing clear!
Many of the routines you’ve probably seen Bailey do are influenced by Hip Hop dance, but aren’t necessarily considered a full-on Hip Hop routine.
At STEEZY, we refer to Bailey’s choreography as “Open Style” – a style of dance that draws on many styles of dance, especially Hip Hop and other street styles like Popping and House.
That said, training in Hip Hop classes will improve your ability to execute the moves that Bailey Sok likes to do!
Hip Hop dances are based around two fundamental movements: bounces and rocks.
Bounces are executed by bending your knees and bouncing up and down to a beat.
Rocks are executed by swaying/rocking your body from side to side to beat.
Many popular dance moves that you’ve seen in viral challenges, music videos, and Bailey’s routines follow this format, even if they aren’t a classic move from Hip Hop history.
Watch for the Hip Hop influence in her choreography below:
Bailey's most popular YouTube videos:
If you wanna learn more about what makes Hip Hop “Hip Hop,” read this: What is Hip Hop?
And if you wanna learn how to dance true Hip Hop and build your foundation like Bailey’s, of course, STEEZY has a Beginner Hip Hop program for ya too!
Take it here.
All dancers are shaped and molded by their mentors, so taking classes from Bailey’s mentors will get you one step closer to dancing like Bailey herself!
During her teen years, Bailey spent a lot of time training with Melvin Timtim and his team, S-Rank.
Melvin has a unique style that impacted Bailey’s way of dancing and choreographing quite a bit.
Check out this video of Bailey performing with S-Rank:
One of Melvin’s signatures is using very small movements to create hugely impactful moments.
That moment around 1:33 in the last video when the whole team is doing that funky two-step-slide move in unison is a great example.
Bailey uses those same types of minimalist movements in her own routines and freestyles, so practicing Melvin’s routines will help you get that Bailey Sok “look. ”
You’ll also find that Melvin Timtim loves to appear super laid back and groovy during certain sections of his choreography, and that vibe has bled into Bailey’s dance style too.
For example, in that video, did you see how Melvin and Bailey allow their shoulders to drop down and back so that they have an almost slouchy posture?
That’s a huge reason why people think Bailey Sok looks cool when she dances!
By slouching and leaning back a bit, she never looks like she’s trying too hard. ;)
A few other choreographers who have taught Bailey Sok:
Alfred Remulla – a super creative choreographer who infuses his routines with storytelling! His classes have definitely given Bailey Sok an opportunity to work on her fluidity as his routines are all about seamless transitions.
Anthony Lee – another choreographer who loves an effortlessly small movement! He milks the sh*t out of tiny movements so that it feels like he’s dancing in slow motion. You’ll notice Bailey doing the same thing when she dances too!
Brian Friedman – an absolute icon in the dance industry, Brian mixes grace and extreme power in every single piece! When Bailey is tapping into her more feminine energy and Jazz background, you best believe she’s pulling from Brian’s teaching.
If you’re lucky enough to live in a city where these choreographers visit and teach, check out their classes and learn from them directly –– you’ll be dancing like Bailey Sok before you know it!
And if not, you can also learn from ALL of these choreographers on STEEZY Studio, right at home.
They tend to teach more advanced choreography, so it’ll be helpful to use STEEZY’s features to slow down the tempo and really practice nailing those small movements and fluid transitions like Bailey.
Yes, your mentors are always gonna help you become the person you wanna be… but your friends are there by your side every day influencing who you currently are.
Which is a really philosophical way of saying…
You should take class from Bailey Sok’s homies.
Since Bailey has been dancing almost her entire life, she’s made a LOT of close friends in the dance community whose styles are constantly melding with hers.
They take classes together, dance on teams together, and most importantly, freestyle and exchange ideas with each other!
Just watch this video from STEEZY’s series, “3 Choreographers, 1 Song” where Bailey and two of her contemporaries all choreographed to the same song, then talk about one another’s choreo choices.
They each have their strengths, but you can also see where their styles overlap!
So, pretend you’re at a freestyle sesh with Bailey and her friends by taking classes from people like Josh Price and Julian DeGuzman.
