How to do the push it dance from something borrowed

I'm Still Not Over Kate Hudson and Ginnifer Goodwin's 'Push It' Dance in Something Borrowed | Somethingborrowed

5/21/2020 5:13:00 AM

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Kate Hudson and Ginnifer Goodwin 's 'Push It' dance in SomethingBorrowed is that one moment of redemption which somehow eclipses a timeline of emotional wreckage.

Toxic friendship at its most unhinged.

 once described as a “soul-sucking romantic comedy,” what it is: bad. At least half the actors are pretty clearly miscast (sorry, John Krasinski), the “love interest” is woefully uncharismatic, and, worst of all, the movie doesn’t really seem to understand the message it’s conveying. But all said, I will continue to re-watch

Something Borrowedevery year or so, for one reason only: the friendship at its core. (And OK, yes, the Hamptons scenes do feel aspirational.)Rachel (Ginnifer Goodwin) and Darcy (Kate Hudson) have been best friends since childhood. But everything we see on screen makes it clear that they are wildly mismatched, or, rather, that Darcy is a raging narcissist. It’s not subtle. Darcy makes everything about herself, even when it’s under the guise of congratulation (“Happy 30th — so happy it’s not me yet!”). Still, both women cling to this ideal of their best-friendship. The movie may in fact boast the highest usage of the term “best friend” outside of a

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The main love interest’s name in this movie is DEX not Dax. As in, Dexter. Kinda kills the credibility of “I watch this once a year”. Great read!! I could never understand why I rewatch that movie either but I do. BTW, it’s Dex, not Dax. 😊 Lol

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‘Deadpool 3’ Not in Marvel’s Five-Year Schedule, Says Comic Book CreatorMarvel fans shouldn’t expect to see a new “Deadpool” movie for at least five years, according to the character’s comic book creator Rob Liefeld. In an interview with io9, Li… 🤬 Okay. Marvel can fuck off! We need to continue with the existing continuity of the Deadpool universe. no shit sherlock

Trump Says He Wants Mike Pompeo To Work, Not 'Wash Dishes' If His Wife Isn't AroundTrump said it's fine for a “Secret Service person or somebody” to do household chores for Secretary of State Mike Pompeo — if his wife can't. I tell my employees to take OUT the trash. OH NO!!! No, its not. That's MY taxpayer money. I do not want to pay someone to walk Mike Pompeo's fucking dog. He can pay for it HIMSELF. You all are a bunch of cheaters and stealers. All you do is steal from the regular folks all across this country, What a monster

Why the Midwest is not *the* 2020 battlegroundConventional wisdom dictates that the way for Democrats to win the White House in November is to win back 3 Rust Belt states that Donald Trump managed to wrest from their grip in 2016. But what if conventional wisdom is wrong? | Analysis by CillizzaCNN CillizzaCNN Or you could have nominated someone who’s not a senile possible paedo credibly accused of sexual assault. That might have been the way too? Oh well. Trump2020! CillizzaCNN 😂 you guys are so desperate CillizzaCNN Flip California red and watch the libs melt.

Asia stocks may not rise much further as fundamentals remain weak, Credit Suisse saysStocks rallied from earlier lows, driven partly by unprecedented policy stimulus from central banks around the world, Suresh Tantia, a senior investment strategist at the bank, told CNBC. 1Voice has donors who've recovered from covid_19 Reply if you can donate or need. Include BeTheCure 1Voice & RT Copy to your own. We will RT. StormMela dwaynecobb mcdirk HMeemaw Peter_S_Becks1 freddyvandam300 AzizianRahim This is why I love to invest into America! We have very strong fundamentals and can sustain through the coronavirus! Asia is well on it’s way though! Why not? When the FED print money for America corporates...these companies can use these monies to buy up the rest of the world...MAGA again...😷

Keith Urban on His Drive-In Gig & Future Shows: 'Not Playing Is Just Not an Option'Last Thursday (May 14), Keith Urban played a secret show for health care workers from Vanderbilt University Medical Center about 40 miles outside of Nashville at the Stardust Drive-In KeithUrban I just put y’all on 🥵

Entertainment Weekly   once described as a “soul-sucking romantic comedy,” what it is: bad. FILE PHOTO - Electric car charges on a street in London, Britain, February 4, 2020.interview with io9, Liefeld explained that he’s seen the Marvel Cinematic Universe schedule for the next five years, and “Deadpool 3” isn’t on the docket.Pompeo had asked him to do so .

