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The history of quilling - the magic of paper ribbons. The magical world of quilling

In classical choreography, as in other dance styles, there is its own set of terminology. The peculiarity of the ballet is that the terms are mainly taken from the French language. Initially, during the birth of this art in France, the names were borrowed from Italian, but already at the beginning of the 18th century, the vocabulary of ballet developed and was based on French terms. The only Italian words left in terminology are:

  • pirouette (full 360 0 turn of the whole body on one leg);
  • cabriole (a jump during which the dancer kicks one leg with the other);
  • revoltad (a jump during which one leg is crossed over the other and a turn is performed).

Most of the terms imply a specific movement that the dancer performs (stretching, bending, extending, sliding, lifting, etc.), some focus on the nature of the performance (solemnity, gurgling, etc.), while others determine the occurrence of the movement, for example, bourre. Some names do not belong to either category, such as entrechatroyale (royal leap in honor of Louis XIV) or sissonne (invented by François de Roissy, Count of Sisson, in the 17th century).

To understand the language of classical choreography, we suggest that you familiarize yourself with the dictionary of ballet terminology.

A - E

  • Adagio (from Italian adajio translates as “slowly”, “calmly”). A part of the dance that is 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 choreographic production, which is performed by one, two or more soloists. The most common is the adagio 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, bending in a calm rhythm. The task of the adagio is to develop stability, expressiveness, musicality, harmony and smooth transitions from one movement to another;

  • Allegro (allegro in Italian means quickly, deftly, quickly) - a set of exercises in the center of the hall, which consists of jumps different heights and speed;
  • A laseconde (literal translation - to the second) - the working leg is moved (opened) to the side on the toe, or rises to a height; in this position, the working leg is open with the toe to the floor or raised;
  • Aplomb (balance) – the ability of a dancer to stand in one position or another on one leg for a long time;
  • Arabesque (Italian arabesco - Arabic) - one of the main movements in classical choreography. During its execution, the working leg is extended at the knee and opens back with the toe extended to the floor, or rises up. The position of the hands is allongee, the gaze is directed into the distance, which gives the pose gracefulness and expressiveness. Arabesque symbolizes an elusive dream, this is the leitmotif of Giselle or La Sylphide - popular romantic heroines. During the exercise, the supporting leg can stand completely on the foot, half toes/toes, be extended or bent at the knee. Sometimes it is performed with emphasis on the knee and abduction 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, thrown forward, etc.). The Russian ballet school divides arabesque into four types. The first two are open (arabesque effacee), the third and fourth are closed (arabesque croisee). The old ballet school identified a fifth type of arabesque, in which the body tilted and the arms rose forward allongee. Arabesque penchee - a pose in which the body leans forward so that the working leg can rise as high as possible;
  • Attitude (pose, position):
    • 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 toes, hands in the allondie position. The figure is the basis for a big jump. To perform it, like the arabesque, you need a strong and flexible back. If the attitude is performed forward, the leg bent at the knee is raised forward, and the heel should be higher than the level of the knee. This is the leitmotif of proud heroines, for example Aurora (ballet “Sleeping Beauty”).
    • In a broad sense, attitude is any pose that a dancer or dancer assumes;

  • Assembly, pas (verb assembler - to assemble). 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 toes or half-toes. The movement ends in demi-plie. If the figure is performed in a jump, then the legs come together at the moment of flight. The execution of the jump can be varied: on the spot (throw of the leg to a small height, small jump petit pas assemble), or with advancement (strong throw of the leg at 70-90 degrees, extremely high take-off grand pas assemble). In the first case, the movement begins with a jump and throw of the leg from the 5th position. To perform a grand pas assemble, an approach is always required, which will allow you to achieve maximum height in the jump. To maintain balance, the arms are lifted into position and assist in the jump. Additional complications in the form of lifts or double turns can add entertainment and virtuosity to the movement. The main difference between the pas double assemble (performed on the fingers or half-toes on a small jump) is that the figure is performed twice from the same foot. If the position is performed to the side, the change of legs to position 5 is performed at the moment of the second movement;
  • Emboite, pas (literal translation tongue and groove) a figure that is performed by changing legs and transferring body weight from one leg to the other several times in a row.

Petit pas emboite saute - a jump in place or with a turn around its axis with a change of legs. With each execution, the working leg is alternately brought forward or backward into surlecou-de-pied. Grand pas emboite saute is performed with advancement while simultaneously throwing the bent legs as high as possible, often forward or, less often, backward.


Pas emboite can be performed as a run. In this case, each rut is thrown into the air in turn (forward or backward).


Petit pas emboite saute entournant is alternate jumps and a simultaneous turn of 180 degrees. Finally, the replacement leg is brought into the surlecou-de-pied position. The movement is performed with advancement in a straight line or diagonally. Can be performed in a circle in combination with other turns.


Pas emboite sentournant is performed on the fingers or half-fingers, instead of a jump - steps with a simultaneous turn. The leg bent at the knee is brought in the surlecou-de-pied position to the knee and above.



