In classical choreography, as in other dance styles, there is a 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 lexicon of ballet developed and was based on French terms. Of the Italian words in the terminology, only:

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

Most of the terms imply a specific movement that the dancer performs (stretching, bending, unbending, sliding, lifting, etc.), some focus on the nature of the performance (solemnity, murmur, etc.), and others determine the occurrence of the movement, for example, bourre. Some names do not fit into any of the categories, such as entrechatroyale (royal jump 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 and choreographic performance, which is performed by one, two or more soloists. The most common adagio is performed by a duet;
  • For exercise - exercises at the choreographic barre or in the center of the hall, which consist of a set of poses and exercises, turning elements, tilts in a calm rhythm. The task of the adagio is to develop stability, expressiveness, musicality, harmony and smooth transitions from one movement to another;

• Allegro (allegro in Italian means soon, dexterously, quickly) - a set of exercises in the center of the hall, which consists of jumps of different heights and speeds;
• A seconde (literal translation - to the second) - the working leg is transferred (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 allongee hands, the gaze rushes into the distance, which gives the pose grace and expressiveness. The arabesque symbolizes an elusive dream; it is the leitmotif of Giselle or the Sylph, popular romantic heroines. During the exercise, the supporting leg can fully stand on the foot, half-toes / fingers, be extended or bent at the knee. Sometimes it is performed with an emphasis on the knee and the removal of the second leg. If the pose is performed in a jump, then the position of the leg may be different (strictly perpendicular to the floor, throwing forward, etc.). The Russian ballet school divides the arabesque into four types. The first two are open (arabesque effacee), the third and fourth are closed (arabesque croisee). The old ballet school singled out another fifth type of arabesque, in which the body leaned and the arms were raised forward allongee. Arabesque penchee - a pose in which the body leans forward so that the working leg can rise as high as possible;

• 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 half-toes, hands in the allondie position. The figure is the basis for a big jump. To perform it, like an arabesque, you need a strong and flexible back. If the attitude is performed forward, the bent leg is lifted forward, and the heel should be above the level of the knee. This is the leitmotif of proud heroines, such as Aurora (ballet "Sleeping Beauty").
  • In a broad sense, attitude is any posture that a dancer or dancer assumes;

• Assemble, 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 fingers or half-toes. The movement ends in a demi-plie. If the figure is performed in a jump, then the legs are collected at the time of flight. The execution of the jump can be varied: on the spot (leg throw to a small height, small jump petit pas assemble), or with advancement (strong leg throw at 70-90 o, extremely high grand pas assemble takeoff). In the first case, the movement begins with a jump and a throw of the leg from the 5th position. A grand pas assemble always requires an approach to achieve maximum jump height. To maintain balance, the arms are caught up in position and help the jump. Additional complications in the form of skids or double turns can give the movement spectacle and virtuosity. The main difference between pas double assemble (performed on fingers or half-toes on a small jump) is that the figure is performed twice from the same foot. If the position is executed to the side, the change of legs to the 5th position is performed at the moment of the second movement;
• Emboite, pas (literal translation tongue-and-groove) a figure that is performed with a change of legs and transfer of body weight from one leg to another 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 performance, the working leg is alternately brought forward or backward in surlecou-de-pied. Grand pas emboite saute is performed with advancement while throwing bent legs as high as possible, often forward or, less often, backward.

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

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

Pas emboite sentournant is performed on 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 for determining the position of the front leg or the advancement of the dancer;
• Enarriere (back) - this term is used to indicate the back position of the leg, or the movement of the dancer back;
• Endedans (inside) - indicates the direction of rotation during the execution of pirouettes, tours and movements that are performed by the Entournant towards the supporting leg;
• Endehors (out) - indicates the direction of rotation during the execution of pirouettes, tours and movements that are performed by the 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 rotation) - 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 auditorium;
• Entree (input) - exit of artists in parts;
• Entrechat (antrash? - from Italian intrecciato - braided, also used to determine a crossed jump) - a vertical jump from both legs. At the time of execution, the legs are slightly parted and connected in 5 positions. The legs do not hit one another, as they are in an eversion position from the hip;

B-V

• balance,pas (verb balancer - to swing) - movement in any direction and with crossing the legs in place, consists of pastombe. In fact, this is a pascoupe - an exercise with a clear fixation of surlecou-de-pied, or without it. 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, while adding various movements and hand transfers. Due to the fact that the movement is borrowed from the waltz, is it performed in time signature?;
• Balancoire, battement (literally translated - swing) - a movement performed several times in a row with the inclusion of the body. During the throw of the working leg forward or backward, the body deviates sharply in the opposite direction. The French ballet school calls the big batmans grands battements encloche, which translates as a bell;

• balloon (ball, balloon) - this is the name of the dancer's ability to hang in the air at the time of the jump. Simultaneously fixing various figures;
• Ballonne, pas - jump on one leg with the working leg extended and moving in any direction. Both feet return to the surlecou-de-pied position;
• Ballot e, pas (verb ballotter - to swing) - a jump in which one leg closes and knocks out the other. In this case, the tilt of the body gives the effect of rocking;
• Battements (beat, 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 lent (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 - support) - in any direction .
  • Battements Developpes (developper - develop). A movement, at the moment of execution of which, the working leg slides along the support with outstretched fingers, followed by opening in any direction. Battement Retire (retirer - pick up, pull back). Grand Battement Developpe Passe (passer - to conduct);

• Bris e, pas (verb briser - to strike) - advancement is performed behind the leading foot in a small jump. The end point of the breeze is 5th position. Translated from French means a light sea breeze;
• Variation (Variation) - a short and complete dance for the performance of one or more dancers. Often this is part of Pas dedeux, Pas detrois, Grand Pas, but it is possible to introduce it as an independent dance.

G

• Grand (large) - a prefix that is used to determine the maximum range of motion during performance: grand plie, grand pirouette, grand battement jete, grand passaute, grand pas dechat, etc.;
  • Grand pas - in classical ballet - a complex form, which consists of the exit of the dancers, the alternate change of soloists and corps de ballet, and the final coda. Examples: Grand Pas from Don Quixote, Paquita, etc.;

D - D

• Divertissement (Divertissement - entertainment) - dance numbers that follow one after another, or a concert program that combines dance works of different genre and character;

K - S

• coda translated from Italian (coda) - tail, train. The term has three meanings:
  • The final part of a solo performance, consisting of various rotations and jumps, which are performed in a circle or diagonally. Can be performed with advancement towards the viewer;
  • The end of the musical and 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 (corpsdeballet literal translation - ballet frame) - the main part of the troupe, artists, ensemble dancers who perform mass numbers;
• Coupé, pas (verb couper - cut, cut) - movement in classical dance, performs an auxiliary function, is performed together with other figures, occurs in exercises at the barre, in the center of the hall, in jumps;
• Croisee, pose (verb croiser - to cross) - a figure in classical dance, which stands up from the position of epaulement croise in 5th position. It is performed by moving the leg forward or backward. Small figures are performed with a toe extended to the floor, medium figures with a 45 degree leg raise, large figures by 90 degrees or more. The supporting leg is on the foot, toes or half-toes, stretched or half-bent. The working leg can be either fully extended or bent at the knee. The movement can be performed in a jump. Endless variations of the figure give different positions of the arms, legs and head;

L

• Left, temps (verb lever - raise) a term that means lifting the dancer on toes / half-toes, or performing jumps on one / both legs:
  • Rise on fingers / semi-toes on one or both legs in any position, or in a pose. In Moscow ballet it is called temps releve. If the name has a re prefix, it means repetition of the exercise. It can be performed both on extended legs and in a demi-plie position with jumps and push-ups;
  • Jump on both feet or on one foot 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 original position of the surlecou-de-pied is changed. Temps leve with a leg raised 45-90 about is the basis for performing a cabriole jump;
  • Temps leve with a change of position - lifting on the toes / half-toes of one leg, or jumping on one leg while simultaneously abducting the other, which is raised in the air. Grand temps leve passe - an amplitude and spectacular dancer's jump with advancement. During 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 the maximum height the legs are fixed in the twine;

