How to do a ballet dance routine
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.
Ballet Moves
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.
10 Moves to Give You a Toned Physique Like a Ballet Dancer
JOVELL RENNIE / Stocksy
Ballerinas have a way of carrying themselves with grace, strength, and confidence.
Their training not only teaches them poise but also works their bodies in a way that creates long and lean muscles. You, too, can train like a ballerina (minus the bruised toes and fierce competition) with these ballet exercises that will sculpt and strengthen your entire body. “It’s a method of movement that allows you to connect to the body, to sculpt a feminine physique, to balance posture, and to burn calories without heavy impact,” says Christine Bullock, former ballerina, and creator of Evolution 20.
Ballet dancer and director of the Steezy Studio Brittany Cavaco agrees, adding that ballet gives you strength, flexibility, coordination, endurance, and lots of energy. “I find that even doing just 20 minutes of a ballet barre or ballet toning class gives me a lot of mental clarity,” she says. “The repetition of the movements, along with the artistry, allows you to do a full-body workout without even realizing it.”
Ready to get started? Here are 10 total-body exercises to get you a toned physique like a ballet dancer’s.
Meet the Expert
- Brittany Cavaco is a professional ballet dancer and the director of the Steezy Studio ballet program. Her career highlights include dancing with companies such as the Washington Ballet, Los Angeles Ballet, and English National Ballet.
- Christine Bullock is a former ballerina, a fitness expert, and the creator of the Evolution 20, Super Shred, and Body Reborn fitness series, as well as the co-creator of Kayo Body Care. She is certified in yoga, Pilates, postnatal fitness, and nutritional counseling.
Safety and Precautions
These ballet exercises are low-impact, so they are easy on your joints and also strengthen your muscles to prevent injury. “These ballet-inspired toning moves are very inclusive,” says Cavaco. Even so, it is important to check in with your doctor before starting a new exercise program, especially if you have existing health conditions such as heart disease, diabetes, or high blood pressure.
Start slowly with any exercise program, stopping if you have any pain, and work your way up in intensity and duration.
If you have prior injuries or conditions like arthritis, Cavaco recommends listening to your body and stopping if you have any discomfort. “I would suggest that people with arthritis take the pliés very slow and don’t go as deep down.”
One of the benefits of ballet toning and ballet barre exercises is that they can help prevent future injuries. “Even if you love heavy weights or HIIT workouts, it’s beneficial to your body and goals to add barre,” says Bullock. “This type of workout can build the small muscles around joints to protect from injury. It incorporates mobility and flexibility to balance posture and sculpt longer musculature, and it still blasts calories.”
01 of 10
Plié in First Position
Steezy Studio
Plié means “to bend,” and it is the best exercise for your glutes and legs. “This traditional ballet exercise is the first step we do in every ballet class, and it is the bread and butter of all ballet moves,” says Cavaco. There are two types of pliés: a demi plié (meaning small or half) and a grand plié (meaning big or full).
She recommends doing each type of plié in this exercise sequence.
- Start with a demi plié in first position. Your heels should be touching and your toes pointed outward.
- Your legs will be straight to start, glutes engaged, and pelvis slightly tucked.
- Bend your knees, going down about halfway, with your heels still on the floor.
- You will create a diamond shape with your legs. This is your demi plié.
- To do a grand plié, just continue all the way down until your glutes are hovering over your heels.
- In between each plié, come back up to straight legs.
- Perform three demi pliés followed by one grand plié. Repeat this sequence for three to five sets.
“Try to keep your pelvis and glutes under you. It’s tempting to let them go back like a squat, but try to avoid that if possible,” says Cavaco. “Also, make sure to have your knees go over your first and second toes in each plié to avoid any knee discomfort.”
02 of 10
Plié in Second Position
Steezy Studio
This is the same exercise as the first position plié, however, you will be standing in what ballerinas call the second position.
You will also perform both the demi plié and the grand plié (pictured above) in this sequence.
- Stand in second position, with your feet hip-distance apart and your toes turned out.
- Perform the demi plié, in which you go halfway down.
- Return to standing.
- To perform the grand plié, bring your pelvis in line with your knees. Your heels should stay on the ground.
- Perform three demi pliés followed by one grand plié. Repeat this sequence for three to five sets.
03 of 10
Jeté
Steezy Studio
“This will ignite your inner thighs,” says Cavaco, who explains that “jeté” means “to throw.”
