How to get your tilt in dance

Tips and Tricks for Dance - ~How to Improve Your Tilts/Developès~

Tips and Tricks for Dance


Assorted tips for dancers of all levels. This book will include tips on Flexibility, turns, aerials, and much more.

#advice #ballet #contemporary #dance #hiphop #jazz #lyrical #tips #tricks

by starlitdesire


Hi everyone, it's Emmy! (Obviously)

Today's tip is all about tilts/developès.

• Having a good turnout can help in getting a 180 degree angle in you tilts/Developès. To improve your turnout, sit in frog (lay on your stomach then bend your legs up like they would be in a pliè or in butterfly, trying to get your hips, knees and feet pressed to the floor.)

• Your middle split also helps with having your tilt/Developè flat. Work on your middle split until it's flat, then add a yoga block, book or put your foot on a step to stretch your over split. This will make having your leg at the 180 degree angle easier. You could also try a wall split. Sit facing the wall in straddle, then push yourself up to the wall, you will eventually get your straddle flat, therefore making tilts/Developès easier.

*REMEMBER: Make sure you are always turning out from your hips, as turning out from the knees or feet can result in injuries.

• To get your tilts/developès higher, sit in straddle and lean over to either side, tucking your arm in front of your leg. You can also prop your leg up on a yoga block/book/step for a deeper stretch, eventually leading to an over split in your tilt.

• SQUEEZE THAT TUSH! This may sound weird, but it does help with getting your leg higher. My dance teacher told me to do this in my tilts/Developès and they improved instantly. Remember to use your abs too.

• Remember that where you raise your knee to before you Developè your leg in the tilt is where your leg is going to end up, so if you raise your knee to the corner, it is going to go to the corner, but if you raise your knee to your side, at a 180 degree angle, your leg is going to Developè there.

• And as always, NEVER GIVE UP! It took me a year to get an over split in my tilt and to get it at a (nearly) 180 degree angle, and I had two stretch classes a week and I worked on it myself at home, it all depends on you putting in the effort to work on things by yourself and not just in dance class.


Xx Emmy xX


QOTC: What is your favourite trick to do in dances?

AOTC: Not really a trick, but I love to do a la secondes (spelling?) and turns.

Remember to leave tip requests or any advice that I can include in chapters/do a chapter about.

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how to put out your burning fart and start learning from your mistakes? — Life on DTF

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Tilt is a state of psychological anger: defeat due to failure is perceived as an injustice, which forces the player to use aggressive strategies for the sake of revenge (in order to achieve justice), which ultimately ends in self-disappointment and concentration on lost resources”, scientists say.

Hello everyone! My name is Vanya, I am 32 years old and I do cognitive-behavioral psychology (coaching). This is my first post on DTF, I hope it will resonate with you. For my part, I will be glad to any feedback.

What do I know about games? One day I decided to sit down and count the amount of time I spent in them. The counter has exceeded 10,000 hours only in those games where statistics were kept. 4000+ hours in DotA, about 200 days /played in WoW, 2000+ hours in L4D and L4D 2, 600+ hours in CoD: MW2, 430 hours in Day of Defeat and so on. It's funny that I have less than 100 hours in CS:GO on steam, but I'm afraid to even count how much time I spent in the good old 1.6. This is not a complete list of games I have played on PC. In addition to the computer, I had a dandy, PS 1 and PS 3. Oh yes, for about 2 more years I played Ikariam - a browser strategy similar to Travian.

In total, I decided for myself that in general I played about 15,000 hours in certain games, but there is a feeling that this counter has long exceeded 20,000. Now that I have a wife, a child, a cool job, friends and life outside the Internet, I began to devote much less time to games. But with all this, I still spend about 10-15 hours a month on my favorite entertainment - I play Hearthstone. I call HS a game for retired gamers because it doesn't require finding a party, reacting like a mongoose, typing a 100,500 key rotation in 0.01 seconds, and all the time in this world. But for all its simplicity, Hearthstone, like any other competitive game, has zero tolerance for tilt. And if before my training and starting to practice in the field of psychology, my average win rate in the rating mode was around 50%, today my trip to the "Legend" sometimes ends with an indicator of 80% of the games won.