Then, like Bailey, learn how Josh adds seamless grooves and how Julian adds creativity to his isolations.
Oh, and while you’re at it, squeeze in some classes from Sienna Lalau too – another friend of Bailey’s with several classes on STEEZY!5. Take Bailey Sok’s Dance Classes
Ok, this might seem kind of obvious, but if you want to dance like Bailey Sok…
YOU SHOULD TAKE DANCE CLASSES FROM BAILEY SOK DUH.
Bailey is not just a skilled dancer. Now that she’s in her late teens, she’s also teaching other dancers herself!
If you’re lucky enough to be in LA where Bailey is based, you can catch her at studios like Millennium Dance Complex.
Her classes tend to be advanced, so bring your A-game, and if you’re worried about keeping up, be sure to make use of the first few tips in this article before heading to Bailey's in-person classes.
If you’re not in the LA area, surprise surprise, you can take Bailey Sok's dance classes on STEEZY Studio.
She has some incredible classes taught solely herself and co-taught with other young creators like Sienna Lalau and Sean Lew.
Check out a couple of the routines!
She’ll teach you exactly how to hit hard while still maintaining a sense of swag and sass, step-by-step.5. Study Bailey Sok’s Dance Style Closely
Learning choreography is great, but if you really want to deepen your skills in order to master Bailey Sok’s dance style, you should focus on a specific set of techniques.
And to do that, you’ll wanna study exactly what sets her apart from other dancers!
In this video, you can see that she’s especially clean and precise, even next to other super talented dancers.
In addition to taking Ballet classes as I mentioned earlier, you can also do body awareness training drills to improve your muscle control and tackle this kind of choreography.
Check this one out for a place to start!
Bailey Sok is also known for being an impeccably fast dancer. She can shoot a limb out in the blink of an eye, and transition from one groove to another before you even know what’s happening.
If you want to become a speed master, it’ll be important to condition your body with agility-based exercises.
Burpees are a great example – you’ll build the muscle mass in your arms, legs, and, core (the stronger muscles will help you move with more ease), while also practicing doing a full range of motions as quickly as you can.
“Suicide runs” and quick calf raises are also great options.
The last step to learning to dance like Bailey Sok?
Getting critique from other dancers!
You’ll never become an amazing dancer if you’re exclusively practicing alone.
Even if you record yourself, you’ll still miss little things about your execution and performance that will be key to becoming your best dancer self.
So, if you have some dancer friends, especially dancer friends who love Bailey Sok like you do, ask them to watch you dance and give you pointers.
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A post shared by Cao An Lê (@caoan_dance)
Don’t know anyone in the dance community?
If you haven’t already, join STEEZY Studio’s members-only Facebook Group!
You’ll be able to meet tons of other people who are not only Bailey fans, but are also taking some of the same Bailey Sok classes that you're taking.
You can post your progress videos in the group and find out if the next thing you should focus on is facials, power, or isolations.
I hope these tips help you on your journey to dancing like queen Bailey!
Got some tips for other Bailey Sok fans?
Or have another dancer you’d love to dance like?
Comment below :)
Ballet dance - style descriptions
Ballet is one of the most popular classical dances that came to us from France in the 16th century, but quickly spread throughout the world.
It appeared in Russia much later - almost a century later. But at the same time, it quickly became the favorite dance of the nobility, and Tsar Alexei Mikhailovich at one time was even one of the main founders of the national Russian ballet.
Modern ballet dance schools in Moscow for beginners offer training to people of any age of both sexes. And it is worth saying that over the past decades, ballet has not only not lost its relevance, but has become even more in demand. All over the world, men and women devote their whole lives to dancing and reach incredible heights.
Ballet never goes out of styleAt the moment, there are just a lot of ballet festivals:
• International festival named after R. Nuriev;
• Dance Olympus, Berlin;
• Golden Pointe, Paris;
• "Arabesque" in Belgium and many others.
The dance is completely authentic and unique, starting with the costumes, ending with harmonious and smooth movements to the beat of the music. Ballet is harmony, sensuality, the ability to merge with the musical flow and swim with it in the same current. A truly majestic sight.