At least half the actors are pretty clearly miscast (sorry, John Krasinski), the “love interest” is woefully uncharismatic, and, worst of all, the movie doesn’t really seem to understand the message it’s conveying. But all said, I will continue to re-watch Something Borrowed every year or so, for one reason only: the friendship at its core. The temporary closure of showrooms amid lockdowns to contain the spread of the COVID-19 virus has disrupted sales and undermined consumer confidence, BNEF said in its annual global outlook for electric vehicles. (And OK, yes, the Hamptons scenes do feel aspirational. I don’t see that it can arrive earlier than that,” he said.) Rachel (Ginnifer Goodwin) and Darcy (Kate Hudson) have been best friends since childhood. “The long-term trajectory has not changed, but the market will be bumpy for the next three years,” he added. But everything we see on screen makes it clear that they are wildly mismatched, or, rather, that Darcy is a raging narcissist. And real men do housework.

It’s not subtle. Electric car sales this year were forecast at 1. “Do I know that there is no movement on a ‘Deadpool 3’ right now? I know that, yes. Darcy makes everything about herself, even when it’s under the guise of congratulation (“Happy 30th — so happy it’s not me yet!”). Still, both women cling to this ideal of their best-friendship. The figures have implications for oil and electricity markets. The movie may in fact boast the highest usage of the term “best friend” outside of a Queen song . Just tell people everything is lollipop and unicorns and rainbows and you’ll be better off in your life because people want to be lied to. The plot, of course, thickens when Rachel sleeps with Darcy’s fiancé, the aforementioned charisma-devoid lawyer bro Dax (Colin Egglesfield). 6 million barrels per day (bpd) of oil demand by 2040, up from 1 million bpd currently, while electric cars could add 5. Instead of having a taxpayer funded aide (who has an actual job he's being paid to do) wash his dishes, Pompeo can use that paycheck he gets to hire someone to wash his dishes and walk his dog.

I’m not typically a proponent of adultery, but Darcy is so patently unlikable that it’s hard not to root for the betrayal. In one of the rare meaningful lines from Rachel’s friend Ethan (Krasinski), he tells her “If the roles were reversed, Darcy wouldn’t even hesitate,” and it’s hard not to agree. It also forecast the world would need around 290 million charging points by 2040, of which 12 million would be in public places and the rest at home, workplaces, or private commercial sites. At last year’s San Diego Comic Con, producer Kevin Feige announced there were plans in the works to bring the X-Men into the MCU, but didn’t give a timeline of when fans can expect them added. Rachel and Dax continue to cheat, and Darcy continues to prioritize herself in every situation. And at first, it seems like Something Borrowed is in on the joke — ah, this is toxic — but then something strange happens … Rachel and Darcy dance . These could account for 3.  A film that had maintained its essential ridiculousness for the past 70-ish minutes descends into pure chaos as Darcy invites herself over to Rachel’s apartment and suggests they revisit a dance routine to Salt-N-Pepa’s “Push It” that they choreographed in the sixth grade. With Disney’s PG-13 ratings on its superhero films, the R-rated “Deadpool” may be tricky to accommodate. — Nancy Kokesh 💙 (@nkokesh) “Because maybe his wife isn’t there.

First, let me note that Darcy and Rachel are pretty much wearing the same outfit: black V-neck, cropped drawstring pajama bottoms, low ponytail.5% of municipal bus sales by 2040, it predicted. Second, this strangely mesmerizing dance, which was presumably choreographed nearly 20 years prior, is like, really tight? Have they been practicing?? Is this what grown women who routinely have sleepovers do??? This bizarre sequence marks the first time in the movie that Rachel and Darcy legitimately seem like friends, and appear genuinely happy to be spending time together. The purity of this moment is soon overwritten by a melancholic slow-motion fadeout. “That’s not me acting pretentious. Their friendship is real .