M

• Manege (en manege in literal translation means running in a circle) - jumps that are repeated one after another several times with advancement in a circle. Often performed as code elements;
• Marches, pas (literal translation - transition) - walking on a march across the stage;
• Marches, pas (verb marcher - move, advance) - light rushes on low half-toes. With such a run, there is an accentuated removal of a strong share of the leading leg in a semi-squat;
• menus, pas (literal translation - small) - movement, used in the minuet. Small steps on low half-toes, performed by groups of three dancers;

P

• Pas de bourree - movement of the burre dance. Pas de bourree suivi (verb suivre - stick to, continue) - movement in the women's part, alternating small enumerations on fingers / half-fingers in 5 positions without changing legs in one place, around oneself, or with advancement. In the work of Mikhail Fokin, "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 so at once, however, A.Ya. Vaganova defined this term as a jump with throwing half-bent legs back in turn with a simultaneous deflection in the body and arms in the allongee position. The movement is completed by holding the leg from back to front in the 5th or 4th position;

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). The 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 to the 2nd air position;

Grand pas de chat (grand pas jete developpe) - 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 time 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 productions, the dancers at the time of the jump open their legs into a split. Hands can be in any position. It is possible to perform a jump "in the ring", with bending the back leg and bending the body back;

• Pas de ciseaux (literal translation - the movement of scissors) - a jump from one foot to the other. Both legs are thrown forward, after which one after 1 position is retracted back into the arabesque figure. Exit options may vary;

• pas de poisson (fish movement) - jump from one leg to another with kicking the leg back;
• Passe-pied - moving the foot to the 5th position from back to front or front to back. There are several options for execution:
  • transfer possible via surlecou-de-pied;
  • passing through 1 position. The supporting leg stands on a full foot, fingers or half-toes with simultaneous lifting and lowering in demi-plie;
  • change to 5th position through small steps with advancement;

• passe (verb passer - pass, translate) - an auxiliary figure for transferring a working leg from one position to another:
  • Passe parterre - the working leg is open on the toe to the floor, or to the height, is translated into a groan / forward / backward through 1 position. The 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 flexion to the surlecou-de-pied position or to the "knee" position and moves in the desired direction with extension;
  • Transfer of 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 eversion position, brought to the calf or knee of the supporting leg;

• Plie (verb plier - bend [meaning knees]):

• Squatting on both or on one leg of any of the existing positions is performed on a full foot, fingers or half-toes. The movement may differ in pace and character, the strength of knee flexion. Depending on the degree of bending, it is divided into demi-plie (half squat) and grand plie (deep squat). The first type can be both independent and connecting movement, for example, when moving from one position to another. Most jumps, spins and jumps start and/or end with a demi-plie. Exercise in the form of a training option helps to develop coordination and muscle strength. Classical dance uses spins that start with grand plie in any position;
• May indicate the bending of the working leg, which is raised up in any direction;

• port de bras (Porter - wear, Bras - hand) - the correct transfer of hands to the main positions (1,2,3), rounded (Arrondi), elongated (Allonge) with a turn or tilt of the head, body. Distinguish port de bras the 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. It includes tilting the body forward in a demi-plie, then jumping on the fingers / half fingers and a slight bend of the body back, followed by pas de bourree entournant. During the first step, the deflection of the hull increases; during the second step, the hull flattens out. The tempsleve move performs a 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 made to the position of attitude croisee and pas de bourree endehors. During the execution of renverse en dedans, the jump is made in the croisee position forward and pas de bourree is performed back - in the en dedans turn;
  • Renverse en ecarte is a more complex movement of coordination and is performed in fouette.

S

• Ciseaux - the same as pas de ciseaux;
• Saute, temps (the verb sauter - to jump) is a term coined by the Moscow school. Denotes the same as temps leve, a jump on both legs in any position;
• Suivi - the same as pas de bourree suivi;
• Sus-sous (literal translation is over-under; see also dessus-dessous):
  • The position of the legs in 5 positions;
  • Temps left in 5 positions. According to Cecchetti, this is any temps leve; for Vaganova, this is progress in any direction;

F

• Ferme (verb fermer - to close) - a term denoting the closing of 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 flexion and extension of the legs;
• Fondue, sissonne - sissonne fermee, at the end of which the legs do not immediately return to position. Landing falls on one leg, while the second closes in the 5th position with a delay, after gently moving the entire foot on the floor;
• Frapp e, Battement (verb frapper - to strike) - the working leg, open in any direction, is sharply brought to the urlecou-de-pied position, after which it is accentuated on the toe to the floor or to the air;

• Fouette (Russian transcription [fuete], the adjective fouette means “whipped”, the verb fouetter) is the movement that the dancer performs on pointe shoes in the finale of Pas dedeux. This is a sequence of tours that are performed in 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 leg opens in 2 positions for 45 o, tout en dehors on the left leg. At the moment of execution, the working leg touches the supporting leg on the calf. The hands at this time are in the preparatory, or first position. The stop is performed on a demi-plie, arms and legs open in 2 positions. The movement begins with the right foot, while the supporting one does not collapse. If Fouette is performed several times in a row, it begins with preparation in 4 positions, rising to pointe shoes, performing tour en dehors;
• Fouette en tournant 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 mandatory in the tutorial, but rarely seen 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 her finger (surlapointe) or half-finger (demi-pointe), and the left one remains extended in the air. The movement ends at en arabesque sur pointe (oudemi-pointe).

American ballet school Fouette en tournant at 45° en dehors. In contrast to the Russian school, where the working leg during the tour touches the middle of the calf from behind, and then goes to the front of the calf of the left leg (petit Battement), in the American school the working leg performs a demi rond at 45 °. This gives the figure an additional force, but at the same time it can threaten to “release the hip” and the ballerina to leave the axis. Due to this execution, Fouette is performed with advancement to the side or forward.

• Grand Fouette. He absorbed the teachings of the French and Italian schools;
• Les fouette sendehors. The croisee pose marks the back of the left leg. Coupe on the half-toes of the left leg, hands go to the second position, the left leg goes down to the demi-plie, and the left hand to the 1st position. At the moment when the dancer moves her half-bent right leg forward 90 degrees, she rises to the half-toes of her left, quickly circles the Grand rond de jambe with her right leg back and finishes on her left leg in demi-plie in III arabesque (in the position en face - facing on spectator). Hands perform Port de bras: the left is raised to position 3 and passes to 2, while the right is transferred to 3 and passes through the right to III arabesque when lowering the left leg into a plie;
• Les fouette sendedanse tendedans - identical execution principle;
• Grand Fouette en tournanten dedans. The dancer stands in a croisee position forward with her left foot, descends into a demi-plie on her left foot, jumps on half-toes and throws her right foot into position 2 (alaseconde) at 90° (120°) - Grand battement jete. During the turn, he swings his right leg through the passe parterre (passing position). At this moment, the supporting leg rotates on half-toes, and the right leg remains at the same height.
• Grand Fouette entournanten dedans. Or Italian fuete. It is performed on the fingers in the same way. The only difference is that the movement does not begin with plie, but with surlecou depied. Ends in attitude on pointe shoes. 3 position for the right hand and the first for the left.
• Grand Fouette en tournant saute execution is the same as Grand Fouette en tournan tendedans, only the left leg leaves the floor in a jump, the turn is performed in the air on a jump of the left leg.