Ballet watch video
THIS STYLE IS TEACHED
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Classical dance, ballet
Exercise at the support or in the middle is a set of training exercises in ballet, promoting the development of coordination of muscles, ligaments dancer's movements. Exercises are performed at the “machine” (attached to the wall with brackets) and in the middle of the training hall daily. The exercise consists of the same elements.
Adagio (from Italian adajio translates as "slowly", "calmly"). A part of a dance performed slowly to calm music. The concept is used not only in the sense of music, but also:
A separate dance, or part of a musical and choreographic performance, which is performed by one, two or more soloists. The most common adagio is performed by a duet;
For exercise - exercises at the choreographic barre or in the center of the hall, which consist of a set of poses and exercises, turning elements, tilts in a calm rhythm. The task of the adagio is to develop stability, expressiveness, musicality, harmony and smooth transitions from one movement to another.
Includes grand plie, develope, revelant, all kinds of balances, pirouettes, turns. A fused bundle for 32, 64 accounts.
Allegro (allegro in Italian means soon, dexterously, quickly) is a set of exercises in the center of the gym, which consists of jumps of different heights and speeds.
ARABESQUE [arabesque] - a classical dance pose in which the leg is retracted "toe to the floor" at 45 °, 60 ° or 90 °, the position of the torso, arms and head depends on the shape of the arabesque. one of the basic movements in classical choreography. The position of the allongee hands, the gaze rushes into the distance, which gives the pose grace and expressiveness. The arabesque symbolizes an elusive dream; it is the leitmotif of Giselle or the Sylph, popular romantic heroines. During the exercise, the supporting leg can fully stand on the foot, half-toes / fingers, be extended or bent at the knee. Sometimes it is performed with an emphasis on the knee and the removal of the second leg. If the pose is performed in a jump, then the position of the leg may be different (strictly perpendicular to the floor, throwing forward, etc.). The Russian ballet school divides the arabesque into four types. The first two are open (arabesque effacee), the third and fourth are closed (arabesque croisee). The old ballet school singled out another fifth type of arabesque, in which the body leaned over and the arms were raised forward allongee. Arabesque penchee - a pose in which the body leans forward so that the working leg can rise as high as possible. I,II,III,IV Arabesques.
ASSEMBLE [aseamble] - a jump from one leg to two is performed with the legs moving in a given direction and collecting the legs during the jump together. When performing this movement, the working leg can open in any direction with the toe on the floor or in the air, while the dancer simultaneously squats on the supporting leg. Then the working leg is placed in the 5th position on the fingers or half-toes. The movement ends in a demi-plie. If the figure is performed in a jump, then the legs are collected at the time of flight. The execution of the jump can be varied: on the spot (leg throw to a small height, small jump petit pas assemble), or with advancement (strong leg throw at 70-90 degrees, extremely high takeoff grand pas assemble). In the first case, the movement begins with a jump and a throw of the leg from the 5th position. A grand pas assemble always requires an approach to achieve maximum jump height. To maintain balance, the arms are caught up in position and help the jump. Additional complications in the form of skids or double turns can give the movement spectacle and virtuosity. The main difference between pas double assemble (performed on fingers or half-toes on a small jump) is that the figure is performed twice from the same foot. If the position is executed to the side, the change of legs to the 5th position is performed at the moment of the second movement.
ATTITUDE [attitude] - the position of the leg off the floor and slightly bent at the knee. It is one of the main positions in classical choreography. During execution, the working leg bends at the knee and rises back to a height. The supporting leg can stand on the foot, fingers or half-toes, hands in the allondie position. The figure is the basis for a big jump. To perform it, like an arabesque, you need a strong and flexible back. If the attitude is performed forward, the bent leg is lifted forward, and the heel should be above the level of the knee. This is the leitmotif of proud heroines, such as Aurora (ballet "Sleeping Beauty"). In a broad sense, attitude is any posture that a dancer or dancer assumes.