Something Borrowed (2011) - IMDb

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  • 20112011
  • PG-13PG-13
  • 1h 52m






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Friendships are tested and secrets come to the surface when terminally single Rachel falls for Dex, her best friend Darcy's fiancé.Friendships are tested and secrets come to the surface when terminally single Rachel falls for Dex, her best friend Darcy's fiancé. Friendships are tested and secrets come to the surface when terminally single Rachel falls for Dex, her best friend Darcy's fiancé.






    • Luke Greenfield
    • Jennie Snyder Urman(screenplay)
    • Emily Giffin(novel "Something Borrowed")
  • Stars
    • Ginnifer Goodwin
    • Kate Hudson
    • Colin Egglesfield
    • Luke Greenfield
    • Jennie Snyder Urman(screenplay)
    • Emily Giffin(novel "Something Borrowed")
  • Stars
    • Ginnifer Goodwin
    • Kate Hudson
    • Colin Egglesfield
  • See production, box office & company info
    • 250User reviews
    • 132Critic reviews
    • 36Metascore
  • See more at IMDbPro
    • Awards
      • 5 nominations


    Trailer 2:27

    Watch Something Borrowed: Trailer #2

    Trailer 2:33

    Watch Something Borrowed

    Featurette 2:29

    Watch Behind the Scenes

    Featurette 1:45

    Watch "What is Something Borrowed?"

    Interview 6:48

    Watch Hilary Swank and Molly Mickler Smith: The IMDb Original Interview

    Interview 8:11

    Watch John Krasinski: The IMDb Original Interview

    Interview 6:49

    Watch Ginnifer Goodwin and Kate Hudson: The IMDb Original Interview


    Top cast

    Ginnifer Goodwin

    • Rachel

    Kate Hudson

    Colin Egglesfield

    John Krasinski

    Steve Howey

    • Marcus

    Ashley Williams

    • Claire

    Geoff Pierson

    • Dexter Thaler Sr.

    Jill Eikenberry

    • Bridget Thaler

    Jonathan Epstein

    • Professor Zigman

    Leia Thompson

    • Bridal Consultant

    Sarah Baldwin

    Mark La Mura

    • Marcus's Dad

    Lindsay Ryan

    • Salesgirl

    Kirsten Day

    • Pretty Brunette

    Christopher Peuler

    • Husband

    Herb Lieberz

    • Cabbie #1

    Jimmy Palumbo

    • Cabbie #2

    Mary O'Rourke

    • Fallen Angel
      • Luke Greenfield
      • Jennie Snyder Urman(screenplay)
      • Emily Giffin(novel "Something Borrowed")
    • All cast & crew
    • Production, box office & more at IMDbPro

    More like this

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    Raising Helen

    Something Borrowed

    Something Blue

    Mother's Day

    The Wedding Planner

    Life as We Know It

    A Christmas Witness

    The Ugly Truth


    Did you know

    • Quotes

      Rachel: You're an asshole!

      Ethan: Yeah, maybe I am. But i'm the only asshole here who gives a shit about you.

    User reviews250


    Featured review



    Pleasant evening

    This is a pretty good example of a modern romantic comedy. It's less of a comedy but enjoyable nonetheless, made that way by the star, Ginnifer Goodwin.

    I can say that this is the first film where I have decided to buy a ticket based solely on the presence in it of Ginnifer Goodwin. I wasn't disappointed. She is luminous in most of the scenes she's in - and there are a lot of them considering she's the central character. She's never looked more alluring, more beautiful. But it's her delivery of the material that's the most satisfying. She is just a truly wonderful actress and she breathes real life into the part of Rachel, making us truly her ally in helping her achieve success and happiness.

    Goodwin is solidly backed by the lovely Kate Hudson as Darcy. Hudson is in perhaps her best performance as an over the top, somewhat obnoxious, intellectually challenged, manic blond filled with an almost mean-spirited, selfish self-interest. She is on the border of mercilessly taunting Goodwin's character in much of the film and Goodwin, playing ever the gracious friend, puts up with her friends excesses. The graciousness meets it's biggest challenge when her college study mate Dex, played by Colin Egglesfield, is swept out from under Rachel by the overbearing Darcy, who always gets what she wants.