CH-SH

• Chains, 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 performed in a circle or diagonally. Each turn is performed 180 o through 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 even legs or in demi-plié. In classical ballet, this movement often completes variations or dance compositions. There may be other options at the discretion of the director - director;
• change depied (in literal translation - change of foot) - change of feet in the 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 time of execution, the legs change in 5 positions. The movement can be performed on any amplitude of jumps, with a maximum fixation of the 5th position before changing legs (grand changement depied), or on small jumps with minimal toes off the floor (petit changement depied). It is possible to perform with a turn to any part of the circle, up to a full turn of 360 about. Italian changement depied is performed through a leg bend in a jump (the bend angle can be completely different);

On the fingers/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 starts and ends on the fingers/half-toes in position 5, without completely lowering to the foot;

• Chasse, pas (verb chasser - to drive, disperse) - a jump during which the outstretched legs gather in the air in the 5th position, and the dancer moves in any of the directions. The beginning can be with sissonne tombee, pas failli, running and other movements that allow you to jump and move in the air. Can be used as a preparatory move for a jump or big spin. Independently performed several times in a row. In historical and everyday representations, it is performed without a jump in sliding and lifting on half-fingers in 5 positions;
• Chat - the same as Pas dechat.

E-E

• ecartee, pose (verb ecarter - to deviate) - a pose that builds from epaulement in 5th position with one of the legs moving to the side. At this time, the body deviates from the waist to the supporting leg. Small ecartee poses are performed with the toe stretched to the floor, medium ones with the leg raised by 45 degrees, and large ones by 90 degrees and more. The supporting leg is on a full foot, toes / half toes, the knee is fully stretched, or in a demi-plie position. The working leg is extended at the knee, the foot is stretched. The movement can be performed in a jump, the position of the hands is any. The ecartee pose has two types:

• Ecartee forward. The working leg is open diagonally forward in 2 positions, that is, towards the viewer. At this time, the head is turned in the same direction, raised, the gaze rushes upward;
• Ecartee back. The working leg is open back diagonally in 2 positions, away from the viewer. The head turns to the supporting leg, and the gaze rushes down.

• Echappe, pas (verb echapper - go forward, break out) - a jump on two legs, at the moment of which the position of the legs changes in the air. It often consists of two movements:
  • first: the legs from the 5th position in the jump open into the 2nd or 4th position;
  • second: the legs are again reduced to the 5th position;

There is a variation where pas echappe ends on one leg, while the second leg after the second movement remains in the surlecou-de-pied position in front / behind, or is fixed in the open position to either side. By the same principle, pas echappe is performed with a jump on the fingers;

Pas double echappe lies in the fact that between the two main movements a temps leve is inserted on a jump or with a rise on the fingers / half fingers without changing the position. It is also possible to change the posture of the epaulement.

Jumps are small and large. At the time of execution of grand pas echappe during the jump, the legs linger 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 on the advance, in a turn, or with a drift. For petit pas echappe battu, one lead is made, and for grand pas echappe, the necessary double lead is made at maximum takeoff;

Effacee, pose (the verb effacer - to remove, hide) - a pose that builds from the epaulement efface in position 5 with the legs moving forward or backward. Small effacee poses are performed with an extended toe to the floor, medium ones - at a height of 45 °, large - 90 ° and above. The position of the supporting leg on the full foot, toes / semi-toes, stretched at the knee, or in demi-plie. The working leg can be straight or bent at the knee. It is performed in the air, or on a jump. The position of the hands and head can change indefinitely, varying the changes in posture;

• Epaulement: (from epaule - shoulder) - a position during which the dancer becomes half-turned to the mirror, or to the viewer. Feet, hips and thighs are turned to the right or to the left side of the viewer by 45 degrees or 135 degrees. The head turns to the shoulder, which is directed forward. This position gives the dance three-dimensionality, makes it more expressive and artistic. When performing, the dancer must control the angle of the head, the position of the shoulders and the direction of the gaze.

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 turned shoulder. This position allows you to take any posture through the open leg;

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

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 performances.

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

In the 17th century (1701), the Frenchman Raul Feyet created a system for recording the elements of classical dance. These terms are recognized by experts in the field of world choreography at the present time.

Referring to the special literature, students experienced difficulties when faced with unfamiliar terms, such as: “Eversion of the legs”, and this is a necessary and obligatory condition for the technique of performing elements of classical dance, “Corpus” in gymnastics is an unacceptable term, it is replaced by “Posture” , "Balloon" - the ability to fix the position in the jump, "Force" - the necessary preparatory movement of the hands to perform pirouettes, "Aplomb" - the stable position of the student, "Elevation" - the ability of the athlete to show the maximum phase of the flight in the jump, "Priporation" - preparatory exercises hand or foot before the start of the element, "Cross" - the execution of elements in the following directions: forward, sideways, back, sideways or in the opposite direction.

Knowledge of technical terms speeds up the learning process. Choreographic terminology characterizes the movement in more detail than gymnastic. This is the international language of dance, the ability to communicate with choreographers, understanding of special literature, the ability to briefly record training combinations, lessons, etudes, floor exercises, compositions.

Terminology is always built in accordance with the rules of word formation. The main advantage of the term is brevity. This makes it possible to reduce the time for explaining tasks, to maintain the density of the lesson.

But not always students manage to remember the choreographic terminology, so the idea arose of writing choreographic elements using gymnastic terminology, for a more accessible perception of the material being studied by students.

Experience shows that it is students who do not have choreographic training who have difficulty remembering the names of movements. As a rule, these are trampolines and jumpers on an acrobatic track. But athletes who have fulfilled the CMS and MS standards do not always have knowledge of the terms and the correct technique for performing even the simplest elements. The creation of such a table, a large number of illustrations for the elements make it possible to streamline students' knowledge in the field of choreographic training, be fluent in the terms of choreography and, if necessary, use special literature on choreography.

preparatory

Hands down, rounded at the elbow and wrist joints, palm up. thumb inside palm

I - first

Hands forward, rounded at the elbow and wrist joints

II - second

Hands forward to the sides, rounded at the elbow and wrist joints, palms inward

III - third

Hands forward upward, rounded at the elbow and wrist joints, palms inward

HAND POSITION OPTIONS

Right hand in third position, left hand in second position

Right hand forward, palm down, left hand back, palm down

Right hand in second position, left hand in preparatory position

Right hand in first position, left hand in preparatory position

Right hand in third, left hand in preparatory position

LEG POSITIONS

I - first

Closed toe stand out. Heels closed, toes out. The legs are located on the same line with a uniform distribution of the center of gravity throughout the foot

II - second

Wide leg stance with toes out. The legs are located from each other on the same line at a distance of one foot with a uniform distribution of the center of gravity between the feet

III - third

The right is attached to the middle of the left foot (socks out)

IV - fourth

Leg stand apart, right in front of the left (at a distance of one foot) socks outward (performed from both legs)

V - fifth

Closed stance right in front of the left, toes out (right heel is closed with the toe of the left, performed on both legs)

VI - sixth

Closed stance (heels and toes closed)

Exercise - choreographic exercises in the established sequence at the support or in the middle.

TURNS 90°, 180°, 360°, 540°, 720°, 1080°.

DEMI PLIE, GRANA PLIE (HALF Squat, Squat)

The purpose of the exercise is to develop the elasticity of the articular-ligamentous apparatus and "eversion" in the hip, knee and ankle joints. The exercise promotes the development of jumping ability by stretching the Achilles tendon.

Half squat(demi plie)

The semi-squat is performed in all positions. In this exercise, the heels do not come off the floor, the weight of the body is distributed evenly on both legs. Flexion and extension of the legs is performed smoothly, without stopping, "reverse", the knees are directed to the sides, along the line of the shoulders. Posture is straight.

squat(grand plie)

The squat is performed in all positions. First, a semi-squat is smoothly performed, then the heels gradually rise, and the knees bend as much as possible. When unbending, the heels first fall to the floor, then the knees straighten. When lifting the heels, do not rise high on the toes. The exception is the grand plie in the second position, where the heels do not come off the floor due to the wide position of the legs.

Flexion and extension should be performed smoothly, at the same pace. The pace is average. Before starting the exercise, the hand (if the movement is performed at the barre) or both hands (if the movement is performed in the middle) from the preparatory position are transferred from the preparatory position through the first position to the second. Then, with the beginning of leg bending, the arm (or both arms) descends from the second position to the preparatory one, and with the beginning of leg extension, the arm is again transferred through the first position to the second.