The difference between 'then' and 'now' is not experience or practice (although they carry weight). The difference is that I finally stopped tilting and feeling negative emotions from losing. What do I know about tilt? A broken laptop, a dozen broken keyboards and mice, a couple of broken mobile phones, and even the chair I was sitting on can tell about this. But that's in the past. Now I'm not ashamed to talk about my experience, because as it turned out - I'm not alone. But not everyone has yet learned to convert their aggression into an opportunity to learn and become better.

The moment I learned to accept defeat, I learned to learn from defeat. It is not for nothing that every experienced player repeats the phrase “look for mistakes” over and over again and reviews the replays of his lost games. This has its own sacred meaning. And if you, like me before, are firmly convinced that you make zero mistakes, and Tim, Gabin or twisting paired with crooked mechanics are to blame for each of your pockets, then you can safely close this article. But if you want to get better with every minute spent in your favorite game, I will show you the main points that you should pay attention to if you want to get rid of negative emotions, and at the same time improve your rating / game skill.

1. You can't defeat everyone.

As one coach, whose name I unfortunately don't remember, said: "All our matches are divided into 3 categories:
- 33% of games are those where we are obviously stronger than our opponent and should win.
- 33% of games - these are those where we are obviously weaker than our opponent and should lose.
- the remaining 34% of games are those where our opponent is equal to us in skill. The outcome of these games decides the direction in which we move on the ladder."

This distribution does not claim to be the ultimate truth, but on average it is - even the best lose from time to time, and the worst win from time to time. Therefore, it is enough to accept the fact that we will lose sooner or later anyway. Not because we played badly, not because the team was raki, not because everything was twisted. And because it is necessary. But how we react to defeat determines the outcome of the next games. By accepting defeat, I mean the absence of negativity towards the opponent, towards the game, towards the team, or towards oneself - it is the negativity that is the source of tilt. At the same time, no one forbids getting upset. Unlike negative aggression, the fact that we get upset over defeat motivates us to be better next time. When we are upset, we are not on tilt. We are on tilt when we are filled with negative emotions.

How does it work? If the enemy turned out to be stronger and won, we have 2 options how to react:
1) get angry and call him all the indecent words of this world. In this case, we do not make any inputs, which means that the next time we meet the same opponent (or the same in strength), with a high degree of probability we will lose again.
2) recognize the fact that in this game the opponent was better due to his own actions. In this case, we can analyze what exactly our opponent did better and learn to do the same or even better than him. In this case, meeting the same opponent (or the same in strength) next time, we will have a higher chance of winning.

I'll mention it, but I won't describe it - in any case, when analyzing the game/watching the replay, you should pay attention to what we ourselves could have done differently. Perhaps we ourselves made a mistake somewhere. This is no reason to be angry with yourself. This is an occasion to take note of what happened and next time act according to the conclusions drawn.

2) Everyone wants to win. Those who have done the most to win win.

There is a very simple rule of life: "Everything that does not bring us closer to the goal - moves us away from it." Therefore, if some of our actions in the game do not contribute to victory, they contribute to defeat. Yes, people are not robots and cannot do everything perfectly. It's just not possible - sooner or later we'll make a mistake anyway. However, sometimes we may not notice or understand what our actions systematically do NOT contribute to victory, but lead to tilt:

- Draw conclusions about the enemy. Underestimation or overestimation of the enemy most often leads to defeat. Instead, it will be more effective to focus on the game situation and the "materiel" of the game itself. If thoughts about the opponent get into our heads, this is a clear sign of tilt and that we are less focused on the game and on our actions.
- Evaluate the game of your allies. Every second of tracking another player is a second when we are not in control of our character. At the same time, shifting responsibility for your inattention to another player is another sign of tilt.
- Shouting, swearing and nerves. In this state, we physically cannot adequately perceive reality, including what is happening in the game. More interestingly, negative emotions are contagious and can spread to our team members. Yes, tilt is contagious.
- Music, chat and other sources of stickiness. Anything that defocuses the game and/or evokes emotions distorts the perception of what is happening in the game. Lack of understanding of this fact when losing leads to the fact that we tend to ignore our mistakes and attribute them to others, which leads us even deeper into a state of tilt.
- Perceive one lost battle as the loss of the entire ice rink. Until the inscription "It's over, we lost" lights up on the screen, there is always the opportunity to compete. Every second spent thinking "it's already here" is the time during which we do not learn anything.

And much more. There is not a single esports player or just a cool player who has supernatural abilities in the form of a faster eye-to-brain ping or an odometer built into his hand. These are the same people as everyone else. They, too, make mistakes and are prone to tilt. The difference is only in the ratio of useful actions to useless ones and in the speed with which they learn from their mistakes.

3) The rules are the same for everyone.

Remember Lod[A] who was furious that the Na'vi used the fountain hook feature with Chen and Pudge? The fact remains that all the teams were on an equal footing until this feature was fixed. Life is what it is - everything else is our perception and reaction. Everything that is not forbidden is allowed. Reality doesn't care about the "honesty scores" in our head. A game where there is a winner and a loser does not take into account imaginary style points and self-sacrifice in the name of imaginary justice.

Last spring, Hearthstone introduced a new class of hero - Demon Hunter. All new players were given a full set of cards for this class on a free basis (for those who are not in the know - for a comfortable game, HS requires considerable cash injections or all the player's free time). The overall average win rate for this class in the first couple of months was around 65% (which is unacceptably high). The players were divided into those who took advantage of this opportunity and had a lot of fun playing for a new hero (for the first time in the existence of the game) and those who basically did not even try to play for him. At the same time, the latter were very angry at the former.

I think there are many such examples, but they all come down to a simple choice: we either accept the game as it is and use all its mechanics and aspects (high chances of winning), or play a stripped-down version that exists only in our head, depriving yourself of the opportunity to use more effective mechanics (low chances of winning). Moreover, by creating a deliberately hated image of the enemy in the form of those who do not follow our logic, we deprive ourselves of the opportunity to learn from those whose consciousness is more open to the new.

Tilt begins at the moment when we rest our forehead on an idea that we do not want to accept for some personal reason. At the same time, we tend to ignore the fact that other players do not do this and their results are often much better than ours. The phrase "why does this only happen on my team?" contains the only logically emerging answer - "because you yourself are in it" =)

4) What should you do if you notice signs of tilt, but you can't handle them on your own?

I don't need to explain how stupid sound words sound when I am a person in a state of deepest tilt. Purely for context - at some point I was ready to believe that the universe turned off the electricity in the whole area on purpose so that I could leak the rating rink. At the same time, I ignored the phrase "Vanya, you take a simple computer game too close to your heart." However, even I understood that I am not perfect and I have problems. The growing number of damaged things increased my suspicions..

The main conclusion that I came to only after years:
"The problem is not in the game and not in our skills in this game." Here you can not search and not dig - there is nothing there. We learn to play just by playing. The longer we play, the better we play. You should not expect yourself to get into the top of the ladder if you have only a couple of months of experience in the game. Climbing to the top takes time, and in the normal state, our "advance schedule" should smoothly go up. But if you still want to be in the TOP and there have been no promotions for several months, then we are doing something wrong. If at the same time the degree of emotional intensity continues to increase, this is already evidence that it is time to take action.

In my case, psychology and work with specialists helped. Looking back, I understand that I had all the time and opportunities in this world to, if not even perform at The International, then at least get on some rofloturik from the Starladder category. And the only one who is to blame for the fact that this did not happen is myself. On the other hand, at some point I realized that I did not need it. After all, reaching the ceiling in a particular game, I threw it away. So I loved achievements, not games. Now I play HS. My personal paradise for a retired gamer. I love this game even when I get 10+ game losers in a row - that's my price for my 60-80% win rate =)

Center for Contemporary Choreography in Yekaterinburg

A system of exercises to improve the technique of performing something (dance, music).