    The interplay between these two actresses is a definite cut above the usual silliness of romantic comedies and Goodwin comes off looking much the better of the two, but that may be partly due to the greater sympathetic nature of her character. If you really watch Hudson she's riveting in places.

    The men in this offering, Egglesfield, John Krasinski and Steve Howey do their level best to provide counterpoint to the two leading ladies, but ultimately it's all about the girls. Krasinski is the most watchable, and likely the better actor but Howey adds some oddball charm that also makes it a better film. At one point Hudson refers to him as a caveman; that's an apt description.

    Finally, there is a character named Claire played to a turn by the terminally cute Ashley Williams. She's fun to watch.

    All-in-all it's a good movie to take your favorite girl to.

    By Bruce L. Jones



    • bjones
    • May 12, 2011
    • Is this film based on a book?


    • Release date
      • May 6, 2011 (United States)
      • United States
      • Warner Bros. (United States)
      • English
    • Also known as
      • Love & Marriage
    • Filming locations
      • Long Island, New York, USA
    • Production companies
      • Alcon Entertainment
      • 2S Films
      • Wild Ocean Films
    • See more company credits at IMDbPro

    Box office

      • $35,000,000 (estimated)
      • $39,046,489
      • $13,945,368
      • May 8, 2011
      • $65,100,369
    See detailed box office info on IMDbPro

    Technical specs

    • 1 hour 52 minutes

      • Dolby Digital
      • Datasat
      • SDDS
      • 1. 85 : 1

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    Chapter 10. Sports dancing on ice

    Sports dancing has much in common with pair skating, but both types are clearly different from each other. Sports dancing on ice is primarily a joint performance of dance steps in standard and non-standard dance positions. Sports dancing is a triathlon. Its first type - obligatory dances - has a clear description of steps, positions, patterns and is performed to certain music in a given character and musical rhythm. Each pair composes the original dance by itself, striving to perform it in the prescribed rhythm in the style of the obligatory dance (twice repeating pattern of steps, maintaining the direction of movement, etc. ). The third type of dance triathlon is a free dance, which allows a couple to most clearly reveal their individual technical and artistic skills to the music chosen by the athletes. Before staging free and original dances, coaches and athletes should carefully study the rules for judging these sections.

    The formation of a dance duet usually begins among figure skaters of about 12-13 years old, who are confident in the technique of gliding and basic dance elements. But this does not mean that the couple is already ready to compete. Only after a year of joint work, combined with the improvement of individual technique, can one begin to prepare for competitions. When forming a duet, the following indicators are taken into account: external data - attractive appearance, elongated muscles of the arms and legs, beautiful, straight posture. Height should not be below average, and the difference in height between partners should be no more than 15-25 cm. It is desirable that by the time the pair is created, the level of technical training of the partners would be the same. The optimal age difference between skaters is 1-3 years. Children with artistic inclinations, sociable, emotional, musical, who love to improvise to music on ice and in the hall, and also have good choreographic data: “eversion”, “step”, a sense of posture, “aplomb” are most suitable for sports ice dancing.


    Basic dance elements can be divided into two groups:

    Elements without changing front of movement: basic step forward, backward, running steps forward, backward, simple and crossed chasses, cross rolls.

    Elements with a change in the front of movement, which include the most complex dance elements: troika, mohawk, chok-tau, hooks, counters, twizzles.

    When studying the 1st group of elements, special attention should be paid to the posture of the athletes: the shoulders are deployed, the back is fixed, the arms are extended at the elbows and hands, the head is raised. Double bending of the knee of the supporting leg during one step is a characteristic sign of the correct mastery of dance elements. The essence of this step is that each push step is performed not with a leg straightened at the knee, but only after a second squat on it, which makes it possible to move plastically and softly and at the same time powerfully, since the push is performed with an edge, not a prong skate.