BANTMAN TANDYU (EXTENDED)

(position of the foot on the toe forward, to the side, back)

Flexion and extension of the foot by sliding along the floor to the position of the foot on the toe. It is performed from the first or fifth position in three directions: forward, sideways, back.

The purpose of the exercise is to teach how to properly stretch the leg in the right direction, to develop strength and elasticity of the lift (ankle joint) and a beautiful leg line.

Batman tandyu(right side to toe)

Batman tandyu forward(right forward on toe)

banman tandyu back(right back on toe)

Batman tandyu back and forth is performed along a line strictly perpendicular to the body, and to the side - exactly along the line of the shoulder. When performing the batman tandyu, the entire foot slides on the floor first, then the fingers and the rise are gradually extended. The center of gravity of the body is on the supporting leg, the toe does not come off the floor.

Make sure that the knees remain extremely extended and both legs remain “turned out”. At the moment of stretching the leg, there should not be an emphasis on the toe. When the leg returns to its original position, the foot gradually lowers to the floor. The heel drops to the floor only in the starting position.

When performed forward, the slide begins with the heel, and the foot returns with the toe to the IP. When performed backwards, the toe begins to slide, and the foot returns with the heel to the IP.

4/4 , the pace is slow. Later, the movement is performed from behind the beat. time signature -2/4, pace is average.

BATMAN TANDYU JETE (WAVING)

It develops muscle strength, the beauty of the line of the legs and the clarity of execution.

Small clear swings of the leg to the downward position and return to the starting position through the batman tandyu.

It is performed in the first or fifth position in three directions: forward - downward, to the side - downward, back - downward.

Batman tandyu jete aside

(swing right to the side - down)

Batman tandyu zhete forward

(swing right forward down)

Batman tandyu jeté back

(swing right back down)

Batman tandyu zhete is performed in the same way as batman tandyu, but when it reaches the position on the toe, the leg does not linger, but continues to move with a wave, where it is fixed at the height of the middle of the lower leg of the supporting leg (45 °). Both legs should be “turned out”, the muscles of the legs are tightened, and during the swing, the instep and toes of the working leg should be extremely stretched.

Returns to PI in a sliding motion through the position on the toe.

Musical size at the beginning of learning - 4/4 or 2/4, pace is slow. As the exercise is mastered, the leg swing is performed from the beat, the pace is medium.

GRAND BATMAN (WAVE RIGHT FORWARD, TO THE SIDE, BACK)

The leg is in this position both when performing large jette batmans (swings) fixed at 90 °, and when slowly raising the leg - relevelian.

Leg forward position

Leg position to the side

Leg back position

Large swings into the air and return to the starting position are performed in the first or fifth positions in three directions: forward, sideways, backward. From the starting position, the leg rises into the air with a wave, passing along the floor with a sliding motion, as in the batman tandyu jet, with the leg fixed at 90 ° (later on higher), and returns by sliding through the tandyu batman to the IP. Monitor the preservation of the “eversion” and tension of the knees, instep and toes of the working leg. Transfer the center of gravity of the body to the supporting leg. When performing a large swing forward and to the side, the body should remain strictly vertical. When performing a swing back, a slight tilt of the torso forward is allowed.

Musical size - 4/4. At the beginning of learning, the pace is slow. As you learn, the swing of the leg is performed due to the beat, the pace is medium, and the height of the swing increases in three directions: up and then up.

When performing relevant, the leg slowly rises forward, to the side or back and just as slowly lowers to its original position (through the batman tandyu). As you learn, the height also increases, as in the grand batman up and up.

RONDE DE JAMBES PARTERRERE (TOE CIRCLE ON THE FLOOR)

The main task of the exercise is the development and strengthening of the hip joint and the necessary “eversion” of the legs.

The movement is performed forward - an deor and backward - an de dan.

An deor(out)

From the first position, the sliding movement forward to the toe (batman tandyu), while maintaining the maximum "eversion" and tightness of the legs, is transferred by sliding to the second position to the right position to the side on the toe, then, while maintaining the "eversion" and tightness, it is carried back to the toe (batman tandyu) and slide back to the starting position

An dedan(inside)

When performing the exercise back (an dedan), the leg from the first position is glided back to the toe, then it is transferred by sliding to the side to the toe (to the second position), from the second position by sliding to the right forward position on the toe (batman tandyu) and returns to the original position by sliding position

The center of gravity of the body is maintained on the supporting leg. The working leg should pass all the main positions of the legs on the toe “inside out” at the same pace. Through the first position, the leg is carried out in a sliding motion with the obligatory lowering of the entire foot to the floor.

Time signature 3/4, 4/4, average tempo.

POR DE BRAS (EXERCISES FOR THE TRUNK AND ARMS)

A group of exercises that develops the flexibility of the body, the smoothness and softness of the hands and the coordination of movements.

Here one of the forms of por de bra is given, which consists in bending the torso forward and unbending it, tilting the torso back and returning to its original position.

The exercise is performed at the support and in the middle of the hall from the fifth position in the face position (en face) or in half a turn (croise, eface). Before starting the exercise, the hands are transferred from the preparatory position through the first to the second.

Fifth leg position, second arm position

Closed stance right in front of the left, toes outward, right heel closed with the toe of the left. Hands to the sides, rounded at the elbow and wrist joints, palm forward, thumb inward.

Fifth leg position, third arm position

Por de bra forward, hands in third position (torso forward, arms up, rounded at the elbow and wrist joints).

Fifth leg position, first arm position

Closed stance right in front of the left, toes outward, right heel closed with the toe of the left. Hands forward, rounded at the elbow and radio-metacarpal joints, palms inward.

Por de bra back, third hand position

Tilt the body back, arms up, rounded at the elbow and wrist joints, turn the head to the right (tilt the body back only with the shoulders back, without relaxing the muscles of the lumbar region).

Perform the exercise smoothly, observing the exact positions of the hands, accompanying their movement with a look and turn of the head. The musical size is 3/4, 4/4, the tempo is slow.

SUR LE COU AE PIE (FIXED POSITIONS OF BENT LEGS ON THE ANKLE)

The position of the leg on the ankle (sur le cou de pied) for performing batman frappe, batman fondue, petit batman, bottu. The right one, bent with a slightly unbent foot, is located above the ankle of the other leg, touching it with the outer part of the foot. The fingers are pulled back.

The sur le cou de pied position is performed in front and behind. In both cases, the knee of the bent leg should be “reversed” and directed exactly to the side along the line of the shoulder.

Sur le cou de pied

(basic position of the leg on the ankle in front)

Sur le cou de pied

(basic position of the leg on the ankle at the back)

Batman frappe consists of bending the working leg to the position of sur le cou de pied and extending it to the toe at the initial stage of training, and as it is mastered in the downward position in groups UTG-2,3, and in groups UTG-4, SS, VSM - on half-toes with lowering into various poses in a position on the toe or downwards.

First, the exercise is learned with leg extension to the side, then forward and later back facing the support at a slow pace. It is necessary to monitor the maximum "eversion" of the leg in the hip, knee and ankle joints.

When the flexion and extension of the leg in all three directions is mastered, then the flexion of the leg will be performed from the beat with an emphasis on the extension of the leg.

Musical size - 2/4, pace is average.

At first, only the position of sur le cu de pied in front and behind is learned. The leg from the fifth position is fixed over the ankle of the other leg and lowered again to the fifth position. This exercise is recommended to be learned facing the support. It is necessary to monitor the maximum "eversion" of the leg in the hip, knee and ankle joints, maintaining the correct posture and the center of gravity of the body on the supporting leg.

As the position of the leg on the ankle in front and behind is mastered, the change of position in front and behind is learned at a slow pace, and as it is mastered, at a fast pace. For learning the double frappe in the groups UTG-3, UTG-4 on half-fingers and in combination with demi-plié in poses.

Ankle leg position (sur le cou de pied) for performing batman fondue. This exercise consists in bending the leg into the position of sur le cou de pied with an extended “rise”, simultaneous semi-squat on the supporting leg and extension of the working leg to the toe or downward in one of three directions.