  • Enavant (forward) – a term to define the position of the front foot or the forward movement of the dancer;
  • Enarriere (backward) - this term is used to indicate the rear position of the leg, or the backward movement of the dancer;
  • Endedans (inward) - indicates the direction of rotation during pirouettes, tours and movements that are performed by Entournant to the supporting leg;
  • Endehors (outward) - indicates the direction of rotation during pirouettes, tours and movements that are performed by Entournant from the supporting leg;
  • Enl'air (in the air) – the term shows that at the moment of execution either the working leg or the whole body is in the air;
  • Entournant (in a turn) – the term indicates that the movement is performed simultaneously with the rotation of the body;
  • Enface (opposite) – the performer works for the viewer, facing the audience;
  • Entree (entrance) – exit of artists in parts;
  • Entrechat (entrechat? - from Italian intrecciato - braided, also used to define a crossed jump) - a vertical jump with both legs. At the moment of execution, the legs spread slightly and join in 5th position. The legs do not hit one another, as they are in an everted position from the hip;

B - V

  • Balance,pas (verb balancer - to swing) - movement in any direction and with stepping of feet in place, consists of pastombe. In essence, this is a pascoupe - an exercise with or without clear fixation of the surlecou-de-pied. The swaying effect is created by slightly bending the body at the waist and tilting the head. It is often performed several times in a row from different legs in any direction, with the addition of various movements and translations of the arms. Due to the fact that the movement is borrowed from the waltz, it is performed in musical time?;
  • Balancoire, battement (literally translated - swing) - a movement performed several times in a row with the body engaged. When throwing the working leg forward or backward, the body sharply deviates in the opposite direction. The French ballet school calls large battements grands battements encloche, which translates as bell;
  • Ballon (ball, balloon) – this is the name given to a dancer’s ability to hover in the air while performing a jump. Simultaneously fixing various figures;
  • Ballonne, pas – jump on one leg with extension of the working leg and advancement in any direction. Both legs return to the surlecou-de-pied position;
  • Ballot e, pas (verb ballotter - to swing) - a jump in which one leg closes and kicks the other. In this case, the tilt of the body gives a swinging effect;
  • Battements (kick, beat) - movements in classical choreography, which are aimed at developing strength, eversion of joints, sharpness and elasticity of muscles, as well as coordination;
    • Battements Tendus (pull): Battement tendu jete (jeter - throw at 45°), Battement tendu pourbatterie (preparation for skidding), Grand Battement Jete (throw above 90°), Grand Battement Jete pointe, Grands Battements Jete balance;
    • Battements releve tape (in adagio).
    • Battements sur le cou-de-pied: Battement frappe (frapper - to hit), Battement double frappe, Petit battement sur le cou-de-pied, Battement battu (battre - to beat), Battement Fondus (fondre - to melt) - 45° and 90°, Battement soutenu (soutenir - to support) - V any direction .
    • Battements Developpes (developper - develop). A movement during which the working leg slides along the support with outstretched toes and then opens in any direction. Battement Retire (retirer - take away, pull back). Grand Battement Developpe Passe (passer - to carry out);
  • Bris e, pas (verb briser - to hit) - advancement is performed behind the leading leg in a small jump. The end point of the breeze is 5th position. Translated from French it means light sea ​​wind OK;
  • Variation (Variation) - a short and complete dance to be performed by one or more dancers. Often this is part of Pas dedeux, Pas detrois, Grand Pas, but it can be introduced as an independent dance.

G


  • Grand (large) – a prefix that is used to determine the maximum amplitude of movements during performance: grand plie, grand pirouette, grand battement jete, grand passaute, grand pas dechat, etc.;
    • Grand pas - in classical ballet- a complex form that consists of the dancers exiting, alternating changes of soloists and corps de ballet, and a final coda. Examples: grand pas from “Don Quixote”, “Paquita”, etc.;

D - D

  • Divertissement (Divertissement - entertainment) - dance numbers that follow each other, or a concert program that combines dance works of different genres and character;

K - S

  • Code translated from Italian (coda) - tail, train. The term has three meanings:
    • The final part of a solo performance consisting of various spins and jumps, which are performed in a circle or diagonally. Can be performed moving towards the viewer;
    • The end of the musical dance form (pas dedeux, pas detrois, pas dequatre, etc.), which consists of alternating solo performances. Often the most spectacular combinations, rotations and other complex figures are performed throughout the stage (center, circle, diagonal);
    • The end of the performance, where all the characters take part, including the corps de ballet.
  • Corps de ballet (corps de ballet literal translation - ballet frame) - the main part of the troupe, artists, ensemble dancers who perform mass numbers;
  • Coupe, pas (verb couper - to cut, trim) - a movement in classical dance, performs an auxiliary function, performed together with other figures, found in exercises at the barre, in the center of the hall, in jumps;
  • Croisee, pose (verb croiser - to cross) is a figure in classical dance that stands from the epaulement croise position to the 5th position. Performed by moving the leg forward or backward. Small figures are performed with the toe extended to the floor, medium figures with the leg raised by 45 degrees, large figures by 90 degrees and higher. The supporting leg is on the foot, fingers or toes, stretched or half-bent. The working leg can be either fully extended or bent at the knee. The movement can be performed while jumping. Endless variations are given to the figure by different positions of the arms, legs and head;