- Start in fifth position, with both feet turned out and one in front of the other. Your front foot’s heel should touch the back foot’s toe.
- Your outside leg will go out to the side at 45 degrees and then close in fifth position, with this leg in the back instead of the front.
- Continue doing this movement, alternating front and back.
- Repeat on the other leg.
- Do as many repetitions as you can for one minute.
“Make sure that both legs stay as straight as possible the entire time,” says Cavaco.
04 of 10
Leg Circles
Steezy Studio
This exercise strengthens and sculpts your abdominal muscles. The bigger the circle, the more challenging it will be!
- Sit tall on your sitz bones (the bony part of your pelvis), and lean back onto your hands behind you.
- Bring your legs up to tabletop and have them glued together.
- Circle your legs around, starting to the right.
- Do this 15 times, then repeat to the left.
05 of 10
Bridging
Steezy Studio
Bridging helps lift and strengthen your bum as it works your gluteus muscles, hamstrings, and even your core.
- Lay on the ground, with your head facing toward the ceiling.
- Place your feet hip-distance apart, with your knees pointing to the ceiling.
- Engage your lower abdominals, and start the movement by tucking your pelvis.
- Slowly roll up into a high bridge, lifting each vertebra in your back one by one.
- When you reach the top, hold for a moment, and slowly reverse down. Make sure that your hips are even throughout the exercise.
- Perform 20–40 reps.
06 of 10
Standing Obliques
Steezy Studio
This exercise tones and sculpts your oblique muscles, which are your side abdominal muscles. “Try not to let momentum take you up, and instead let it be driven by your muscles,” says Cavaco.
- Stand up, feet hip-distance apart. Make sure your shoulders, hips, and feet are all in the same line.
- Put your hands over your head.
- Lean to the right, and use your left oblique to slowly bring yourself back up.
- Repeat 20–30 times on each side.
07 of 10
Ballet Arms
Steezy Studio
You know how ballerinas have such beautiful arms? It is partly due to this move, which also strengthens your shoulder and back muscles.
- Standing hip-distance apart, open your arms to your sides. Make sure your elbows are lifted and your forearms are curved in slightly.
- Using your lats and back muscles, bring your arms together in front of you. Imagine that you are hugging a tree.
- Reverse your arms back out.
- Make sure not to let your elbows drop and to keep your arms at shoulder height throughout the entire exercise.
- Repeat this move for 30 seconds to one minute.
08 of 10
Plank With Hip Dips
Steezy Studio
This exercise strengthens and tones your midsection, giving you that lean and graceful look of a ballerina.
- Start in a plank position, with your hands directly under your shoulders.
- Try to keep your body as long and straight as possible, from your head to your toes. Make sure your bottom isn’t sticking up.
- Engage your lower abdominals, and shift your hips to one side. Come back to the middle, and then shift them to the other side.
- Lift your shoulders up and out throughout the entire exercise.
- Repeat 15 hip dips on each side.
09 of 10
Inner-Thigh Lifts
Steezy Studio
This thigh-lift exercise will strengthen and tone your inner-thigh muscles for strong and sculpted dancer’s legs.
- Lie down on your side, and take your top leg and bring it over onto the floor in front of you.
- Flex your bottom foot, lift it up about seven inches, and then lower it back down.
- Lift it high enough so you are feeling your muscle work. If you aren’t feeling it, you aren’t lifting your leg high enough.
- Perform 30–40 reps on each side.
10 of 10
The Swan
Steezy Studio
“The goal here is to look like a beautiful swan,” says Cavaco. “Let your arms be engaged, but not stiff.”
- Stand hip-distance apart, with your hands by your hips.
- Let your elbows lead your arms as they travel up above your head and then come back down.
- Make sure not to let your shoulders creep up toward your ears, and avoid any tension in your head, neck, or chest.
- Repeat this move for 30 seconds to one minute.
10 Best Lightweight Arm Exercises for Sculpted Muscles
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American Academy of Orthopedic Surgeons. Safe exercise. Updated February 2018.
Classical dance, classical barre, ballet (training)
1. Demi-plie (demi-plie). Means bending, folding; Demi-plie half squat.
This exercise develops the correct position of the foot, which is important for jumping. Develops the hip, knee, ankle joints. Tightens the muscles of the back, which must maintain a straight, taut position.