Sur le cou de pied

in front (conditional position of the leg on the ankle in front)

Sur le cou de pied

behind (conditional position of the leg on the ankle at the back)

First, only the position of sur le cou de pied is learned in front, then behind. After that, a semi-squat is learned on the supporting leg and extension of the working leg, first to the side, then forward and back facing the support

Musical size - 2/4, pace is slow. The movement is very smooth.

It is necessary to monitor the "eversion" of the legs and the distribution of the center of gravity of the body on the supporting leg. When the movement is well mastered, various hand positions can be introduced, especially when performing exercises in the middle of the hall. In the UTG-3 group, a double batman fondue is learned, and in the UTG-4, SS, VSM groups, the exercise is performed on half-fingers.

PASS (TRANSLATIONS - "REVERSE" POSITION OF THE BENT LEGS FORWARD, TO THE SIDE AND BACK, TOE AT THE KNEE).

DEVELOPE (LEG FLEXION AND EXTENSION AT 90° AND HIGHER)

The exercise develops "eversion" in the hip, knee and ankle joints and is a leading exercise for the development.

Passe to carry out development forward

Stand on the left, right bent at the knee toe in front.

Passe to execute development back

Stand on the left, right bent to the side, toe at the knee behind.

Passe to carry out development aside

Stand on the left, right bent to the side, toe at the knee to the side.

If the leg is unbent forward, then from the starting position it is transferred from the position of sur le cou de pied in front. If the leg unbends back, from the position of sur le cou de pied from behind.

Then the working leg slides up on the supporting leg (but without touching it) and opens in the required direction. If the leg unbends to the side, then, without slightly bringing the toe to the knee of the skating leg, it must be transferred to the inside of the skating leg and then straightened.

When performing, it is necessary to monitor the “eversion” of the thigh, the tightness of the lift and fingers.

When the pass is well mastered, the second part of the movement is introduced - leg extension in one of three directions forward, sideways, back. First, the development is learned to the side, then forward and later back. To the side and back, leg extension is learned facing the machine. The movement is smooth. It is necessary to monitor the "eversion" of the leg during its extension and return to its original position. Time signature -3/4, 4/4, slow tempo. When performed in the middle, various rotations of the torso and positions of the arms can be given. The passe position can also be used when moving the leg from one pose to another.

Development is performed from the fifth position in the UTG-3, UTG-4, SS, VSM groups in the upward position, and as it is mastered upward in three directions and on the half-fingers, into poses, in combination with elements of the chosen sport.

Batman in Rhythmic Gymnastics

Rhythmic gymnastics is an amazing sport in its facets: both severe technique and the elegant tandu batman are manifested here. Successfully intertwining strength and endurance, gymnastics still brings up aesthetic taste in a girl, teaches choreography and musicality. Rhythmic gymnastics is based on dance and sports, so choreography plays a huge role. And it will be difficult for the uninitiated to immediately understand the terms, features and rules.

Batman tandyu - battement tendu

Choreography lessons in rhythmic gymnastics are present everywhere - both in warm-ups, and in training, and in every combination of numbers. Of course, the numbers can be performed in different styles - from modern to historical, but at the heart of each movement is classical dance. It is the classics in choreography - with its batman fonyu, batman frappe, batman hundred and other terms - the result of many years of practice, the experience of great choreographers and the basis for dancing in rhythmic gymnastics.

Any choreography training begins with the setting of movements at the barre. Such movements train skills, hone the ease and clarity of execution. One of these basic movements is the tandu batman. The very word batman (fr. "Battement") means the movement of a raised, retracted and bent leg. In this movement, the athlete leans on one leg - with the whole foot or only with her fingers - and the second, working leg performs the element.

Batman tandyu (battement tendu) literally translates as "tense, stretched." In this batman, the leg is alternately retracted back, to the side or forward, while the toes of the working leg are pointed with the toe to the floor. When the foot is retracted forward or backward, the angle between the body and the leg should be 90 degrees. When the leg moves to the side, it should be on the same level with the line of the shoulders. When performing the movement, both legs are in tension, extended.

Another variety of batman tandyu is battement tendu jeté. Here everything is performed similarly to the first movement, however, the leg must be raised by 45 degrees (at the beginning of classes, only 25 degrees can be raised). The leg torn off the floor must be held in this position for a few seconds, and then first return the foot to an extended distance, and only then bring the working leg to the supporting one.

Batman tandyu zhete strongly develops the muscles of the legs, their endurance in the air. It is very important when performing the movement that the body is collected and calm, and the shoulders do not rise. In whatever direction the working leg moves, the throw must occur exclusively in a straight line. And regardless of whether the leg is thrown to the right side, forward or backward, the height should always be the same.

Both of these movements are performed with the gymnast in the 1st or 5th position.

Batman fondue - battement fondu

Batman fondue takes its name from the French word fonder - "melt, melt". This movement is considered more difficult. The supporting leg in the hip joint is bent to the demi plie position, and the working leg is transferred to the lifting position - le cou-de-pied. From this position, the legs are straightened, and the working leg is retracted - back, sideways, forward.

They begin to master this batman, facing the stick of the machine, then hold on to the stick with only one hand. During the first lessons, the foot should remain on the floor, and as the movement is mastered, the working leg rises to 45 degrees. This exercise starts from the 5th position. At the beginning of mastering the movement, for each direction do no more than 4 repetitions in a row, and then alternate - 2 repetitions forward, 2 back, 2 - to the side. Batman fondue perfectly develops the elasticity of the legs and joints.

battement developpé

Batman devloppe takes its name from the French word developpé - "developed, expanded." The movement incredibly trains eversion and increases grace. The extended foot of the working leg takes the cou-de-pied position, and then begins to slide along the supporting leg, gradually reaching the middle of the knee. Then the working leg is retracted to the side, holding at a height of at least 90 degrees. At a height, the leg is fixed, and then returns to the knee of the supporting leg, following the rules of another batman - relevel.

Movement incredibly trains eversion and increases grace

Batman relevé lan - Battement relevé lent, in turn, dictates the following rules: the working leg is slowly retracted to the side, forward or backward, and then rises to the level of 90 degrees and lingers at this point. Lowering to the floor, the leg takes the initial 5th position, moving from the toe to the entire foot.

grand battement jeté

This big batman is great for developing stamina and muscle corset. Grand Batman Jete provides for a leg throw to a height of 90 degrees and even higher, but at the initial stage it is better to limit yourself to a right angle. The movement allows the body on the supporting leg to deviate forward when the working leg swings back, and vice versa - the body leans back when the leg is lifted forward. When the leg is lifted to the side, the body must remain in the same position.

The exercise is performed from the 5th position. The working leg is lifted up with a strong movement, being tense and extended. Then it falls on the toe, and only then the foot is brought to the foot of the supporting leg. It is permissible to make several leg raises without returning it to its original position.

They begin to study this movement, being facing the stick of the machine. In this position, you can work out the grand batman jet to the side and towards the back. Grand battement jeté forward For beginners, it is easier to train by already being sideways to the stick and holding it with one hand. At first, this batman is repeated 8 times in a row for each direction, then they alternate 4 times.

Batman frappe - Battement frappe

A variation of this batman is characterized by the word frapper, which in French means "beat, hit." At the heart of the batman frapé is a strike movement that perfectly develops the knee joints. It is recommended to master this movement, standing facing the machine.

Batman frapé starts from the initial 5th position, the right leg is brought forward. The working leg is brought to the 2nd position according to all the rules of the batman tandyu described above. The heel of the working leg is raised, the toe looks down. Then the outstretched leg sharply reaches for the supporting ankle, clasping it with the foot. For several counts, the leg remains in this position, after which it extends to the level of 45 degrees, freezes, and again returns to the kick to the ankle. This batman can be carried out in all three directions.

The emphasis in this movement always falls on the kick of the foot on the ankle. The hips and shoulders of the gymnast should be even, the body is extended, and the supporting leg should be in the position of maximum eversion. It is easier to study batman with 8 repetitions in a row of each direction, and then they can be alternated with each other, performing 4 times.