L

  • Level, temps (verb lever - to lift) a term that means lifting the dancer onto his toes/half-toes, or performing jumps on one/both legs:
    • Lifting to the toes/half toes on one or both legs in any position or pose. In Moscow ballet it is called temps releve. If the name contains the prefix re, this means repetition of the exercise. Can be performed both on outstretched legs and in a demi-plie pose with jumping and squeezing;
    • Jump on both legs or on one leg to any position. The Moscow school calls temps saute. If the jump is performed on one leg, the second remains in the position taken before the exercise. If the movement is performed in a turn, the initial position of the surlecou-de-pied changes. Temps leve with the leg raised to 45-90 degrees is the basis for performing a cabriole jump;
    • Temps leve with a change of position - lifting onto the toes/half-toes of one foot, or jumping on one leg while simultaneously abducting the other, which is raised in the air. Grand temps leve passe is an amplitude and spectacular jump of a dancer with advancement. During the execution, one leg is thrown forward, and during the jump, stretched at the knee, it is thrown back as much as possible. The second leg is also extended at the knee, thrown forward and at maximum height the legs are fixed in a split;

M

  • Manage (en manege literally means running in a circle) - jumps that are repeated one after another several times, moving in a circle. Often executed as code elements;
  • Marche, pas (literal translation – transition) – marching across the stage;
  • Marche, pas (verb marcher - move, advance) - light dashes on low half-toes. With this type of running, there is an accentuated movement of the strong part of the leading leg in a half-squat;
  • Menus, pas (literal translation – small) – movement, used in a minuet. Small steps on low half-toes, performed by groups of three dancers;

P


  • Pas de bourree - Bourré dance movement. Pas de bourree suivi (verb suivre - stick to, continue) - movement in the women's party, alternating small moves on the fingers/half-toes in 5th position without changing legs in one place, around oneself, or with advancement. In Mikhail Fokine's work "The Swan" is the main movement;
  • Pas de chat (literal translation - cat movement (pa)) - a movement based on imitation of cat grace. Today, several different jumps are called this way, however, A.Ya. Vaganova defined with this term a jump with the half-bent legs thrown back in turn, with simultaneous bending in the body and arms in the allongee position. The movement ends by moving the leg from behind to the front in position 5 or 4;

The simplest form of pas de chat. When the legs move forward, they alternately bend and move to the 5th or 4th position during the jump. Moving backwards is also possible, but this is rarely seen on stage. Depending on the bending of the knees, the height and amplitude of the jump varies: from a small surlecou-de-pied to a high and amplitude passe (retire). Italian pas de chat is a variation of this jump. At the moment of execution, the leg that makes the first movement is extended at the foot and knee and thrown into the 2nd air position;




Grand pas de chat (grand pas jete developpe) is an amplitude jump, during which one leg is bent and opens in the air. During the execution of such a figure, the working leg rises up, while bending in a straight position, at the moment of takeoff it opens as high as possible forward. At this time, the second leg is stretched at the knee and thrown high back. In modern performances, dancers open their legs into a split at the moment of the jump. Hands can be in any position. It is possible to perform a “ring” jump, with the back leg bent and the body bent backward;




  • Pas de ciseaux (literal translation – scissor movement) – jump from one leg to the other. Both legs are thrown forward, after which one is pulled back after 1 position into an arabesque figure. Exit options may vary;
  • Pas de poisson (fish movement) - jumping from one leg to the other with throwing the leg back;
  • Pass-pied – moving the foot to 5th position from back to front or front to back. There are several options:
    • translation possible via surlecou-de-pied;
    • passing through 1 position. The supporting leg stands on the full foot, toes or half-toes with simultaneous rise and fall in demi-plie;
    • change to 5th position through small steps with promotion;
  • Passe (verb passer - pass, translate) - an auxiliary figure for transferring the working leg from one position to another:
    • Passe parterre - the working leg is open to the toe to the floor, or to a height, transferred to a groan/forward/backward in 1 position. Legs can be extended or bent (demi-plie);
    • Passe enl "air - the working leg is open to a height in any direction, transferred to any figure through bending to the surlecou-de-pied position or to the position “at the knee” and moves in the desired direction with extension;
    • Transferring the leg to the fifth position through the position “at the knee”;
    • Passe (position) – in the Russian school this term is semantically incorrect. In this position, the working leg is bent at the knee in a straight or inverted position, brought to the calf or knee of the supporting leg;
  • Plie (verb plier - to bend [meaning knees]):
  • Squatting on both or one leg in any of the existing positions is performed on the full foot, toes or half toes. The movement may differ in tempo and character, and the strength of knee flexion. Depending on the degree of flexion, it is divided into demi-plie (half squat) and grand plie (deep squat). The first type can be either an independent or a connecting movement, for example, when moving from one position to another. Most jumps, spins and leaps begin and/or end with a demi-plie. The exercise, as a training option, helps develop coordination and muscle strength. Classical dance uses spins that begin with a grand plie in any position;
  • May refer to flexion of the working leg, which is raised upward in any direction;
  • Port de bras (Porter - wear, Bras - hand) - correct movement of the hands into the main positions (1,2,3), rounded (Arrondi), elongated (Allonge) with a turn or tilt of the head and body. There are port de bras first, second and third;