Demi-plie is learned from the first, second, fifth, fourth positions. Execution rules: in demi-plie in 1 and 2 positions:
the position of the foot on the floor is even, the emphasis of the foot on the thumb is not allowed: the heels should fit snugly on the floor, as this contributes to the development of the ankle joint.
The body is straight and taut, shoulders and hips are even. The center of gravity of the body is evenly distributed on both legs.
Before starting the movement, the free arm performs a propulsion. The squat is done smoothly and evenly.
2. Battement tendu (battman tendu).
The name battements literally means “beating”, “beating”, but here it means the uniform movement of the working leg. As a rule, the word battement does not have another word that defines the nature of the exercise. Battement tendu - abduction and adduction of a stretched leg along the floor forward. This movement is developed to the side, back. These are tight movements.
Stretching the entire leg at the knee, instep and toes, developing leg strength. The movement is performed in the first and fifth positions of the legs. It is performed in the direction forward, sideways, back. Performing battement tendu with one hand behind the barre forward, the head is turned to the center of the hall, slightly deviated back, to the side - looks straight, the head is turned back to the center of the hall and the gaze is directed to the hand.
Rules of execution: The body is tightened. Hands lie freely on the machine, elbows are pubescent.
Battement tendu to the side. Rules of Execution: In battement tendu, the working leg moves exactly in a straight line, fixing the position of the heel against the starting position in each of the directions. The working leg is extremely everted in the hip, knee and ankle joints. The knees do not relax or bend during the entire
movement.
Battement tendu forward. Rules of execution: sliding of the working leg begins with the heel, and return to the position with the toe.
Do not take your toe off the floor. Watch the thigh of the working leg and
tightened body. Do not put emphasis on the toe. The body is taut and calm. Keeps shoulders and hips even.
Battement tendu back. Rules of execution: back battement tendu begins with the abduction of the toe, returning to the position from the heel. Make sure that the shoulders do not turn towards the
working leg. The gluteal muscles are strongly stretched.
3. Battement tendu jete (battement tendu jete) – leg throw.
Movement develops the mobility of the hip and ankle joints, develops strength, ease of movement of the leg.
Performed in 1, 5 positions of the legs, in the direction forward, sideways, back.
Rules of execution: the movement is performed according to the rules of battement tendu, but with a throw into the air. The working leg performs a throw to a height of 25-45 degrees and actively returns to the position.
The sock in all directions emphasizes the return of the foot to the position. The movement is performed evenly, the point is fixed by a sharp throw of the leg into the air. The movement brings up the mobility of the hip and ankle joints, the strength of the legs. It is unacceptable to swing the leg in the air (show the point).
Battement tendu jete to the side:
Performed according to the rules of battement tendu, only the throw is for air.
Battement tendu jete forward:
Performed according to the rules of battement tendu, only the throw is for air.
Battement tendu jete back:
The throw of the leg and its return is performed calmly, without the help of the body, the shoulders are even.
4. Rond de jambe par terre (Rond de jambe parterre) - “circle of the foot on the floor”.
The concept of en dehors (an deor) and en dedans (an dedan) .
In en dehors , the working leg, stretching forward, draws a semicircle with its toe on the floor, that is, sliding its toe “outward” in the direction from the supporting leg.
In en dedans , the working leg, stretching back, draws a semicircle with its toe along the floor, that is, sliding its toe “inward” towards the supporting leg.
Rond de jambe par terre is one of the main exercises that develop eversion, elasticity and mobility of the hip joint.
Passé parterre - sliding movement of the working leg on the floor.
Demi-ronde de jambe (demi-ronde de jamb parterre) - semi-circle with the foot on the floor.
Rond de jambe par terre are circular foot movements on the floor in the direction en dehors.
Sung in slow tempo from first position. Be sure to prepare for movement.
Rules of execution: in the passé par terre, the working leg is stretched to the limit and everted. During the passé through the first position, the foot of the working foot is evenly placed on the floor, avoiding resting on the big toe. Without separating the heels, without bending the toes, without going beyond the heel of the supporting leg.