    Running steps - a series of consecutive steps on the outer and inner edge. With each new step, the jogging leg sweeps next to the supporting one. It is useful to learn running steps in a circle in both directions. Moving in a circle to the left, pay attention to the fact that the right hand is extended forward, and the left is behind, keep your head so that it is directed to the left-up. Moving to the right, reverse the position of the hands and head. Running steps are performed not only in a circle, but also in a big eight, a paragraph at a variable pace.

    The most difficult element of the 1st group is the backward running steps, since the latter, like the forward running steps, are a series of successive steps in which the free leg passes next to the supporting one. Unequal pushing with both legs, loss of balance due to loose back muscles and abdominals, and throwing the free leg high above the ice are the most common mistakes when learning running back steps.

    An element consisting of three steps (for example, left front-out, right front-in, left front-out) is called a chassé. During its execution, the free leg when performing a simple chassé is placed on the ice next to the supporting one on the inside of the foot, and when performing a crossed chassé, from the outside. When learning a simple and crossed chassé, it should be remembered that removing free legs by bending the leg at the knee, and not by pulling up the hip, is the most common mistake.

    The main thing in the cross-roll is the almost perpendicular intersection of the free and supporting legs during their change. When learning cross-rolls, the shoulders should be fixed. Three is the most common turn in ice dancing. The triple is performed by slightly turning the shoulders and hips in the direction of movement. The purity of the execution of this element depends on the sliding before and after turning on one edge of the skate. Correct posture, a free leg fixed behind, as well as a slight lifting of the heel of the supporting leg at the top of the turn will help to facilitate this task.

    Mohawk is an element in which the change of the front of movement occurs without changing the edges of the skate, and the Choctaw is a turn with a change in the edges of the skate when the front of movement changes. Mohawks come in three types: open, closed and flywheel. When performing a mohawk turn, the legs rush side by side, but do not cross, while the tracks on the ice, with the correct execution of the elements, turn out to be crossed. When performing the Choctaw turn, pay special attention to the vigorous turn of the shoulders in the direction of the new arc. The change of legs must be silent. At the time of the turns, the hook and hook should be slightly raised with the heel of the supporting leg, and the free leg should be fixed in the thigh and the ankle should be extended. These turns must be performed boldly and decisively, but at the same time completely excluding jerky movements and bouncing of the skate.

    Twizzles - 1 turn turns on one leg. This is a combined combination of bringing the free leg close to the supporting leg and rotating on it. In this case, the trunk occupies a strictly vertical position.

    Dance positions. Dance positions can be as simple as "hand in hand" when the partner is to the right of the partner and looks in the same direction as him. In closed, or waltz, positions, the partners stand facing each other and one of them slides forward and the other back. In this case, the partner’s right palm is on the partner’s left shoulder blade, and the partner’s left palm is on the partner’s right shoulder. The shoulders are parallel, the free arms are connected at the hands. The tango position, or side position, differs from the waltz position in that the hips and shoulders of the partners are parallel, but shifted to the right or left relative to each other. In the foxtrot position, the position of the arms and hands is similar to the waltz position, but the partners slide in the same direction. In the “kilian” position, as in the foxtrot position, the partners slide side by side in the same direction (the lady is on the right), the partner’s right shoulder is behind the lady’s left shoulder. The partner's left hand is extended and fixed in the partner's left palm. The partner grabs the partner from behind and puts his right hand on her waist, and she covers her from above with her right palm.

    In all positions described, the partners must be mindful of their posture and keep as close as possible to each other.


    The ISU has established three groups of compulsory dances for adult dancers:

    1. Westminster waltz, paso doble, rumba.

    2. Star waltz, kilian, romantic tango.

    3. Ravensburg waltz, quickstep, Argentine tango.

    There are four compulsory dance groups for juniors:

    1. European Waltz, Quickstep, Argentinian Tango.

    2. American waltz, rumba, blues.

    3. Viennese waltz, kilian, tango.

    4. Star waltz, paso doble, rocker foxtrot.

    According to the rules, in all official competitions during one season, one group of dances for adults and one group for juniors is performed. At each competition, a draw is held, which determines one of the two groups named at the beginning of the year. However, from the point of view of the method of teaching the obligatory dance, another, unofficial, classification has been adopted, consisting of waltzes, fast and slow dances.