R


  • Renverse, pas (the verb renverser is translated as overturning) - a movement during which the body is thrown back in a turn. Involves bending the body forward in a demi-plie, then jumping onto the toes/half-toes and slightly bending the body back, followed by a pas de bourree entournant. During the first step, the deflection of the body increases; during the second step, the body levels out. The tempsleve technique is performed by Renverse with a jump.
    • The most common form is renverse en attitude (renverse en dehors). At the beginning of the movement, squat in an open or closed position, after which a jump is performed in the attitude croisee and pas de bourree endehors position. When performing renverse en dedans, the jump is done in a forward croisee position and the pas de bourree is performed back - in a turn en dedans;
    • Renverse en ecarte is a more complex movement to coordinate and is performed in fouette.

S

  • Ciseaux - the same as pas de ciseaux;
  • Saute, temps (verb sauter - to jump) is a term coined by the Moscow school. Means the same as temps leve, a jump on both legs in any position;
  • Suivi – the same as pas de bourree suivi;
  • Sussous (literal translation - over-under; see also dessus-dessous):
    • Leg position in 5th position;
    • Temps level in 5th position. According to Cecchetti, this is any temps leve; for Vaganova, this is advancement in any direction;

F

  • Ferme (verb fermer - to close) – a term denoting closing a leg open to the air in the 5th position;
  • Fermee, sissonne – jump on both legs with advancement in any direction;
  • Fondu, battement (the verb fondre means to melt, melt, pour) - the term means slow bending and straightening of the legs;
  • Fondue, sissonne - sissonne fermee, at the end of which the legs do not immediately return to position. Landing occurs on one leg, while the second closes in the 5th position with a delay, after gently moving the entire foot along the floor;
  • Frapp e, battement (verb frapper - to hit) - the working leg, open in any direction, is sharply brought into the urlecou-de-pied position, after which it is pointedly opened to the toe on the floor or in the air;
  • Fouette (Russian transcription [fuette], the adjective fouette means “whipped”, the verb fouetter) is a movement that the dancer performs on pointe in the finale of Pas dedeux. This is a sequence of tours that are performed at one place. During each turn, the working leg performs a rond de jambe en l'air at 45°.

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 one opens in 2nd position at 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 in demi-plie, arms and legs open in 2 positions. The movement begins with the right leg, while the supporting leg does not collapse. If you perform Fouette several times in a row, it begins with preparation in 4th position, getting up on pointe shoes, performing tour en dehors;
  • Fouette en tournant at 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 required in the training program, but rarely occurs on stage;

French ballet school similar to Russian. Movements: les fouettesen dedans et endehors, les fouettes sautes, les fouettes sur pointes ou demi-pointes. The dancer performs a pique on the right leg. At this time, the left one rises forward, the dancer performs a tour on a 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).


At the American ballet school Fouette en tournant at 45° En dehors. Unlike the Russian school, where during the tour the working leg touches the middle of the calf from behind, and then moves 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 additional force, but at the same time it can threaten to “release the hip” and cause the ballerina to go off 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. Croisee pose means back of the left leg. Coupe on the half toes of the left foot, hands move to the second position, the left leg lowers into demi-plie, and the left hand into 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 moves her right leg around the Grand Rond de Jambe back and ends on her left leg in demi-plie in III arabesque (in the en face position - facing on viewer). The hands perform Port de bras: the left one is raised to 3rd position and passes to 2nd, while the right one is moved to 3rd and passes through the right one to III arabesque while lowering the left leg into plie;
  • Les fouette sendedanse tendedans – identical principle of execution;
  • Grand Fouette en tournanten dedans. The dancer takes a croisee position forward with her left leg, lowers herself into a demi-plie on her left leg, jumps up onto her toes and throws her right leg into the 2nd position (alaseconde) at 90° (120°) - Grand battement jete. During the turn, he swings his right leg through 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 fouette. It is performed on the fingers according to the same pattern. The only difference: the movement begins not with plie, but with surlecou depied. Ends in attitude on pointe shoes. 3rd position for the right hand and 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 as the left leg jumps.