When stretching the leg forward or backward, the heel is against the heel. The body is taut and calm, the shoulders and hips are even. When en dehors, make sure that the heel is directed forward, the toe does not rest on the floor. Especially keep eversion on the move from the second position to the fourth back. Shoulders and hips should not turn towards the working leg. The supporting leg tends to turn out, the gluteal muscles are tightened. With en dedans, lead the working leg in a circle with the heel forward. Do not settle on the hips. Particularly maintain eversion when driving from behind to the second position. Shoulders and hips do not turn to the working leg. Bring the toe to a point in front against the first position. When the working leg passes through the first position, the weight of the body should not be transferred to it. The knees of both legs are extremely stretched. The body should not react to leg movements.
5 . Port De Bras. I, II, III Port de bras of classical dance (1,2,3 port de bras).
Port de bras - the correct passage of the hands through the main positions in combination with the turns and tilts of the head and the movements of the body. Learning different types of port de bras is good for developing dance coordination.
Only six types of port de bras. Below are the most common ones.
I Port de bras:
From the preparatory position, the arms rise to the first, then to the third, open to the second and return to the initial preparatory position.
Rules of execution: follow the correct position of the hands in positions.
The movement is executed as one, without stopping in positions.
II Port de bras:
It is obligatory to perform the preparation for the movement (hands from the preparatory position are raised to the first, then one hand is raised to the third, the other is opened to the second position).
Rules of execution: follow the correct position of the hands in positions.
The movement is executed as one, without stopping in positions.
III Port de bras:
It is obligatory to perform the preparation for the movement (hands from the preparatory rise to the first and open to the second position).
Execution rules: Keep the body tight. When leaning forward, do not round your back, the slope goes as if into the distance. When leaning forward, do not take your legs back, your knees should be stretched. Shoulders do not rise. When tilting back, the shoulders begin to tilt, then the lower back, the shoulders do not rise, the stomach is pulled in. Do not push your hips forward. Follow the hands in the third position (you need to see them without raising your head). If performed in fifth position, watch out for the forward foot.
6. Battement frappe. Double battement frappe (batman frappe, double batman frappe).
Battement frappe – striking movements (leg kick).
Movement develops the ability to control the lower part of the leg - from the knee to the toes; clearly, vigorously bend and unbend the leg with a fixed top, develops leg strength, agility and mobility of the knee.
Battement frappe performed to the side, forward and backward, toe to the floor (at the beginning of the movement) and at 25, 45 degrees.
When performing battement frappe to the side - the head is straight, when moving forward, the head is turned to the center of the hall, back - to the hand. It is performed in the first and fifth positions. The nature of the movement: clear, sharp.
Rules of execution: straighten and bend the leg in this exercise evenly, strictly adhering to the direction of the second position. The position of the cou-de-pied should be fixed tightly, especially in front, but without pressing on the supporting leg. The leg works from the knee. The hip part of the body is pulled up all the time.
The body is straight and assembled. Shoulders open and slumped. The center of gravity of the body is exactly on the supporting leg.
Double battement frappe is a double battement. Two movements petit battement and battement frappe are combined. The rules are saved.
This movement is a complicated form of battement frappe: it has a double transfer of the working leg on the cou-de-pied forward and backward or back and forth; after a double transfer, the leg is extended in a given direction. To perform double battement frappe forward, the first blow must be made on the cou-de-pied from behind, and the second, respectively, on the cou-de-pied in front. When moving backwards, the first blow on the cou-de-pied is forward, and the second is back. When performing several movements in a row in the direction, strikes alternate in front and behind.
Movement develops the ability to control the lower part of the leg - from the knee to the toes; clearly, vigorously bend and unbend the leg with a fixed top, develops leg strength, agility and mobility of the knee.
When performing a double battement frappe, the rules of battement frappe and petit battement are observed (small battement, the movement consists of a clear transfer of the working leg from the position on the cou-de-pied in front to the position on the cou-de-pied behind and back).
This movement is performed to the side, forward and backward, with the toe on the floor (at the beginning of the study of the movement) and at 25, 45 degrees.
When performing a battement frappe to the side, the head is straight, when moving forward, the head is turned to the center of the hall, back - to the hand. It is performed in the first and fifth positions.
The nature of the movement: clear, sharp.
7. Battement fondu (batman fondue) - translated from French as “melting” batmans. This is a complex movement that develops strength, eversion, elasticity of the legs, giving smoothness and softness to movements.
The movement is performed to the floor, 45 and 90 degrees in all directions (forward, side, back).
The correct execution of this movement will help in jumping, where the arrival must be soft and elastic.
Rules of execution: when performing to the side, observe the simultaneity of movement. Show exactly conditional cou-de-pied in front. Move through muscular resistance.