    Let's consider the most important details of the performance technique and teaching methods for individual compulsory dances.

    Westminster waltz. Music 3/4, dance consisting of 22 steps with a preferred pattern. In the first 10 steps, the same for both partners, an open inner mohawk is included: left forward-inward, right back-inward. The beginning of the mohawk is directed towards the center of the rink and is performed in the “kilian” position. In the first part of the mohawk, the right free leg is brought to the count of “three” to the supporting left leg, and with the vertical position of the body, a change occurs: the right leg becomes the supporting one. The free (left) leg is extended over the track. The position in the step right back-inward changes to reverse kilian. When performing this mohawk, an indistinct change of legs (scrapers with teeth, insufficiently pronounced sliding on the inner ribs of the skate) can occur due to the loss of correct posture, non-reversible bringing of the free right leg to the supporting left, and also due to non-parallelism of the partners’ shoulders to the track. Step #7 in the dance is a six-count left-back-outward arc where the pivot knee double bend should be applied.

    Crossed landing gear of both partners and simultaneous turns: partner's counter-left forward-outward and lady's hook-right forward-inward largely depend on the close foxtrot position and clear synchronous swings of the free legs. For the convenience of performing these steps, the partner should be slightly ahead of the partner. The complexity of step No. 15 of the partner - the triple of the right forward-inside - lies in the fact that the turn is performed at the expense of "one" of the next musical dance. A common mistake is an underexposed arc, which entails turning a three on the count of three. Steps 16-22 should include a double knee bend to spice up the dance and emphasize its character. When working on a waltz, one should strive to avoid double-edge arcs, which can lead to the execution of the drawing in the form of straight lines.

    Quickstep. Music 4/4, an 18-step dance with an attributed pattern performed in the kilian position. The steps for both partners are the same. Steps 5-6 - Fly Choctaw left front-out, right back-in with constriction out. Entry into the Choctaw must be made on a well-defined outer edge with control of the position of the shoulders. The right shoulder is laid back, and the left forward. This must be done on all four counts when swinging with the free leg. The partner should be slightly ahead of the partner. Relaxation of the shoulders will lead to a change in the position of the partners. A change in Choctaw occurs when the free leg is brought to the supporting leg at an angle of 90°. At the beginning of sliding along the arc, the right back-inside, the left shoulder is pulled back. On the count of "two", the free left leg is brought to the supporting leg, and then taken back to the side. At this moment, the supporting left leg is pulled from the inner to the outer edge.

    In steps 7, 9 and 10, special attention should be paid to the clear crossing of the legs. The complexity of this technique is that the dance takes place at a fairly fast pace. Therefore, it is necessary to practice these steps slowly in the beginning. Execution of steps on the front of the skate with the transition to the teeth is the most common mistake. To avoid it, it is necessary to ensure that the position of the body is strictly vertical, and the head is raised. When taking steps, aim to cover as much of the area as possible. On the internal two-count arcs, the left forward-inward and right forward-inward bend the knee of the supporting leg as much as possible, and straighten the free leg and stretch it back. Make these arcs steep, sustained and fast at the same time. The lively rhythm of the dance will well emphasize the double knee bend.

    Blues. 22 bars, 4 counts. The slowest of all dances, consisting of 17 steps performed in closed waltz and foxtrot positions. The main task in this dance is to show long rib arcs with “soft” knees. A complex technical feature of the blues is the closed choctaw - left front-in, right back-out (steps No. 12-13), performed in the foxtrot position. Since this element is difficult, it is recommended that you first learn it without a partner. Entry into the Choctaw is performed to two beats of music on the steep inner edge of the ridge of the left leg, strongly bent, the right shoulder laid back. On the count of three, the free right foot comes close to the left and there is a Choctaw turn with a two-count exit on the right foot back-out. In this case, the left shoulder is retracted. The slope of the exit must be the same as the slope of the entrance, and the free legs at the entrance and exit of the Choctaw must be raised to the same height. When performing this element, the partner slides along the trail of the partner.