Exercise at the support or in the middle - This is a set of training exercises in ballet that contribute to the development of muscles, ligaments, and the development of coordination of movements in the dancer. Exercises are performed at the “machine” (attached to the wall with brackets) and in the middle of the training hall daily Exercises consist of the same elements.

A system of expressive means of choreographic art based on the careful development of various groups of movements and positions of the legs, arms, body and head.

Choreographic terminology - a system of special names designed to indicate exercises or concepts that are difficult to briefly explain or describe.

Exercise at the support or in the middle - This is a set of training exercises in ballet that contribute to the development of muscles, ligaments, and the development of coordination of movements in the dancer. Exercises are performed at the "machine" (attached with brackets to the wall) and in the middle of the training hall daily Exercises consist of the same elements.
1.demi plie - (demi plie) - incomplete "squat".
2.grand plie - (grand plie) - deep, large "squat".
3.relevé- (relevé) - “lifting”, lifting to a rack on toes with lowering to the IP in any position of the legs.
4.battement tendu - (batman tandyu) - "stretched" 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.
5.battement tendu jeté-(batman tandyu jeté) “throw”, swing to the downward position (25 °, 45 °) with a cross.
6.demi rond - (demi rond) - incomplete circle, semicircle (toe on the floor, on 45ana 90° and above).
7.rond dejamb parterre-(rond de jamb par ter)-toe circle on the floor circular movement of the toe on the floor.
8.rond de jamb en l'air - (rond de jamb en leer) - circle with the foot in the air, standing on the left right to the side, circular movement of the lower leg out or in.
9.en dehors - (andeor) - a circular movement away from oneself, a circular movement outward in the hip or knee joint, as well as turns. 10.en dedans - (andedan) - a circular movement towards oneself, a circular movement inward.
11.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.
12.battement fondu - "soft", "melting", simultaneous flexion and extension of the legs in the hip and knee joints.
13. battement frappe - (batman frappe) - “hit” - a short blow with the foot on the ankle joint of the supporting leg, and quick extension in the knee joint (25 °, 45 °) to the position on the toe or downward.
14. petit battement - (petit battman) - "small blow" - alternately small, short foot strikes in the cou de pied position in front and behind the supporting leg.
15.battu- (botyu) - “beat” continuously, small, short blows to the ankle joint only in front or behind the supporting leg.
16.double- (double) - “double”, • battement tendu - double heel pressure • battement fondu - double half-squat • battement frapper - double blow.
17.passe- (passe) - “to pass”, “to pass”, the position of the bent leg, the toe at the knee: in front, to the side, behind.
18.relevelent- (relevant) - “raise” slowly, smoothly slowly on the count of 1-4 1-8 raising the leg forward, sideways or back and higher.
19. battement soutenu - (batman for a hundred) - “fused” - from a stoic on toes with a semi-squat on the left, right by sliding forward to the toe (back or to the side) and sliding back to the SP.
20.développe- (develope) - “opening”, “unfolded”, 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, sideways, back) or higher.
21.adajio-(adagio)-slowly, smoothly includes grand plie, develope, revelant, all kinds of balances, pirouettes, turns. A fused bundle for 32, 64 accounts.
22.attitude- (attetyud) - posture with the position of the bent leg behind, standing on the left, right to the side - back, lower leg to the left.
23.terboushon-(terboushon) — posture with the position of the bent leg in front (attetyud front) stoic on the left, right forward, shin down to the left.
24.degaje- (degaje) - “transition” from the left stance to the 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.
25.grand battement- (grand batman) - "big throw, swing" by 90° and above through the position of the foot on the toe.
26.tombée-(tombé) — “to fall” from a toe stand in the fifth position lunge forward (to the side, back) with a sliding motion returning to the SP.
27.picce-(pikke) — “stabbing”, standing on the left right forward to the bottom, quick repeated touching of the floor with the toe.
28.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.
29.balance- (balance) - “swaying”, pendulum movement of the legs forward up - back down, forward - back, forward - back up.
30.allongée- (allange) - "stretching", the final movement of the arm, leg, torso.
31.pordebras- (por de bra) - “excesses of the body”, tilt forward, backward, to the side. The same goes for stretching.
32.temps lie- (tan lie)-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.
33.failli- (fai) - "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. 34.allegro- (allegro) - “cheerful”, “joyful”, part of the lesson, consisting of jumps, performed at a fast pace.