When moving from behind on a cou-de-pied, the knee remains everted, as if behind. Keep the hips and shoulders even, do not bend the lower back.
Bringing the working leg forward, it is necessary to push the heel forward. The thigh and knee are retracted first, the bottom of the leg lags behind. At the same time, the supporting leg starts demi-plié. Watch the body and hand on the stick.
Later, the work of the hands is included in the movement. With the beginning of the battement fondu, the hand gradually descends, coming into a preparatory movement at the moment of demi-plie of the supporting leg. When returning, it rises to the 1st position and opens to the 2nd position. The head is involved in the work, the gaze accompanies the movement of the hand.
When performing the movement forward and backward, the head remains turned to the hand, open to the II position, while performing the battement fondu to the side - the head en face.
8. Battement releve lent - Slow leg raise to 45 and 90 degrees. Performed forward, sideways and backwards. From the first, fifth position. Movement develops leg strength, step, lightness.
Execution rules: is performed at a slow pace. It is a preparatory movement. The body is tucked up, the shoulders are lowered. The supporting leg tends to turn out. The working leg is extremely stretched to the tips of the fingers.
When moving to the side, the shoulders, thigh, skating leg and working leg are in the same plane. Do not pull away from the stick.
When lifting the leg back, you need to make sure that the shoulders and hips are even.
When lifting the foot forward, it is necessary to watch the heel, keeping it in front. You can not "settle" on the supporting leg, holding on to the stick with one hand.
The leg should rise and fall evenly.
9. Battement developpe (batman devluppe) - from fr. "take out, develop, deploy." It is performed forward, to the side, backward in the fifth position, in poses, arabesques.
Proper execution of this movement develops and develops beautiful lines and step; develops the strength of the legs, hips, step, prepares the legs and body for adagio at the barre and in the middle of the hall. When performing this movement, the leg is raised by 90 degrees and above.
Rules of execution: the working leg is extremely everted, the supporting leg is stretched and everted. The body is tightened, the hand lying on the stick maintains the correct position. If the working leg is in the dimple at the knee of the supporting leg, then the instep cannot be beveled, the knee is always deployed. When we take out the leg forward, to the side, back, it is necessary to monitor the height of the leg, do not lower the leg below the knee.
Center of gravity on the supporting leg.
Later, the execution of the developpe battement is accompanied by a hand. During the movement of the leg to the knee, the arm rises to the 1st position. Head tilted, look at the hand. The leg is lifted in any direction, the arm opens to the second position, the head follows the arm. At the end of the movement, the arm simultaneously with the leg lowers to its original position.
10. Grand battement jete (grand battement jete) - movement with a large throw.
Performed to the side, forward, backward in the first, fifth positions. The leg throws 90 degrees or more.
The movement develops the strength and lightness of the legs, a large free step, the skill of throwing, which is used in jumping.
Rules of execution: the foot is actively involved in all movements. The foot is thrown with a sliding foot on the floor. Falls slowly. The legs are extremely extended. When throwing forward and backward, do not bend your knees.
When throwing back, the leg is extremely stretched at the knee, instep, and fingers. The body simultaneously leans forward a little, but remains taut, shoulders and hips are even. The hand in II position does not go back. When throwing the working leg, the body remains motionless.
With grand battement jete forward and backward, the head is turned towards the hand opened in II position, with grand battement jete to the side, it is held straight.
11. Grand plie (grand plie) - big squat.
Movement develops the strength of the legs, develops elasticity, flexibility, eversion of the legs. It is performed in the first, second, fifth and fourth positions.
Execution rules: is initially studied facing the machine. Having completed the demi-plie, it is necessary to continue the squat, separating the heels from the floor (when they cannot be kept on the floor). Feet move to low toes. On the reverse, place your heels on the floor and then extend out of the demi-plie.
The muscles of the back and pelvis are strongly tightened. The hips are everted. The knees open at the toe. According to this technique, grand plie is performed in the second position. In the second position, the heels do not separate from the floor. The whole figure is flat and the feet form a right angle. In all positions, the weight of the body is distributed evenly on both legs. The movement is performed evenly, without delay at the lowest point (thus, muscle strength is developed).
In II position, the heels do not come off the floor during the squat. In II and IV, V positions the center of gravity of the body is distributed evenly on both legs.