A LA SECONDE [a la segond] - a position in which the performer is located en face, and the "working" leg is open to the side by 90 °.
ALLONGE, ARRONDIE [alonge, arondi] - the position of a rounded or elongated arm. "Reaching", the final movement of the arm, leg, torso.
Aplomb [aplomb] - (balance) - the dancer's ability to stand in one position or another on one leg for a long time.
Balance [balance] - Swing, sway. Swinging motion.
Pas ballonne [pa ballonne] - Inflate, inflate. The dance is characterized by advancement 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 on sur le coude pied.
Pas ballotte [pa ballotte] - To hesitate. A movement in which the legs at the moment of the jump are extended forward and backward, passing through the central point. The body leans back and forth, as if hesitating.
balance - “swaying”, pendulum movement of the legs forward up - back down, forward - back, forward - back up
Balancoire [balancer] - Swing. Used in grand battement jete.
Batterie [batry] - Drum beat. The leg in the position sur le coude pied makes a series of small shock movements.
Pas de bourree [pas de bourree] - Chased dance step, stepping over with little advance.
Brise [breeze] - Break, crush. Movement from the section of jumps with skids.
Pas de basque [pas de basque] - Basque step. This movement is characterized by a score of ¾ or 6/8, i.e. triplex. Runs forward and backward.
Battement [batman] - Span, beat.
Battement tendu [batman tandyu] - Abduction and adduction of the outstretched leg, extension of the leg. "Elongated" sliding movement of the foot in the position of the foot on the toe forward, to the side, back with the return of the sliding movement to the IP.
B attement tendu jeté - (batman tandyu zhete) - “throw”, swing to the downward position (25 °, 45 °) with a cross
Battement fondu [batman fondue] - Soft, smooth, “melting” movement. A movement consisting of simultaneous bending of the knees, at the end of which the "working" leg comes to the position sur le cou-de-pied in front of or behind the skating leg, and then follows the simultaneous extension of the knees and the "working" leg opens forward, sideways or back. In modern jazz dance, the fondu form from the folk stage dance lesson is also used.
battement fondu - (batman fondue) - “soft”, “melting”, simultaneous flexion and extension of the legs in the hip and knee joints.
battement frappe - (batman frappe) - Striking movement, or striking movement. A movement consisting of rapid, vigorous flexion and extension of the leg, the foot being brought into sur le cou-de-pied position at the moment of flexion and opening toe to the floor or 45° high at the moment of extension forward, sideways or backward. Frappe [frappe] - Beat.
Battement double frappe
Battement developpe [batman devloppe] - Swing, open, take out the leg 90 degrees in the desired direction, pose. Taking out the leg forward, backward or to the side by sliding the "working" leg along the supporting one.
BATTEMENT AVELOPPE [batman avloppe] - the opposite battement developpe movement, the "working" leg from the open position through the passe is lowered to the specified position.
Battement soutenu [batman soutenu] - Sustain, maintain, pull up the legs in the fifth position, continuous movement.
BATTEMENT RELEVELENT - smooth lifting of the leg through sliding along the floor 90 ° forward, sideways or backwards.
1 When learning the vocabulary, it is necessary to remember that the movements of classical dance, borrowed by modern jazz dance, are very often modified. This is especially true of the eversion and parallel position. In this regard, the terminology of classical ballet is given in the dictionary without changes (see All about ballet//S left by E.Ya. Surits. M., 1966, Encyclopedia "Ballet". M., 1981, etc.), and the change in the provisions depends on the context of the lesson. There is often terminological overlap between English and French terminology, for example, temps leve is the same as hop, battement tendu is like brack, kick is like grand battement developpe, etc. In this case, it is necessary to use the movement depending on the specific exercise.
BATTEMENTRETIRE [batman retire] - transfer through the sliding of the "working" leg, through the passe from the V position in front to the V position behind.
petit battement - (petit battman) - “little blow” - alternately small, short foot strikes in the cou de pied position in front and behind the supporting leg.
grand battement - (grand batman) - “big throw, swing” 90 ° and above through the position of the foot on the toe.
battu- (botyu) - “beat” continuously, small, short blows to the ankle joint only in front or behind the supporting leg.