Addition: 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.
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.
ARCH [atch] - arch, back deflection of the torso.
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.
ATTITUDE [attitude] - the position of the leg, torn off the floor and slightly bent at the knee.
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 DE VELOPPE [batman devloppe] - taking out the legs forward, backward or to the side by sliding the “working” leg along the supporting one.
BATTEMENT FONDU [batman fondue] - 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 or behind the supporting leg, and then follows the simultaneous extension of the knees and the "working" leg opens forward, sideways or backwards. In modern jazz dance, the fondu form from the folk stage dance lesson is also used.
BATTEMENT FRAPPE [batman frappe] - a movement consisting of a quick, vigorous flexion and extension of the leg, the foot is brought to the position sur le cou-de-pied at the moment of flexion and opens with the toe to the floor or to a height of 45 ° at the moment of extension forward, in side or back.
BATTEMENT RELEVE LENT [batman relevé lan] - smooth leg lift through sliding on 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. Often there is terminological overlap between English and French terminology, for example, temps leve is the same as hop, battement tendu is the same as brack, kick is the same as grand battement developpe, etc. In this case, it is necessary to use the movement depending on the specific exercise.
BATTEMENTRETIRE [batman retire] - transfer through the sliding of the "working" leg, through the passe from the V position in front to the V position behind.
BATTEMENT TENDU [batman tandu] - the movement of the leg, which is retracted to the toe forward, backward or to the side with a sliding motion. In modern jazz dance, it is also performed in parallel positions.
BATTEMENT TENDU JETE [batman tandyu jet] - differs from battement tendu by actively throwing the leg into the air to a height.
BODY ROLL [body roll] - a group of torso tilts associated with the alternate movement of the center of the body in the lateral or frontal plane (synonymous with "wave").
BOUNCE [bounce] - springboard swaying up and down, mainly occurs either due to flexion and extension of the knees, or pulsating tilts of the torso.
BRUCH [brush] - sliding or smearing the whole foot on the floor before opening the leg into the air or when closing into position.
CONTRACTION [kontrakpsh] - compression, reduction of the volume of the body and rounding of the spine, begins in the center of the pelvis, gradually capturing the entire spine, is performed on exhalation.
CORKSCREW TURN [corkscrew] - "corkscrew" turns, in which the performer increases or decreases the level of rotation.
COUPE [coupe] - a quick substitution of one leg for another, serving as an impetus for a jump or other movement.
CURVE [curf] - bending the upper part of the spine (to the "solar plexus") forward or to the side.
DEEP BODY BEND [deep body band] - lean the torso forward below 90 °, while maintaining a straight line of the torso and arms.
DEEP CONTRACTION [deep contraction] - a strong compression in the center of the body, in which all joints participate, i.e. this movement includes arms, legs and head.
DE GAGE ​​[degazhe] - transferring the weight of the body from one leg to another in the second position (right, left) and in the fourth position of the legs (forward, backward), can be performed both with demi-plie and on extended legs.
DEMI-RYE [demi-plié] - semi-squatting, in which the heels do not come off the floor.
DEMIROND [demi rond] - a semicircle with the toe of the foot on the floor forward and to the side, or back and to the side.