12. Temps leve sauté, pas echappe
Jumps (allegro) of classical dance are extremely diverse. They are divided into two main groups. In the first group - air jumps: for such a jump, the dancer must give great strength to the movement, must freeze in the air. In the second group - movements that cannot be done without leaving the ground, without a jump: they are not directed upwards, they spread along the ground like “creeping plants”.
Air jumps are divided into four types:
¾ Jumps from two feet to two.
¾ Jumping from two feet to one.
¾ Jumping from one foot to the other.
¾ Combined jumps, in their structure consisting of several elements.
When performing a jump, the following must be observed:
1. A demi-plie must be done before any jump. When developing a jump, it is necessary to pay special attention to the correct demi-plie, that is, not to tear off the heels from the floor.
2. At the time of the jump, keep the legs tensely extended at the knee, instep and toes, if the jump is done with two legs. If it is performed on one leg, the other takes the position required by the posture, and it is necessary to strictly observe the eversion of the upper leg and the harmony of the back, that is, do not stick out the buttocks.
3. After the jump, the feet should touch the floor first with the toe, then smoothly move to the heel and lower to the demi-plie, then extend the knees.
Execution rules: jumps begin to study facing the barre. As soon as the elementary accuracy of execution is mastered, the study is transferred to the middle of the hall. During the jumps, the hands are initially held at the waist, then they are transferred to the preparatory position.
Temps leve sauté - jump from both feet to two. It is performed in the first, second and fifth position. The movement begins "zatakt". While jumping in the 5th position, the legs keep a good “tight” 5th position. Develop strength, elasticity and eversion of the legs. It is necessary to develop the springboard of the jump, the correct push with the heels from the floor, follow the outstretched knees, rise, fingers.
Pas echappe - clear jump. It is performed from the fifth position. It consists of two jumps: from both legs to both from the V position to the II position and from the II position to the V position. Legs open in 2nd position and close in 5th position at the last moment.
Positions in the legs are fixed in the air.
Execution rules: demi-plie in positions V and II must be elastic and continuous. The heels are firmly pressed to the floor with the full eversion of the legs. This eliminates the possibility of a double demi-plie before the jump and preserves leg strength for the jump. Later, the movement of the head and hands is added.
13. Changement de pieds, pas assemble (shazhman de pied, pas assembly).
Changement de pieds - jump from both legs to both from V position to V. The change of legs occurs during their return to V position on demi-plie.
Develop strength, elasticity and eversion of the legs. It is necessary to develop the springboard of the jump, the correct push with the heels from the floor, follow the outstretched knees, rise, fingers.
Pas assemble - (French for "to assemble") a jump from both legs to both from the V position to the V position.
Its feature is the connection of the legs in the air in the V position.
Performed to the side, with an accent forward and backward, as well as forward and backward.
Rules of execution: initially the jump is studied at the barre, at a slow pace, separately and only to the side. The jump is performed on strong eversion legs. The thrown leg does not rise above 45 degrees, it goes exactly to the side. The heel of the supporting leg does not rise before the jump, makes a strong push. Demi-plie before the jump and after the jump is elastic.
The movement is repeated from the other leg. There is a natural progression.
Pas assemble is executed in the opposite direction: the leg standing in front is thrown to the side, ending the movement in the V position back.
(developed by members of the classical dance committee in 2019; material compiled by O. Polisadova)
Classical dance, ballet ligaments, education of coordination of movements of the dancer.
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 A part of the 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 are 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, deftly, 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 - (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 advancement.
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 right 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 [batman relevelyan] - 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 retreat] - 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, adjust.
Ground jump with advance, during which one leg knocks out the other.
Pas de chat [pas de sha] - Cat 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 [to smoke] - 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 leg. 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 executed in the air on a jump of the left leg.
Ferme Close.
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 - 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 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, 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] - Small battman, on the ankle of the supporting leg.
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] - Tilting, turning 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] - circle of the foot 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] - the position of the leg 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 [tang leve soutee] - Jump 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 sliding motion to return to the PI.
Tire-bouchon [tire bouchon] - Twist, curl. In this movement, the raised leg is in a half-bent position forward. Pose with the position of the bent leg in front (attetyud in front) stoic on the left, right forward, shin down to the left.
Tour chainee Fast turns following one after another.
Tour en l'air [tour en leir] - Air turn, tour in the air.
Tour [tour] - Turn.