Cabriole [cabriole] - Jump with knocking one leg over the other.
Chain [shen] - Chain.
Changement de pieds
Changement [shazhman] - Change.
Pas chasse [pa chasse] - Drive, drive. Ground jump with advance, during which one leg knocks out the other.
Pas de chat [pas de sha] - Cat's step. This jump is similar in character to the gentle movement of a cat's jump, which is emphasized by the curve of the body and the gentle movement of the arms.
Le chat [le sha] - Cat.
Pas ciseaux [pas ciseaux] - 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 out. Jerky movement, short push.
Pas couru [on smoking] - Running through the sixth position.
Croisee [krause] - Crossing. A pose in which the legs are crossed, one leg covers the other.
Degagee [degagee] - Release, take away. “Transition” from the stance to the left right forward to the toe, step forward through the semi-squat in IV position, straightening up, stance to the right, left back, to the toe. From the stand on the left, right to the side on the toe, step to the side through the semi-squat in II position, stand on the right, left to the side on the toe.
Developpee [devloppe] - Taking out. “Opening”, “deployed”, from the stoic to the left, right with a sliding movement to a bent position (toe at the knee) and its extension in any direction (forward, side, back) or higher.
Dessus-dessous [desu-desu] - Top and bottom, above and below. Pas de bourre view.
double - (double) - “double”, • battement tendu - double heel pressure • battement fondu - double semi-squat • battement frapper - double blow.
Ecartee [ekarte] - Take away, push apart. A pose in which the entire figure is turned diagonally.
- a pose that builds from the epaulement in 5th position with one of the legs abducted to the side. At this time, the body deviates from the waist to the supporting leg. Small ecartee poses are performed with the toe extended to the floor, medium poses with 45 degrees of leg elevation, and large 90o and above. The supporting leg is on a full foot, toes / half toes, the knee is fully stretched, or in a demi-plie position. The working leg is extended at the knee, the foot is stretched. The movement can be performed in a jump, the position of the hands is any. The ecartee pose has two types:
- Ecartee forward. The working leg is open diagonally forward in 2 positions, that is, towards the viewer. At this time, the head is turned in the same direction, raised, the gaze rushes upward;
- Ecartee back. The working leg is open back diagonally in 2 positions, away from the viewer. The head turns to the supporting leg, and the gaze rushes down.
Effacee [eface] - Expanded position of the body and legs. A pose that builds from the epaulement efface in 5th position with the legs moving forward or backward. Small effacee poses are performed with the toe extended to the floor, medium poses at a height of 45 degrees, large poses 90 degrees and above. The position of the supporting leg on the full foot, toes / semi-toes, stretched at the knee, or in demi-plie. The working leg can be straight or bent at the knee. It is performed in the air, or on a jump. The position of the hands and head can change endlessly, varying the changes in posture.
Epaulement (from epaule - shoulder) - a position during which the dancer becomes half-turned to the mirror, or to the viewer. Feet, hips and thighs are turned to the right or to the left side of the viewer by 45o or 135o. The head turns to the shoulder, which is directed forward. This position gives the dance three-dimensionality, makes it more expressive and artistic. When performing, the dancer must control the angle of the head, the position of the shoulders and the direction of the gaze.
- Epaulement croise (verb croiser - to cross) - a pose during which the legs are in any crossed position (3,4,5). The shoulder and leg of the same name are turned towards the viewer. The head turns towards the turned shoulder. This position allows you to take any posture through the open leg;
- Epaulement efface (the verb effacer - to remove, hide) - a pose during which the legs are in any crossed position (3,4,5), but the leg opposite to the shoulder turned towards the viewer is in front. This position allows you to take any position effacee through the opening of the leg forward or backward.
Echappe [echappe] - Break out. Jump with legs opening to the second position and collecting from the second to the fifth.
Pas emboite [pa ambuate] - Insert, insert, stack. A jump during which there is a change of half-bent legs in the air.
Entrechat [entrechat] - Jump with a skid.