DROP [drop] - falling of a relaxed torso forward or to the side.
ECARTE [ekarte] - a pose of classical dance (a la seconde), turned diagonally forward or backward, the body is slightly deviated from the raised leg.
EMBO1TE [ambuate] - successive transitions from foot to foot on half-toes, fingers and with a jump. Emboite jumps - alternately throwing the legs bent at the knees forward or 45 °.
EN DEDANS [an dedan] - the direction of movement or turn towards oneself, inward.
EN DEHORS [an deor] - the direction of movement or turn away from you or out.
EPAULMENT [epolman] - the position of the dancer, turned in 3/4 in bar 8 or bar 2; differs epaulement croise (closed) and epaulement efface (erased, open),
FLAT BACK [flat back] - tilt the torso forward, to the side (90 °), back with a straight back, without bending the torso.
FLAT STEP [flat step] - a step in which the entire foot is simultaneously placed on the floor.
FLEX [flex] - reduced foot, hand or knees.
FLIK [flick] - a foot stroke on the floor to the supporting leg.
FOUETTE [fuette] - a turn technique in which the performer's body turns to a leg fixed in a certain position (on the floor or in the air).
FROG-POSITION [frog-position] - a sitting position, in which the legs bent at the knees touch each other with the feet, the knees should be maximally opened to the sides, or back and forth.
GRAND BATTEMENT [grand batman] - throw a leg 90 ° or more forward, backward or to the side.
GRAND JETE [grand jet] - jump from one foot to the other moving forward, backward or sideways. The legs open as much as possible and take the “split” position in the air.
GRAND PLIE [gran plie] - full squat.
HIGH RELEASE [high release] - high expansion, a movement consisting of lifting the chest with a slight bend back.
HINGE [hinch] - the position of the dancer, in which the straight, without bends, the torso deviates back to the maximum distance, the knees are bent, the feet are on half-toes,
HIP LIFT [hip lift] - lifting the hip up.
NOR [hop] - step-jump, the "working" leg is usually in the "knee" position.
JACK KNIFE [jack knife] - the position of the body, in which the torso leans forward, the back is straight, resting on the hands, the knees are extended, the legs are in the second parallel position, the heels do not come off the floor.
JAZZ HAND [jazz hand] - the position of the hand, in which the fingers are tense and spread apart.
JELLY ROLL [jelly roll] - movement of the pelvis, consisting of a small contraction of the muscles with a simultaneous slight turn of the pelvis to the right and left (synonymous with the pelvis shake.)
JERK-POSITION [jerk-position] - the position of the hands in which the elbows are bent and slightly retracted behind the chest, the forearms are parallel to the floor.
JUMP [jump] - jump on two legs.
KICK [kick] - throwing the leg forward or to the side by 45 ° or 90 ° through the developpe take-out, straight line.
LEAP [leep] - a jump from one foot to another moving forward or to the side.
WCOMOTOR [locomotor] - a circular movement of arms bent at the elbows along the torso.
LOW BACK [low back] - rounding of the spine in the lumbar-thoracic region.
PAS BALANCE [on the balance sheet] - a pa, consisting of a combination of tombe and times de poigree. It is performed with the advancement from side to side, less often - back and forth.
PAS CHASSE [pa chasse] - an auxiliary jump with advancement in all directions, during which one leg “catches up” with the other at the highest point of the jump.
PAS DE BOURREE [pas de bourree] is an auxiliary dance step, consisting of alternating steps from one foot to the other, ending in demi-plle. Synonym for step pas de bourree. In modern jazz dance, the position of sur le cou-de-pied is not fixed during pas de bourree.