CH-SH

  • Chaines, tours (literally a chain of turns). The movement is the same as tour schaines-deboules - several quick half-turns on the fingers/half-fingers in a row. At the time of execution, advancement can be made in a circle or diagonally. Each turn is performed 180 degrees by stepping from foot to foot. Depending on the dancer’s physique and artistic goals, the movement can be performed in 1, 5 or 6 positions on straight legs or in a demi-plie. In classical ballet, this movement often completes variations or dance compositions. There may be other options at the discretion of the stage director;
  • Changement depied (literally translated - change of legs) - change of feet in 5th position in any way. Usually this term means changement depied saute - a jump on both legs with advancement in any direction (changement depied de volee). At the moment of execution, the legs change in 5th position. The movement can be performed at any amplitude of jumps, with a maximum fixation of the 5th position before changing legs (grand changement depied), or on small jumps with minimal lifting of the toes from the floor (petit changement depied). It can be performed with a turn to any part of the circle, up to a full turn of 360 degrees. Italian changement depied is performed by bending the legs while jumping (the bend angle can be completely different);

On the toes/half-toes, the figure is performed as a jump on both legs with a simultaneous change of legs in position, or in the form of a jump that begins and ends on the fingers/half-toes in position 5, without completely lowering onto the foot;

  • Chasse, pas (verb chasser - to drive, accelerate) - a jump during which the outstretched legs gather in the air in the 5th position, and the dancer moves in any direction. The beginning can be with sissonne tombee, pas failli, running and other movements that allow you to jump and move forward in the air. Can be used as a preparatory movement for a jump or big spin. Performs independently several times in a row. In historical and everyday performances, it is performed without a jump in a slide and lifting onto half-toes in the 5th position;
  • Chat - the same as Pas dechat.

E-E

  • Ecartee, pose (verb ecarter - to deviate) - a pose that is built from epaulement in 5th position with one of the legs moving to the side. At this time, the body tilts from the waist to the supporting leg. Small ecartee poses are performed with the toe extended to the floor, medium poses with the leg raised by 45 degrees, and large ones by 90 degrees or higher. The supporting leg stands on the full foot, toes/half-toes, the knee is fully stretched, or in the demi-plie position. The working leg is extended at the knee, the foot is stretched. The movement can be performed in a jump, any position of the hands. The ecartee pose has two types:
  • Ecartee forward. The working leg is open forward diagonally in position 2, that is, towards the viewer. At this time, the head is turned in the same direction, raised, the gaze is directed 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 goes down.
  • Echappe, pas (verb echapper - go forward, break free) - a jump on two legs, at the moment of which the position of the legs changes in the air. Often there are two movements:
    • first: the legs open from 5th position in a jump to 2nd or 4th position;
    • second: the legs are brought back to the 5th position;

There is an execution option when the pas echappe ends on one leg, while the second leg, after the second movement, remains in the surlecou-de-pied position in front/back, or is fixed in an open position in any direction. Using the same principle, pas echappe is performed with a jump on the fingers;


Pas double echappe is that between the two main movements a temps leve is inserted on a jump or with a lift to the toes/half-toes without changing the position. It is also possible to change the epaulement position.


Jumps can be small and large. At the moment of performing the grand pas echappe during the jump, the legs are held for as long as possible in the starting or pushing position, and open in 2 or 4 positions just before landing.


The jump can be performed to advance, in a turn, or with a skid. For petit pas echappe battu, one skid is made, and for grand pas echappe, the required double skid is required at maximum takeoff;


Effacee, pose (verb effacer - to remove, hide) - a pose that is built from the epaulement efface in 5th position with the leg moving forward or backward. Small effacee poses are performed with the toe extended to the floor, medium ones - at a height of 45°, large ones - 90° and above. The position of the supporting leg is on the full foot, toes/half-toes, stretched at the knee, or in demi-plie. The working leg can be straight or bent at the knee. Performed in the air or while jumping. 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 stands half-turned towards the mirror, or towards the viewer. The feet, hips and thighs are turned to the right or left of the viewer at 45° or 135°. The head turns onto the shoulder, which is directed forward. This position gives the dance three-dimensionality, making it more expressive and artistic. When performing, the dancer must control the angle of rotation of the head, the position of the shoulders and the direction of gaze.

The movement is divided into two types - croise and efface:

  • 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 rotated shoulder. This position allows you to take any pose through an open leg;

  • Epaulement efface (verb effacer - to remove, hide) - a pose during which the legs are in any crossed position (3,4,5), but the leg opposite the shoulder facing the viewer is in front. This position allows you to take any effacee position by opening your legs forward or backward.


So, you have become familiar with the basic terms of classical choreography. We hope that this knowledge will help you better understand ballet, understand the meaning of dance and enjoy the performances.

Just as a book is made of words, a house is made of bricks, any ballet is made of movements. Strict, once and for all established positions of arms and legs, poses, jumps, rotations, connecting movements are the basis of classical dance. By combining these movements and arranging them in a certain order, the choreographer creates a choreographic pattern for the ballet. The beauty and power of movements depend on whether they accurately express the character of the music, and on the meaning that the director - choreographer and performer - ballet dancer puts into them. And it turns out that the same movement can look different, it can be good and evil, brave and cowardly, beautiful and ugly, and this sometimes depends on the tilt of the head, sometimes on the position of the arms and body, on the strength and expressiveness of the jump, from the smoothness and speed of rotation. That’s why ballet performances are so different from each other.