En dehors [an deor] - Out, from the circle. Circular movement away from you, circular movement outward at the hip or knee joint, as well as turns.
En dedans [an dedan] - Inside, in a circle. Circular motion towards yourself, circular motion inward.
En face [en face] - Straight, straight position of the body, head and legs.
En tournant [an turnan] - Rotate, turn the body while moving.
Fouette [fuete] - Whip, flog. A kind of dance turn, fast, sharp. The open leg bends towards the supporting leg during the turn and opens again with a sharp movement.
This movement has several variations:
- Fouette en tournant at 45° En dehors. At the moment when the left leg is in demi-plie, the right leg is opened in 2 positions by 45 degrees, tout en dehors on the left leg. At the moment of execution, the working leg touches the supporting leg on the calf. The hands at this time are in the preparatory, or first position. The stop is performed on a demi-plie, arms and legs open in 2 positions. The movement begins with the right foot, while the supporting one does not collapse. If Fouette is performed several times in a row, it begins with preparation in 4 positions, rising to pointe shoes, performing tour en dehors;
- Fouette en tournant for 45° En dedans is performed in the same way, but the working leg first goes in front of the calf and then back. The exercise is mandatory in the tutorial, but rarely seen on stage;
The French ballet school is similar to the Russian one. Movements: les fouettesen dedans et endehors, les fouettes sautes, les fouettes sur pointes ou demi-pointes. The dancer performs a pique on the right foot. At this time, the left one rises forward, the dancer performs a tour on her finger (surlapointe) or half-finger (demi-pointe), and the left one remains extended in the air. The movement ends at en arabesque sur pointe (oudemi-pointe).
American Ballet School Fouette en tournant at 45° En dehors. In contrast to the Russian school, where the working leg during the tour touches the middle of the calf from behind, and then goes to the front of the calf of the left leg (petit Battement), in the American school the working leg performs a demi rond at 45 °. This gives the figure an additional force, but at the same time it can threaten to “release the hip” and the ballerina to leave the axis. Due to this execution, Fouette is performed with advancement to the side or forward.
- Grand Fouette. He absorbed the teachings of the French and Italian schools;
- Les fouette sendehors. The croisee pose marks the back of the left leg. Coupe on the half-toes of the left leg, hands go to the second position, the left leg goes down to the demi-plie, and the left hand to the 1st position. At the moment when the dancer moves her half-bent right leg forward 90 degrees, she rises to the half-toes of her left, quickly circles the Grand rond de jambe with her right leg back and finishes on her left leg in demi-plie in III arabesque (in the en face position - facing the viewer ). Hands perform Port de bras: the left is raised to position 3 and passes to 2, while the right is transferred to 3 and passes through the right to III arabesque when lowering the left leg into a plie;
- Les fouette sendedanse tendedans - identical execution principle;
- Grand Fouette en tournanten dedans. The dancer stands in a croisee position forward with her left foot, descends into a demi-plie on her left foot, jumps on half-toes and throws her right foot into position 2 (alaseconde) at 90 ° (120 °) - Grand battement jete. During the turn, he swings his right leg through the passe parterre (passing position). At this moment, the supporting leg rotates on half-toes, and the right leg remains at the same height.
- Grand Fouette entournanten dedans. Or Italian fuete. It is performed on the fingers in the same way. The only difference is that the movement does not begin with plie, but with surlecou depied. Ends in attitude on pointe shoes. 3 position for the right hand and the first for the left.
- Grand Fouette en tournant saute execution is the same as Grand Fouette en tournan tendedans, only the left leg leaves the floor in a jump, the turn is performed in the air on a jump of the left leg.
Pas failli [pa fayi] - Hook, stop. Weakening movement. This movement is fleeting and often serves to prepare the springboard for the next jump. One leg seems to undercut the other. "Flying", IP - 5th position right in front. Push 2 jump up, dropping into a cross lunge left to the side, left hand up, right back - push left and swing right back down jump up 2 hands down.
Galloper [gallop] - Chase, chase, jump, race.
Glissade [glissade] - Slide, slide. A jump performed without lifting the toes off the floor.