At the heart of the batman frapé is a strike movement that perfectly develops the knee joints.

We can safely say that the effectiveness of the performance depends on the level of choreographic training of the gymnast. The movements that form the basis of classical dances are able to surround the performance with grace, tenderness and aesthetics. In addition, performing these complex, and sometimes tedious repetitions, the athlete is obliged to “keep her face”, and this is an additional development of facial expressions, posture and the need to follow facial expressions. It's not a secret, after all, that judges, when evaluating performances in rhythmic gymnastics, pay serious attention to the gymnast's smile, her "experience" of the number and emotions.

A set of movements from classical dance form the foundation not only for the entire choreography, but also for rhythmic gymnastics. Although this set does not have all the array that is studied in ballet schools, but these few batmans and pliés are enough to develop the dancing abilities of girls. After all, not only legs are involved here, but also arms, face, body - and a gymnast stretched to a string turns into a stately graceful figure.

MBOUDOD "Children's School of Arts", Yarovoye

Brief

DICTIONARY

French terms

classical dance

Compiled by: V.G. Voloshina

Concertmaster of the Children's Art School, Yarovoye

Yarovoe

2014

Introduction

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

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

In the 17th century (1701), the Frenchman Raul Feyet created a system for recording the elements of classical dance.Gradually, this dance terminology became universally recognized throughout the world. But it underwent many changes, additions, clarifications before it came to the harmonious and strict system that we currently use. A significant contribution to the clarification of terminology was made by the Russian school of classical dance and the famous teacher-choreographer, Professor Agrippina Yakovlevna Vaganova.Knowledge of technical terms speeds up the learning process. This is the international language of dance, the opportunity to communicate with choreographers, understanding the special literature.

soubresaut - (subreso) a large jump with a delay in the air.

Saut de basque - (so de basque) Basque jump. Jump from one foot to another with a turn of the body in the air.

Soutenu - (puff) to withstand, to support.

Suivi - (suivi) continuous, sequential movement. A type of pas de bourree performed on the fingers. The legs are finely sorted one next to the other.

Sur le cou de pied - (sur le cou de pied) the position of one leg on the ankle of the other, supporting leg.

Sus-sous (shu-su) on yourself, right there, on the spot. Finger jump with progress.

Temps lie - (tanglie) merged, flowing, connected. Solid, smooth dance combination in the middle of the hall; there are several forms

Tombe - [tombe] fall, transferring the weight of the body to the open leg forward, to the side or back to the demi-plie

Tour chains (Tour Chenet), a chain of turns following one after another, fused half-turns from foot to foot on half-toes or on fingers moving forward, sideways or backward.

Adajio – (adagio) slowly. The slow part of a lesson or dance.

allonge - (alonge) to lengthen, extend, stretch. A technique based on straightening the rounded positions of the arms.

Aplomb – (aplomb) resilience.

Arabesque - (arabesque) pose, the name of which comes from the style of Arabic frescoes. In classical dance there are four types of arabesque poses under No. 1, 2, 3, 4.

Arrondi - (arrondi) rounded, rounded. Rounded position of the hands from the shoulder to the fingers.

Assembly - (assembly) to unite, to collect. Jump with picking up extended legs in the air.

Attitude - (attitude) posture, position of the figure. The raised leg is bent.

Balance - (balance) swing, sway. Swinging motion.

Pas ballonne - (pa balloon) to inflate, to inflate. In the dance, a characteristic advance at the moment of jumping in various directions and poses and legs strongly extended in the air until the moment of landing and bending one leg on sur le cou de pied.

Pas ballotte - (pa balotte) hesitate. A movement in which the legs at the moment of the jump are extended forward and backward, passing the central point. The body leans back and forth, as if hesitating.

Balancoire - (balancer) swing. Applies to grand battement jet.

Battery - (batri) drumming. Leg in position sur le cou de pied makes a series of small percussive movements.

Battus - (battu) beat, beat. Movement with a skid.

Bourree pas de - (pas de bourre) a chased dance step, stepping over with a slight advance.

Brise - (breeze) to break, crush. Movement from the section of jumps with skids.

Basque pas de - (pas de basque) step of the Basques. The movement is characterized by a score of 3/4 or 6/8, i.e. triplex. Runs forward and backward.

Battement - (batman) scope, beat; leg exercise.

Battement tendu - (batman tandyu) abduction and adduction of a stretched leg.

Battement fondu - (batman fondue) soft, smooth, "melting" movement.

Battement frappe - (batman frappe) beat, smash, split; impact movement.

Battement double frappe - (batman double frappe) movement with a double blow.

Battement developpe - (batman devloppe) unfold, open, take out the leg 90 degrees in the right direction, pose.

Battement soutenu - (batman pimp) withstand, support. Movement with pulling up the legs in the fifth position.

Cabriole - (cabriole) jump with knocking one leg to the other.

preparation - (preparation) preparation, preparation.

Releve - (releve) raise, elevate. Rise on fingers or on half-fingers.

Releve tape - (releve liang) slow leg lift 90 degrees.

Renverse - (ranverse) to overturn, turn over. Tipping the body in a strong bend and turn.

Rond de jambe par terre - (ron de jamb par ter) rotational movement of the foot on the floor, circle with the toe on the floor.

Rond de jambe en l'air - (ron de jamb anler) leg circle in the air.

Royal - (royal) magnificent, regal. Jump with a skid.

Saute - (sote) jump in place.

Simple – (sample) simple. Simple movement.

Sissonne – (sison) has no direct translation. It means a type of jump, varied in form and often used.

Sissonne fermee - (sison farm) closed jump.

Sissonne ouverte - (season dodge) jump with leg opening.

Sissonne simple - (season sample) a simple jump from two legs to one.

Sissonne tombee - (sison tombe) jump with a fall.

Pas d'actions - (pas d'axion) effective dance.

pas de deux - (pa de de) dance of two performers, a classical duet, usually a dancer and a dancer. The pas de deux form is often found in classical ballets: Don Quixote, Swan Lake, The Sleeping Beauty, The Nutcracker and others. .

pas de trios - (pas de trois) dance of three performers, a classical trio, most often two dancers and one dancer, for example, in the ballets Swan Lake and The Little Humpbacked Horse, etc.

pas de quatre - (pas de quatre) dance, four performers, classical quartet.

passe - (passe) to pass, to pass. Linking movement, holding or moving the leg.

Petite - (bird) small.

petite battement - (petit batman) a small batman, on the ankle of the supporting leg.

Pirouette - (pirouette) whirligig, spinner. Fast rotation on the floor.

Pique - [dive] a light prick with the fingertips of the "working" leg on the floor and lifting the leg to a given height.

Plie - (plié) squatting.

Pointe - (pointe) sock, fingers.

port de bras - (por de bra) exercise for arms, body and head; six forms are known.

Chain - (shen) a chain.

Changement de pieds - (shazhman de pied) jump from fifth position to fifth with a change of legs in the air.

pas chasse - (pa chasse) drive, drive. Ground jump with advance, during which one leg knocks out the other.

Chat, pas de - (pas de sha) cat step. This jump is similar in character to the gentle movement of a cat's jump, which is emphasized by the curve of the body and the gentle movement of the arms.

Ciseaux, pas - (pa Siso) scissors. The name of this jump comes from the nature of the movement of the legs, thrown forward in turn and extended in the air.

coupe - (coupe) jerky. Knocking out. Jerky movement.

Pas Coruru - (pa smoke) jogging.

Croisee - (croise) crossed; one of the basic positions of classical dance in which the lines cross. Closed leg position.

Degagee - (degas) to release, take away.

Demiplie - (demi plie) half squat.

Developpee - (devloppe) taking out.

Dessus-dessous - (desu-desu) upper part and lower part, "above" and "under". Pas de bourre view.

Ecartee - (ekarte) to withdraw, push apart. A pose in which the entire figure is turned diagonally.