There are basic movements and concepts in ballet that every lover of this art should know! The main 4 poses in ballet are called Arabesque, Ecarte, Alaskan and Attitude. These are poses in which the performer balances on one leg while holding the other in the air.

ALASGON, ARABESQUE, ATTITUDE, EKARTE. The main poses, the “pillars” on which classical ballet rests. In all these poses, the performer stands on one leg and the other is raised high: to the side (alasgon), back (arabesque), back with a bent knee (attitude), diagonally forward or backward (ecarte).

ASSEMBLY. A jump during which one leg opens to the side, forward or backward, and at the end of the jump is pulled towards the other leg.

Adagio - A dance of two or more ballet characters, aimed at revealing the emotional state.

Pa (French pas - step) is a separate expressive movement performed in accordance with the rules of classical dance.

Glide path is a special movement, the main purpose of which is preparation before the jump.

Glissé (from glisser - to slide) is a step in which the toe slides along the floor from position V to position IV. Used as an approach to pirouettes, to jumps. Glisse r. in arabesque, repeated several times, is one of the most beautiful and expressive movements of classical dance.

Grand batman (from the French grands battements) - a leg throw to the maximum height.

Plie (plié - fold, gently bend) - demi plié - a small squat.

BURN. Jump from one leg to the other. Grand jetés are performed as a jump over an imaginary obstacle in all the main ballet poses - arabesque, attitude, alasgone.

CABRIOLE. A jump during which one leg kicks the other. The legs are strongly extended. This jump is performed in all directions: forward, sideways, backwards.

Balloon (from the French ballon, from balle - ball) - the dancer’s ability to maintain the pose and position taken on the ground while jumping (in the air) - the dancer seems to freeze in the air.

Batri (from French batteries - to beat) - jumping movements, decorated with notches, i.e. kicking one foot against the other in the air. During the impact, the legs are crossed in the V position (before the impact and after it, the legs are slightly spread apart).

Entre (from the French entree - introduction, entrance to the stage) - in ballet, the appearance of one or more performers on stage. Introductory movement to pas de deux, pas de trois.

PA DE DEUX. The main dance scene in a ballet or one of the acts of a ballet. The pas de deux reveals the relationships between the characters and shows the dancing skills of the performers. The pas de deux consists of an adagio, a dancer's variation and a ballerina's variation and a coda - short, technically difficult dance pieces between the dancer and the ballerina.

Coda (from French Coda) - fast, final part of the dance, following the variation

FIFTH POSITION. Basic leg position of classical dance. The legs are turned one hundred and eighty degrees. The heel of the right foot is pressed tightly to the toe of the left, and the heel of the left foot is pressed tightly to the toe of the right. The dance most often begins from this position, and this position most often ends.

PIROUETTE. Rotation around its axis on half toes or toes of one foot. Pirouettes are small when, during rotation, one leg is tightly pressed to the other in front or behind. Great pirouettes performed in all basic poses.

Arondi (from the French arrondie - rounded) - rounded position of the hand.

SOTE. A jump during which the legs are strongly extended in the first, second or fifth positions.

TOURS. Rotation around its axis during a jump. Tours are made with one and two revolutions. A round with two turns is an element of male dance.

Brize (from the French brisé - to break; means a light, gusty sea wind) - a small jump, moving forward or backward behind the leg. The jump ends in V position. Variation: brise dessus (forward) - dessous (backward).

CHAZHMAN DE PIED. A jump during which the legs are in fifth position and change places.

Ronde de Jambe - literally translated from French - a circle with your foot. In fact, in this movement the leg describes a semicircle.

Shazhman de Pie is a special jump from the fifth position, in which the legs change places.

Fouette is the most famous movement ballerina, or more precisely, spinning it on the toes of one foot like a top. The ballerina rotates around her axis on the toes of one foot. After each turn she opens the other one to the side. Fouetté is usually performed in a very fast pace sixteen or thirty-two times in a row.

Entrechat (entrechat - Italian intrecciato - braided, also defined for the type of jump as crossed) - a vertical jump with two legs, during which the legs are slightly separated in the air and connected in the V position again, without hitting each other, since they are in a reversible position from the hip.

VARIATION. Solo dance, dance monologue. A short dance for one or more dancers, usually more technical. There are variations for men and women, terre a terre and jumping. The first are built on small, technically complex movements, the second - on large jumping movements.

A la zgonde (from the French a la seconde) is a classical dance pose when the leg is raised to the second position to the side by 90° or higher.

Elevation (from the French elevation - elevation, elevation) - in classical dance means a high jump.

SUPPORT. An essential element of classical dance. During the dance, the dancer helps the ballerina, supports her, and lifts her up.

Eversion is the opening of the legs at the hip and ankle joints.

PACK. A ballerina costume consisting of many short starched tulle skirts. These fluffy and light skirts make the tutu airy and weightless.

POINTE SHOES. One of the main elements female dance in classical ballet - dancing on the tips of outstretched fingers. For this you need ballet shoes with a hard toe.