Grand [large] - Large.
Jete entrelacee [jete entrelacee] - Flip jump.
Entrelacee [entrelace] - Bind.
Jete [jete] - Throw. Throw a leg in place or in a jump.
Jete ferme [jete ferme] - Closed jump.
Jete passé [jete passe] - Passing jump.
Lever [left] - Raise.
Pas [pa] — Pitch. Movement or combination of movements. It is used as equivalent to the concept of "dance".
pounte - (pointe) - “on the toe”, “touching with the toe” from the stoic on the left, right forward, to the side or back on the toe swing in any direction with a return to the IP.
por de bras - (porter de bras) - (Porter - wear, Bras - hand) - the correct transfer of hands to the main positions (1,2,3), rounded (Arrondi), elongated (Allonge) with a turn or tilt of the head, body. There are port de bras the first, second and third.
Pas d'achions [pas d'axion] - Effective dance. Pas de deux [pa de deux] - Dance of two performers, a classical duet, usually a dancer and a dancer. Pas de trois [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. Connecting movement, holding or moving the leg, “pass”, “pass”, the position of the bent leg, the toe at the knee: in front, to the side, behind.
Petit [pet] - Small.
Petit battement [petit batman]
Pirouette [pirouette] - Yule, turntable. Fast rotation on the floor.
Plie [plie] - Squat. Demi-plie [demi plie] - Half squat. Grand plie - (grand plie) - deep, big "squat".
Pointe [pointe] - Sock, fingers.
Preparation [preparation] - Preparation, preparation.
Releve [releve] - Raise, elevate. Rise on fingers or on half-fingers. "Lifting", lifting to a rack on toes with lowering to the IP in any position of the legs. Releve, temps is a preparatory movement for performing tours and pirouettes. In its purest form, it is a preparation for rotations. Petit temps releve a la 2nd: working leg in surlecou-de-pied position, supporting leg in squat, hands in first position. The semi-bent working leg is brought to the side at a height of 45-60 degrees, while the supporting leg is leveled or stands on the toes/half toes. Hands open in 2 position. Temps releve endehors is performed from the surlecou-de-pied position in front, endans from the surlecou-de-pied position at the back. Grand temps releve a la 2nd - the same exercise, but the working leg is displayed for more than 90 degrees.
Relevelent - Slow leg lift 90 degrees. “Raise” slowly, smoothly slowly at the expense of 1-4 1-8 raising the legs forward, sideways or back and higher.
Renverse [ranverse] - Overturn, turn over. Overturn the body in a strong bend and in a turn.
rond dejamb parterre - (rond de jamb par ter) - toe circle on the floor circular movement of the toe on the floor.
Rond [rond] - Circle. demi rond - (demi rond) - incomplete circle, semicircle (toe on the floor, on 45ana 90° and above).
Rond de jambe en l'air [ron de jambe en l'air] - leg circle in the air, standing on the left right to the side, circular movement of the lower leg out or in.
Soute [sote] - Jump in place in positions.
Simple [sample] - Simple, simple movement.
Sissonne [sison] - Does not have a direct translation. It means a type of jump, varied in form 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 tombee] - Jump with a fall.
Saut de basque [so de basque] - Basque jump. Jump from one foot to another with a turn of the body in the air.
Soutenu [sutenu] - Withstand, support, retract.
Sur le cou de pied [sur le cou de pied] - position of the foot on the ankle (at the narrowest point of the leg), the position of the bent leg on the ankle joint in front or behind.
Temps lie [tan lie] - Bound in time. Connecting, smooth, continuous movement. Small adagio, 1-half squat on the left, 2 - right forward on the toe, 3 - shift the center of gravity to the right, left back on the toe, 4-IP 5. the same to the side and back.
Temps leve soutee [tan leve soutee] - Jumping in first, second or fifth position on the same foot.
tombée-(tombé) - “fall” from a toe stand in the fifth position lunge forward (to the side, back) with a return to the PI in a sliding motion.
Tire-bouchon [tire bush] — Twist, curl.