PAS DE CHAT [pas de sha] - a jump, a cat's limiting jump. Legs bent at the knees are thrown back.
PAS FAILLJ [pa fail] - a connecting step, consisting of passing the free leg through the passing demlplie in the first position forward or backward, then the weight of the body is transferred to the leg with some deviation from the vertical axis.
PASSE [passe] - a passing movement, which is a link when moving the leg from one position to another, can be performed in the first position on the floor (passepar terre), either at 45 ° or 90°.
PIQUE [peak] - a light injection with the fingertips of the “working” leg on the floor and lifting the leg to a given height.
PIROUTTE [pirouette] - rotation of the performer on one leg en dehors or en dedans, the second leg in the position sur le cou-de-pied.
PLIE RELEVE [plie releve] - the position of the legs on half toes with bent knees.
POINT [point] - extended position of the foot.
PRANCE [price] - movement for the development of foot mobility, consisting of a quick change of position "on the half-lalse" and point.
PREPARATION [preparation] - a preparatory movement performed before the start of the exercise.
PRESS-POSITION [press position] - the position of the hands, in which the arms bent at the elbows with the palms touch the hips in front or side.
RELEASE [release] - expansion of the volume of the body, which occurs on inspiration.
RELEVE [releves] - lifting on half-fingers.
RENVERSE [ranverse] - a sharp bending of the body, mainly from the pose of atitude croise, accompanied by pas de bouree en tournant.
ROLL DOWN [roll down] - a downward-forward spiral tilt, starting from the head.
ROLL UP [roll an] - a reverse movement associated with a gradual unwinding and straightening of the torso to its original position.
ROND DE JAM BE PAR TERRE [ron de jamb par terre] - a circle with an outstretched leg, touching the floor with your fingers.
ROVD DE JAM BE EN L ‘AIR [ron de jamb anler] - a circular movement of the lower leg (ankle) with a fixed hip, set aside to a height of 45 ° or 90 °.
SAUTE [saute] - classical dance jump from two legs to two legs in I, II, IV and V positions.
SHIMMI [shimmy] - spiral, twisting movement of the pelvis to the right and left,
SIDE STRETCH [side stretch] - lateral torso stretch, torso tilt to the right or left.
SISSON OUVERTE [sisson overt] - a jump with flying forward, backward or to the side, upon landing one leg remains open in the air at a given height or in a given position.
SOUTENU EN TQURNANT [sutenu an turnan] - a turn on two legs, starting with retracting the "working * leg" into the fifth position.
SQUARE [square] - four steps in a square: forward-side-back-side.
STEP BALL CHANGE [step ball change] - a connecting step, consisting of a step to the side or forward and two steps on half-fingers (synonymous with step pa de hour ee,
SUNDARI [zundari] - head movement, which consists in the displacement of the cervical vertebrae to the right and left and back and forth.
SURLE COU-DE-PIED [sur le cou-de-pied] - the position of the extended foot of the “working” leg on the ankle of the supporting leg in front or behind.
SWING - swinging any part of the body (arm, leg, head, torso) in a special jazz rhythm.
THRUST [frast] - a sharp jerk of the chest or pelvis forward, to the side or back.
TILT [tilt] - angle, posture in which the torso deviates to the side or forward from the vertical position, the “working” leg can be open in the opposite direction by 9NES [tour shenet] - performed on two legs diagonally or in a circle on high half-toes, the half-turns following one after another, in modern jazz dance can be performed on a full foot and in demi-plie.