Effacee - (efface) to smooth; one of the basic principles of classical dance. It is determined by the open, unfolded nature of the posture, movement. Open leg position.

Echappe - (eschappe) break out. Jump with legs opening to the second (fourth) position and collecting from the second (fourth) to the fifth position.

Pas Emboite - (pa ambuate) to invest, insert, stack. A jump during which there is a change of half-bent legs in the air.

En dehors – (an deor) outside, rotation from the supporting leg.

En dedans – (an dedan) inside, rotation to the supporting leg.

en face - (en face) straight, straight position of the body, head and legs.

En tournant - (an turnan) rotate, turn the body while moving.

Entrechat - (antrash) jump with a skid.

Entrechat-tromis - (entrecha trois) skid. Jump with a triple change of legs in the air, from two to one.

Entrechat-quatre - (antrash katr) skit. Jump with a four-fold change of legs in the air.

Entrechat-cinq - (antrash sank) skid. Jump with a five-fold change of legs in the air.

Entrechat-six - (antrash siz) skid. Jump with a six-fold change of legs in the air.

Epaulement - (epolman) the diagonal position of the body, in which the figure is turned halfway.

Exercice - (exercise) exercise.

flic-flac - (flick-flyak) click, clap. A short movement often serves as a link between movements.

Fouette - (fuete) whip, flog. A kind of dance turn, fast, sharp. The open leg during the turn quickly bends to the supporting leg, with a sharp movement it opens again.

farmer - (farm) to close.

Faille, pas - (pa fai) cut, cross. Weakening movement. This movement is fleeting and often serves to prepare the springboard for the next jump. One leg seems to undercut the other.

Galoper - (gallop) to chase, to chase, to gallop, to race. Movement similar to chasse.

Glissade - (glide path) to slide, slip. A jump performed without lifting the toes off the floor.

Grand – (grand) large.

Jete - (jete) throw. Throw a leg in place or in a jump.

Jete entrelace - (zhete antrelyase) entrelacee - to bind. Flip jump.

Jete farm - (jete ferme) closed jump.

Jete passe - (jete passe) passing jump.

Lever - (leve) raise.

pas - (pa) step. Movement or combination of movements. It is used as equivalent to the concept of "dance".

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

In the 17th century (1701), the Frenchman Raul Feyet created a system for recording the elements of classical dance. These terms are recognized by experts in the field of world choreography at the present time.

Referring to the special literature, students experienced difficulties when faced with unfamiliar terms, such as: “Eversion of the legs”, and this is a necessary and obligatory condition for the technique of performing elements of classical dance, “Corpus” in gymnastics is an unacceptable term, it is replaced by “Posture” , "Balloon" - the ability to fix the position in the jump, "Force" - the necessary preparatory movement of the hands to perform pirouettes, "Aplomb" - the stable position of the student, "Elevation" - the ability of the athlete to show the maximum phase of the flight in the jump, "Priporation" - preparatory exercises hand or foot before the start of the element, "Cross" - the execution of elements in the following directions: forward, sideways, back, sideways or in the opposite direction.

Knowledge of technical terms speeds up the learning process. Choreographic terminology characterizes the movement in more detail than gymnastic. This is the international language of dance, the ability to communicate with choreographers, understanding of special literature, the ability to briefly record training combinations, lessons, etudes, floor exercises, compositions.

Terminology is always built in accordance with the rules of word formation. The main advantage of the term is brevity. This makes it possible to reduce the time for explaining tasks, to maintain the density of the lesson.

But not always students manage to remember the choreographic terminology, so the idea arose of writing choreographic elements using gymnastic terminology, for a more accessible perception of the material being studied by students.

Experience shows that it is students who do not have choreographic training who have difficulty remembering the names of movements. As a rule, these are trampolines and jumpers on an acrobatic track. But athletes who have fulfilled the CMS and MS standards do not always have knowledge of the terms and the correct technique for performing even the simplest elements. The creation of such a table, a large number of illustrations for the elements make it possible to streamline students' knowledge in the field of choreographic training, be fluent in the terms of choreography and, if necessary, use special literature on choreography.

preparatory

Hands down, rounded at the elbow and wrist joints, palm up. thumb inside palm

I - first

Hands forward, rounded at the elbow and wrist joints

II - second

Hands forward to the sides, rounded at the elbow and wrist joints, palms inward

III - third

Hands forward upward, rounded at the elbow and wrist joints, palms inward

HAND POSITION OPTIONS

Right hand in third position, left hand in second position

Right hand forward, palm down, left hand back, palm down

Right hand in second position, left hand in preparatory position

Right hand in first position, left hand in preparatory position

Right hand in third, left hand in preparatory position

LEG POSITIONS

I - first

Closed toe stand out. Heels closed, toes out. The legs are located on the same line with a uniform distribution of the center of gravity throughout the foot

II - second

Wide leg stance with toes out. The legs are located from each other on the same line at a distance of one foot with a uniform distribution of the center of gravity between the feet

III - third

The right is attached to the middle of the left foot (socks out)

IV - fourth

Leg stand apart, right in front of the left (at a distance of one foot) socks outward (performed from both legs)

V - fifth

Closed stance right in front of the left, toes out (right heel is closed with the toe of the left, performed on both legs)

VI - sixth

Closed stance (heels and toes closed)

Exercise - choreographic exercises in the established sequence at the support or in the middle.

TURNS 90°, 180°, 360°, 540°, 720°, 1080°.

DEMI PLIE, GRANA PLIE (HALF Squat, Squat)

The purpose of the exercise is to develop the elasticity of the articular-ligamentous apparatus and "eversion" in the hip, knee and ankle joints. The exercise promotes the development of jumping ability by stretching the Achilles tendon.

Half squat(demi plie)

The semi-squat is performed in all positions. In this exercise, the heels do not come off the floor, the weight of the body is distributed evenly on both legs. Flexion and extension of the legs is performed smoothly, without stopping, "reverse", the knees are directed to the sides, along the line of the shoulders. Posture is straight.

squat(grand plie)

The squat is performed in all positions. First, a semi-squat is smoothly performed, then the heels gradually rise, and the knees bend as much as possible. When unbending, the heels first fall to the floor, then the knees straighten. When lifting the heels, do not rise high on the toes. The exception is the grand plie in the second position, where the heels do not come off the floor due to the wide position of the legs.

Flexion and extension should be performed smoothly, at the same pace. The pace is average. Before starting the exercise, the hand (if the movement is performed at the barre) or both hands (if the movement is performed in the middle) from the preparatory position are transferred from the preparatory position through the first position to the second. Then, with the beginning of leg bending, the arm (or both arms) descends from the second position to the preparatory one, and with the beginning of leg extension, the arm is again transferred through the first position to the second.

BANTMAN TANDYU (EXTENDED)

(position of the foot on the toe forward, to the side, back)

Flexion and extension of the foot by sliding along the floor to the position of the foot on the toe. It is performed from the first or fifth position in three directions: forward, sideways, back.

The purpose of the exercise is to teach how to properly stretch the leg in the right direction, to develop strength and elasticity of the lift (ankle joint) and a beautiful leg line.

Batman tandyu(right side to toe)

Batman tandyu forward(right forward on toe)

banman tandyu back(right back on toe)

Batman tandyu back and forth is performed along a line strictly perpendicular to the body, and to the side - exactly along the line of the shoulder. When performing the batman tandyu, the entire foot slides on the floor first, then the fingers and the rise are gradually extended. The center of gravity of the body is on the supporting leg, the toe does not come off the floor.

Make sure that the knees remain extremely extended and both legs remain “turned out”. At the moment of stretching the leg, there should not be an emphasis on the toe. When the leg returns to its original position, the foot gradually lowers to the floor. The heel drops to the floor only in the starting position.

When performed forward, the slide begins with the heel, and the foot returns with the toe to the IP. When performed backwards, the toe begins to slide, and the foot returns with the heel to the IP.

4/4 , the pace is slow. Later, the movement is performed from behind the beat. time signature -2/4, pace is average.