LESSON. Ballet dancers never stop learning. Every day they come to the ballet class for a lesson. It lasts at least an hour. The lesson is divided into two halves: the smaller one - exercise (exercise) at the barre and the larger one - exercise in the middle of the hall. During the lesson, all the movements that a ballet dancer needs in dancing are improved and practiced.

CHOREOGRAPHER. A person who composes, or, as they say, choreographs a ballet. Sometimes a choreographer, or ballerina, is the name given to the performers of male parts in ballet. It is not right. A man in ballet is called a dancer.

Divertissement (from the French divertiss-ment - amusement, entertainment) - 1) Inserted (ballet or vocal) numbers performed between acts of a performance or at the end of it, often forming a single entertaining performance not related to the plot of the main one; 2) Structural form within a ballet performance, which is a suite dance numbers(both concert solo and ensembles, and story miniatures).

LIBRETTO. Literary script of the ballet, its content.

Corps de ballet (from the French corps de ballet, from corps - personnel and ballet - ballet) is a group of dancers performing group, mass dances and scenes. The corps de ballet can perform both independently and in mass dances.

Premier (from the French premier - first) - a ballet soloist who performs the main roles in the performances of a ballet troupe; dancer of the highest category. The first premier dancer in the history of ballet was Pierre Beauchamp, a soloist of the ballet of the Royal Academy of Music, created in 1669 by King Louis XIV (danced from 1673 to 1687).

Having studied these concepts, you will always understand what various experts are talking about during the intermission of another beautiful ballet.


Encyclopedic YouTube

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    French school

    Looks like Russian. Movements: les fouettés en dedans et en dehors, les fouettés sautés, les fouettés sur pointes ou demi-pointes:

    A pique is made on the right leg, the left leg is raised forward, a tour on the toe (sur la pointe) or half-toe (demi-pointe) occurs and the left leg remains extended in the air. ends in en arabesque sur pointe (ou demi-pointe).

    American school

    Fouette en tournant at 45° En dehors. If in the Russian school during a tour the right leg touches the back of the calf of the supporting left leg, then moves on to touch the front of the calf of the left leg (like a petit battement), then here the working leg makes a demi rond at 45°, which gives the movement additional force, but it’s dangerous “ release of the hip,” which can cause the ballerina to go off axis, and Fouette is achieved by moving forward or to the side.

    1. Grand Fouette. It has something from both the French and Italian schools (approx. Vaganova).
    2. les fouettes en dehors. Pose croiseé back with the left leg. Coupé on the left foot on the half-toes, hands in the second position, lower on the left leg to the demi-plié, the left hand goes down to the 1st position. Moving your half-bent right leg forward 90° (currently 120°), rise on your left half-toes, quickly moving your right leg Grand rond de jambe back and finish it on the left leg on demi-plié in III arabesque (en face position). The hands do the following Port de bras: The left one rises to the third position and passes to the II, while the right goes to the III position and passes through the first to the III arabesque while lowering the left leg to the plié.
    3. les fouettés en dedans et en dedans- The movement is done according to the same principle.
    4. . Stand in a forward croiseé position (left leg in front), lower yourself into a demi-plié position on your left leg, jump onto it on your toes and throw your right leg into the second position (alaseconde) at 90° (120°) - Grand battement jeté. Turning, swing your right leg across the floor through a passé par terre (passing motion). The supporting leg turns on its toes (turn to en dedans), keeping the right leg at the same height. Finish the movement with 3 arabesques on plié mli on arabesque.
    5. Grand Fouette en tournant en dedans (Italian fouette). It is performed on the fingers according to the same principle. Only it starts not with plié, but with sur le cou de pied, but is pumped up in the attitudé position on pointe shoes, croisé, right hand in third position, and the left in first.
    6. Grand Fouette en tournant sauté is carried out according to the principle Grand Fouette en tournant en dedans, only the left leg comes off the floor with a jump, the turn is also made in the air, on the jump of the left leg.

    Sh - Ch

    • Сhaînes, tours(lit. chain of turns); same as tours chaînés-déboules- a series of quick half-turns on half-toes (fingers) moving diagonally or in a circle ( en manège), each 180° turn is performed by stepping from one foot to the other. The movement can be performed in I, V or VI (I straight) positions both on outstretched legs and on demi-plié - depending on the physique of the performer and the artistic tasks assigned to him. In ballets of classical heritage, this movement most often completes a variation or dance combination, but there are other examples: in the soloist’s variation (Grand Pas from the ballet “Don Quixote”) tours chaînes performed in the middle part, moving diagonally backwards.
    • Changement de pied(literally change of foot) - changing the feet in the V position in some way. Usually this term means changement de pied sauté- jump from two legs to two, on the spot or with advancement in any direction ( changement de pied de volée), in which the legs change places in the V position in the air. Can be performed as on a big jump, fixing the V position in the air for as long as possible before changing it ( grand change de pied), and at minimum takeoff, so that the outstretched toes barely lift off the floor ( petit change de pied). The movement can be performed en tournant- with an air turn to any part of the circle, up to a full 360° turn.
    Italian changement de pied differs by bending the legs in the air during a jump (the angle of bending the knees can be different). On the half toes (fingers), the movement is performed either as pas levé(a jump on two legs while simultaneously changing legs in position), or as a jump starting and ending on the toes (toes) in the V position, without lowering the entire foot to the floor (an example of such a performance changement de pied can be seen in the coda of the female variation from Aubert's Grand Classic Pas).
    • Chassé, pas(from ch. chaser- drive, accelerate) - a jump with gathering of outstretched legs in the air in the V position and simultaneous advancement in any direction. May start with sissonne tombée, pas failli, running and other movements that allow you to jump while moving in the air. Used to approach big jumps and big spins. As an independent movement, it is usually performed several times in a row (as, for example, in the “Dance of the Cupids” from the ballet “Don Quixote”). The most virtuosic form - en tournant with ending in any position.
    In the historical and everyday dance, it is performed without a jump, with a sliding step with a rise to the half-toes in the V position.
    • Chat- cm. Pas de chat.