Classical dance pose. The classical dance technique involves 4 types of arabesque:

I arabesque
Legs in the effacée position, the arm corresponding to the supporting leg is extended forward, the head is directed towards it, the other arm is laid aside, the hands are turned palms down. The body is slightly inclined, but the back is concave.

II arabesque
Legs in the effacée position, the arm corresponding to the raised leg is directed forward, the other is laid aside and is sometimes visible from behind. The head is turned towards the audience. The body is slightly inclined, but the back is concave.

III arabesque
Legs in the croisé position (French: crossed), the arm corresponding to the raised leg rushes forward, the gaze is directed towards it, the other arm is laid aside. The body is slightly inclined, but the back is concave.

IV arabesque
Feet in croisé position, opposite arm in front of the raised leg. The body is turned back to the viewer. The line of the arm goes into the line of the shoulders and is extended with the other hand. The body is slightly inclined, but the back is concave.

Contemporary - (eng. contemporary dance) - modern stage dance, which includes a variety of directions and techniques. It combines dance techniques from Western (classical dance, modern jazz) and Eastern (qigong, tai chi quan, yoga) arts of movement.

The variety of contemporary expressive elements makes it possible to successfully express and perform for people who are plastically gifted, but who have already begun to dance as adults.

Contemporary direction neglects many typical features of classical dance, the main thing here is not the form. As part of the lesson, there is an alternation of tense muscles with a sharp reset, relaxation, sudden stops, falls and rises, work with breathing. A lot of movements take place in the stalls, the dancers perform barefoot, which allows them to open up and convey their feelings and experiences to the viewer in full range.

“As in abstract painting, any element (movement, sound, change of light) is supposed to be expressive in itself; what he reports is largely determined by the observer himself.

Merce Cunningham

Power loads performed in a static mode lead to a significant increase in strength and their effectiveness is much higher than when performing exercises in a dynamic mode.

Parterre exercises - Parterre (fr. parterre - on the ground) work on the floor.

Release (English release) - release, release. Releasing the muscle from tension, that is, relaxing the muscle with special techniques.

Pattern (from the English. Pattern - model, sample) - Systematically repeating, stable element (fragment) or sequence of elements (fragments) of behavior.

Balance (French balance, from balancer - to swing) - balance

The release technique allows you to increase the sensitivity and freedom of movement of the body, expand your understanding of your physical capabilities, as well as the possibilities of yourself as a creator, creator of contact dance.

The release allows you to combine the pleasure of dancing, communication with the team, humor and spontaneity of behavior, lively human dialogue with bodily

practice. All this allows you to be free and spontaneous, conscious and bold both in dance and in life.

Any movement or lack thereof in a release is a creative act. This is your song, your work of art. This dance technique is aimed at developing balance, strength and plasticity, which can be used in sports, psychotherapy and other therapeutic purposes. It is a process of discovery and self-knowledge.

That is why this direction is suitable for those who are ready to find shortcomings and work on them. After all, this is not about learning and imitating any particular style, but rather about correcting wrong patterns, understanding and practicing the principles of natural movement based on movement without tension in the body and conscious work with the center and periphery.

Modern technique implies the study of the basics of choreography, plasticity and musicality. The lesson includes professional exercises in the stalls,

"isolation" technique, when body parts move independently of each other, a complex but very effective technique for knowing your body, various types of cross-country.

As a result, the basics of modern dance will be mastered, the positioning of arms, legs,
bodies, work with balance and weight, coordination of movements will be developed, you will begin to feel your body. And of course, in the end we will master all varieties of modern: classical, Broadway jazz and afrojazz.

Art Nouveau - style "modern" (French moderne - the latest, modern), style in European and American art of the late XIX - early XX centuries. The term "modern dance" originated in the United States to designate stage choreography that rejects traditional ballet forms.

Parterre exercises - Parterre (fr. parterre - on the ground) work on the floor.

The “isolation” technique is a work on the development of the body, the essence of which is to work out the movement of one specific joint or one part of the body, provided that the rest of the body is immobile

Stretching gives us strength, increases the elasticity of tendons and ligaments, which further helps to avoid injuries, and increases the motor activity of the joints. This complex is available and necessary for everyone, regardless of age, physical fitness and daily stress.

In addition, stretching is very useful in the fight against excess weight and salt deposition. And finally, nothing will help relieve muscle fatigue and pain after training with active dance training as quickly as stretching: it relaxes strained muscles and releases metabolic products accumulated there. Therefore, stretching classes always stand after dancing classes.

Mobility doctor quote

The stability of complex natures is due to their flexibility.

© Talleyrand

If you don't believe you can do the cross split, you will never be able to do it. And vice versa. The confidence and calmness of a yogi will allow you to achieve an exceptional stretch.

Pavel Tsatsulin

The knowledge gained in the lessons at our Center will help the child not only during the period of choreography, but also later in life, regardless of whether he continues to study further at a professional level or not. There are no contraindications for such activities for a child.

There are several groups of children's choreography in our center. The training program includes training children from scratch, from 2.5 years old to 16 years old.

We conduct classes for children in ground gymnastics, classical and modern dance, improvisation, musical literacy, acting skills.

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