    European waltz. This is one of the most difficult obligatory dances for all its outward simplicity and monotony (the steps consist of repeated triple turns in a waltz position). The step arcs forming the entrances and exits of the triples are alternately turned either towards the longitudinal axis of the rink, or away from it. Entries into man's triple turns start from a cross roll, but the closed position must not change. This is achieved by controlling the shoulders fixed throughout the dance. When entering the three, the partner's supporting leg should be directed between the partner's feet. It is very important throughout the dance to bend the knee of the supporting leg in the same way, which makes the performance smooth. The free leg is slightly turned outward, after repulsion it is in front or behind the supporting leg. Pay attention to a slight counter-movement of the shoulders to avoid twisting the torso when performing a three-way turn. It is important to observe the count of the execution of each step, since in the European waltz any of them is performed in three counts. The higher the skill of the dancers, the more uniform and smooth the dance looks. It should be remembered that the European waltz is useful even for highly qualified athletes and should invariably be included in their training process as an excellent method for improving the classical alphabet of sports ice dancing.


    The original dance is a repeated sequence of steps in half a circle or a whole circle. Each pair performs an original dance invented by it in a certain given rhythm and pace proposed by the ISU for all competitions of this sports season.

    The specificity of the pattern of the original dance. The original dance is performed clockwise or against it with a change in front of movement, but without a change in direction of movement. The original dance is performed along the perimeter of the rink, but on the condition that the main longitudinal axis of the rink intersects along the line of short sides. Loops in dance patterns are not allowed. 9change of position. Their number in the dance is not limited, but the positions themselves must correspond to the nature of the dance being performed. You can use both standard dance positions and positions invented by the athletes themselves. Hand-in-hand skating, like shadow skating, must not be included in the original dance. They can only be used in the intro and ending.

    Usually, work on original dances begins with the selection of music and the study of the most characteristic features of this dance: the history of its creation, national color, costumes, etc. The sources of study can be books, videos, eyewitness stories, concert, ballet, pop, folk , ballroom dancing. Having received an idea of ​​the style and nature of the dance, they begin to arrange the music. Each new series of the original dance in terms of sound time, accents, duration of pauses must exactly match the previous one. The introduction and finale in the dance should, as it were, frame the series and create the impression of a finished dance-musical work. Remember: the higher the technique of mastering dance elements, the richer your imagination, the brighter and more convincing the dance will turn out.

    The content of the original dance consists of various dance steps. Their basis is the elements of obligatory dances. A successful combination of these elements, as well as original elements invented by the athletes themselves, performed at different tempos, scores and positions, determine the complexity of the original dance. It should be borne in mind that the value of the content of the dance depends primarily on the confident, easy execution of steps in unison with the music. When staging an original dance, it is necessary to avoid riding on two legs, to monitor the equivalence of the parties of both partners, to pay attention to the alternation of steps with arcs of different duration and steepness, performed with contrasting positions of the bodies of the partners.

    When working on an original dance, style must be emphasized. The posture of the partners is one of the most important conditions in the work on the style decision of the dance. Movements of the arms and torso that emphasize the rhythm and character of the music should also be widely used in original dances. The most memorable movements and elements should correspond to bright musical accents. This will enliven the dance and emphasize its character.

    Ori staging a free dance aims to create an original composition in full accordance with the nature of the selected music. A clear rule should be followed: the higher the skill of the skaters, the more difficult the musical work is chosen in terms of tempo, rhythm, character, and artistic image. When an arbitrary composition is prepared to pre-composed music composed of parts of various musical works, it should be borne in mind that such musical segments must be combined into one program either by a homogeneous sound of the orchestra, or by one era of the creation of a musical work, or by a single style or character of music . If you chose sharply contrasting musical parts of the program, then each of them should represent a complete musical miniature. When choosing music for juniors, it is best to turn to musical works that correspond to a childish, joyful perception of the world, which are not yet capable of conveying a lyric-dramatic image prompted by a complex piece of music. Compositions composed to folk melodies or certain dance rhythms look interesting.

    When creating a dance, one should pay attention not only to the difficulty, but also to the artistic side of the performance. Good roll-up of partners, change of dance positions, synchronism in the performance of elements and combinations, change of tempo and speed of sliding, high musicality, lightness, artistry - these are the main requirements for dance.