    E - É

    • Écartée, pose(from ch. ecarter- deviate) - a pose built from a position epaulement in the V position, moving one leg to the side, while the body from the waist slightly deviates from the vertical line towards the supporting leg. Small poses écartee demi-plié. The leg raised in the air is extended at the knee and foot. The pose can also be performed in the air, while jumping. Hand position may vary.
    Poses écartee are divided into forward And back:
    1. Écartée forward: the working leg is open to the 2nd position ( à la 2nd) diagonally forward, that is, towards the viewer, the head is turned in the same direction and slightly raised, the gaze is directed upward.
    2. Back: working leg open 2nd position ( à la 2nd) diagonally back, in the direction from the viewer, the head is turned towards the supporting leg, the gaze is directed downwards.
    • Échappé, pas(from ch. échapper- to break away, to break forward) - a jump with two legs, during which the position of the legs in the air changes. Usually it consists of two movements: in the first, the legs from the V position open in the air to the II or IV position, in the second they gather again in V. There is another version of the execution - pas échappé ending on one leg, when the other, at the end of the second movement, fixes the position sur le cou-de-pied front/back, or opens in any direction, fixing the pose. The same way pas échappé performed with a jump on half-toes (fingers).
    Pas double échappé differs in that between the two main movements it is added temps level on a jump or with a jump on half-toes (fingers) without changing the position of the legs, while a change in position is possible epaulement. Jumps are divided into large and small. Unlike petit pas échappé, by doing grand pas échappé During each of the jumps, the legs fix the position from which the push was made in the air for as long as possible, opening to the II or IV position (or gathering in V) only at the very last moment. The jump can be performed with advancement, in a turn ( en tournant) and/or be complicated by skidding: on petit pas échappé battu each of the jumps (or one of them) is done with one skid, whereas on grand pas échappé jumps are performed with a double skid and at an extremely high takeoff.
    • Effacée, pose(from ch. effecter- remove, hide) - a pose built from a position épaulement effect in the V position by moving the legs forward (pose effacee forward) or back (pose effacee back). Small poses effacee are performed with an extended toe to the floor, medium ones - by raising the leg to a height of 45°, large ones - by 90° and higher. The supporting leg can stand on the entire foot or be on the toes/toes, extended at the knee or demi-plié. The leg raised in the air can be either extended at the knee or bent ( pose attitude). It can also be performed in the air, while jumping. Combining different positions of the arms and head allows you to vary the pose endlessly.
    • Epaulement: (from epaule– shoulder) - a position in which the dancer stands half-turned to the mirror or auditorium: feet, hips and shoulders are turned to the right or left of the viewer (point 1) by 45° or 135°, while the head is turned towards the shoulder, directed diagonally forward. Position between positions en face and profile, giving the dance three-dimensionality, expressiveness and artistic coloring. When performing it, the performer is required to have precision in the position of the shoulders and turn of the head, and a confident direction of the gaze.

    “The position of the arms and head, not supported and complemented by a corresponding rotation of the body (épaulement) or its tilt, which is visually perceived as movement of the shoulders, cannot be sufficiently expressive and purposeful”: 185

    Divided into positions croise And effacé:
    1. Epaulement croisé(from the verb croiser - to cross) - in this position, the feet stand in any crossed position (III, IV, V), while in front is the leg of the same name with the shoulder turned towards the viewer: if the right shoulder is pushed forward and the head is turned to the right , the right leg will be in front, but if the left shoulder is extended and the head is turned to the left, then the left leg. From this position, opening your leg forward or backward, you can take any pose croisee.
    2. Epaulement effect(from the verb effacer - to remove, hide) - in this position, the feet stand in any crossed position (III, IV, V), while in front there is a leg opposite the shoulder, turned towards the viewer: if the right shoulder and head are pushed forward turned to the right, the left leg will be in front, but if the left shoulder is extended and the head is turned to the left, then the right leg. From this position, opening your leg forward or backward, you can take any pose effacee.

    Known techniques

    • American: Balanchine technique
    • Danish: Bournonville School
    • Italian: Cecchetti technique
    • Cuban: Alicia Alonso technique
    • Russian:


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