    When staging a free dance, a number of recommendations should be taken into account:

    It is advisable to use elements of the same name (supports, jumps, spirals, etc.) evenly in different parts of the dance. The free program drawing should be drawn on paper, then you will avoid monotonous movement in one direction or incomplete use of the entire ice area throughout the dance. Try to perform the brightest combinations in the central part of the rink. Alternate steps, connections and combinations, watch for alternating steps, long and short arcs. Limit hand movements if it is not related to accents, semantic phrases and the nature of the dance. Associated with the change of music, the transitions from one part of the dance to another must have a complete and original character of positions and movements.

    Do not be afraid to enrich the dance with new interesting movements, even if it is already ready. After all, searching and improving is the way to success.

    Demonstration dance. A good means of developing the technical and artistic skills of figure skaters is a demonstration dance. Most often, the performance of a demonstration dance coincides with a decrease in the load of the competitive period, when the main events of the season have already been completed, and the transition period is ahead.

    Work on staging a demonstration dance is started only after the choice of musical material and the clarification of the basic ideas and design of the dance.

    Due to the fact that the demonstration dance, unlike the free dance, does not have clear judicial restrictions in the content of elements, positions, execution time, saturation, etc., its means and tasks are much wider.

    In the course of the development of general and special endurance of dancers, when staging a demonstration dance, the following should be taken into account: its duration, the rate of execution of movements, the inclusion of various supports; the development of endurance to some extent contributes to the encore of the number, which is possible only in demonstration performances.

    The development of agility is helped by the use of various objects in a demonstration dance: a ball, a hat, a cane, a scarf, etc., as well as acrobatic elements previously mastered by the skaters in the hall.

    Versatile possession of various technical skills is possible only with the introduction of elements of related disciplines into the demonstration dance - pair and single skating, elements and poses borrowed from ballet.

    A rational sequence of teaching compulsory, original, demonstration, free dances helps to improve the quality of training and reduce its time.

    The following sequence can be recommended:

    1. General idea of ​​the studied dance - steps, drawing, character of performance, musical rhythm, tempo.

    2. Separate and joint work with a partner on the main elements of the dance without musical accompaniment, then to the melody.

    3. Analysis of one series or part of the dance separately, then together with a partner in the hall.

    4. Mastering one series or part of the dance separately, then together with a partner on the ice without musical accompaniment, then to the melody.

    5. Work on the dance as a whole: a) each partner performs the required number of series or parts of dances to the music; b) partners jointly perform the required number of series of dances to the music.

    When perfecting the dance, the partners must follow: a) the conformity of the steps with the description of the dance pattern; b) for the performance of dance steps in the rhythm of music; c) for synchronism and clarity of steps; d) for artistry, ease and ease of performance.

    Classes on the ice should always begin with sliding forward and backward at a fast and slow pace, basic and running steps, and then, depending on the training plan, move on to individual elements. Whatever element you learn, always control the posture, the position of the hands and the head of the skater. It is very important to immediately instill in the dancer the skill of competent repulsion from the ice with the edge, and not with the tooth of the skate. It is necessary to teach beginner dancers to perform a given exercise in both directions and at a variable pace. Strive for each subsequent workout to prepare a new exercise with the inclusion of previously learned elements. After making sure that the skaters correctly and confidently perform your task, start studying it in pairs.

    Figure skating: Textbook. for in-t nat. cult. Under total ed. A. N. Mishina. - M .: Physical culture and sport, 1985. - 271 p., ill.

    Classical dance, ballet

    Exercise at the support or in the middle is a set of training exercises in ballet that contribute to the development of muscles, ligaments, and the development of dancer's coordination of 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 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, 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 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 tandu] - 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 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 must be remembered 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'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] - Retract, push apart. A pose in which the entire figure is turned diagonally.

    • a pose that builds up from the epaulement in 5 positions 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.

    Ferme Close.
    Pas failli [pa fai] - 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 [petit] - Small.
    Petit battement [petit batman] - Small battement, 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] - 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] - 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.

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