BATMAN TANDYU JETE (WAVING)

It develops muscle strength, the beauty of the line of the legs and the clarity of execution.

Small clear swings of the leg to the downward position and return to the starting position through the batman tandyu.

It is performed in the first or fifth position in three directions: forward - downward, to the side - downward, back - downward.

Batman tandyu jete aside

(swing right to the side - down)

Batman tandyu zhete forward

(swing right forward down)

Batman tandyu jeté back

(swing right back down)

Batman tandyu zhete is performed in the same way as batman tandyu, but when it reaches the position on the toe, the leg does not linger, but continues to move with a wave, where it is fixed at the height of the middle of the lower leg of the supporting leg (45 °). Both legs should be “turned out”, the muscles of the legs are tightened, and during the swing, the instep and toes of the working leg should be extremely stretched.

Returns to PI in a sliding motion through the position on the toe.

Musical size at the beginning of learning - 4/4 or 2/4, pace is slow. As the exercise is mastered, the leg swing is performed from the beat, the pace is medium.

GRAND BATMAN (WAVE RIGHT FORWARD, TO THE SIDE, BACK)

The leg is in this position both when performing large jette batmans (swings) fixed at 90 °, and when slowly raising the leg - relevelian.

Leg forward position

Leg position to the side

Leg back position

Large swings into the air and return to the starting position are performed in the first or fifth positions in three directions: forward, sideways, backward. From the starting position, the leg rises into the air with a wave, passing along the floor with a sliding motion, as in the batman tandyu jet, with the leg fixed at 90 ° (later on higher), and returns by sliding through the tandyu batman to the IP. Monitor the preservation of the “eversion” and tension of the knees, instep and toes of the working leg. Transfer the center of gravity of the body to the supporting leg. When performing a large swing forward and to the side, the body should remain strictly vertical. When performing a swing back, a slight tilt of the torso forward is allowed.

Musical size - 4/4. At the beginning of learning, the pace is slow. As you learn, the swing of the leg is performed due to the beat, the pace is medium, and the height of the swing increases in three directions: up and then up.

When performing relevant, the leg slowly rises forward, to the side or back and just as slowly lowers to its original position (through the batman tandyu). As you learn, the height also increases, as in the grand batman up and up.

RONDE DE JAMBES PARTERRERE (TOE CIRCLE ON THE FLOOR)

The main task of the exercise is the development and strengthening of the hip joint and the necessary “eversion” of the legs.

The movement is performed forward - an deor and backward - an de dan.

An deor(out)

From the first position, the sliding movement forward to the toe (batman tandyu), while maintaining the maximum "eversion" and tightness of the legs, is transferred by sliding to the second position to the right position to the side on the toe, then, while maintaining the "eversion" and tightness, it is carried back to the toe (batman tandyu) and slide back to the starting position

An dedan(inside)

When performing the exercise back (an dedan), the leg from the first position is glided back to the toe, then it is transferred by sliding to the side to the toe (to the second position), from the second position by sliding to the right forward position on the toe (batman tandyu) and returns to the original position by sliding position

The center of gravity of the body is maintained on the supporting leg. The working leg should pass all the main positions of the legs on the toe “inside out” at the same pace. Through the first position, the leg is carried out in a sliding motion with the obligatory lowering of the entire foot to the floor.

Time signature 3/4, 4/4, average tempo.

POR DE BRAS (EXERCISES FOR THE TRUNK AND ARMS)

A group of exercises that develops the flexibility of the body, the smoothness and softness of the hands and the coordination of movements.

Here one of the forms of por de bra is given, which consists in bending the torso forward and unbending it, tilting the torso back and returning to its original position.

The exercise is performed at the support and in the middle of the hall from the fifth position in the face position (en face) or in half a turn (croise, eface). Before starting the exercise, the hands are transferred from the preparatory position through the first to the second.

Fifth leg position, second arm position

Closed stance right in front of the left, toes outward, right heel closed with the toe of the left. Hands to the sides, rounded at the elbow and wrist joints, palm forward, thumb inward.

Fifth leg position, third arm position

Por de bra forward, hands in third position (torso forward, arms up, rounded at the elbow and wrist joints).

Fifth leg position, first arm position

Closed stance right in front of the left, toes outward, right heel closed with the toe of the left. Hands forward, rounded at the elbow and radio-metacarpal joints, palms inward.

Por de bra back, third hand position

Tilt the body back, arms up, rounded at the elbow and wrist joints, turn the head to the right (tilt the body back only with the shoulders back, without relaxing the muscles of the lumbar region).

Perform the exercise smoothly, observing the exact positions of the hands, accompanying their movement with a look and turn of the head. The musical size is 3/4, 4/4, the tempo is slow.

SUR LE COU AE PIE (FIXED POSITIONS OF BENT LEGS ON THE ANKLE)

The position of the leg on the ankle (sur le cou de pied) for performing batman frappe, batman fondue, petit batman, bottu. The right one, bent with a slightly unbent foot, is located above the ankle of the other leg, touching it with the outer part of the foot. The fingers are pulled back.

The sur le cou de pied position is performed in front and behind. In both cases, the knee of the bent leg should be “reversed” and directed exactly to the side along the line of the shoulder.

Sur le cou de pied

(basic position of the leg on the ankle in front)

Sur le cou de pied

(basic position of the leg on the ankle at the back)

Batman frappe consists of bending the working leg to the position of sur le cou de pied and extending it to the toe at the initial stage of training, and as it is mastered in the downward position in groups UTG-2,3, and in groups UTG-4, SS, VSM - on half-toes with lowering into various poses in a position on the toe or downwards.

First, the exercise is learned with leg extension to the side, then forward and later back facing the support at a slow pace. It is necessary to monitor the maximum "eversion" of the leg in the hip, knee and ankle joints.

When the flexion and extension of the leg in all three directions is mastered, then the flexion of the leg will be performed from the beat with an emphasis on the extension of the leg.

Musical size - 2/4, pace is average.

At first, only the position of sur le cu de pied in front and behind is learned. The leg from the fifth position is fixed over the ankle of the other leg and lowered again to the fifth position. This exercise is recommended to be learned facing the support. It is necessary to monitor the maximum "eversion" of the leg in the hip, knee and ankle joints, maintaining the correct posture and the center of gravity of the body on the supporting leg.

As the position of the leg on the ankle in front and behind is mastered, the change of position in front and behind is learned at a slow pace, and as it is mastered, at a fast pace. For learning the double frappe in the groups UTG-3, UTG-4 on half-fingers and in combination with demi-plié in poses.

Ankle leg position (sur le cou de pied) for performing batman fondue. This exercise consists in bending the leg into the position of sur le cou de pied with an extended “rise”, simultaneous semi-squat on the supporting leg and extension of the working leg to the toe or downward in one of three directions.

Sur le cou de pied

in front (conditional position of the leg on the ankle in front)

Sur le cou de pied

behind (conditional position of the leg on the ankle at the back)

First, only the position of sur le cou de pied is learned in front, then behind. After that, a semi-squat is learned on the supporting leg and extension of the working leg, first to the side, then forward and back facing the support

Musical size - 2/4, pace is slow. The movement is very smooth.

It is necessary to monitor the "eversion" of the legs and the distribution of the center of gravity of the body on the supporting leg. When the movement is well mastered, various hand positions can be introduced, especially when performing exercises in the middle of the hall. In the UTG-3 group, a double batman fondue is learned, and in the UTG-4, SS, VSM groups, the exercise is performed on half-fingers.

PASS (TRANSLATIONS - "REVERSE" POSITION OF THE BENT LEGS FORWARD, TO THE SIDE AND BACK, TOE AT THE KNEE).

DEVELOPE (LEG FLEXION AND EXTENSION AT 90° AND HIGHER)

The exercise develops "eversion" in the hip, knee and ankle joints and is a leading exercise for the development.

Passe to carry out development forward

Stand on the left, right bent at the knee toe in front.

Passe to execute development back

Stand on the left, right bent to the side, toe at the knee behind.

Passe to carry out development aside

Stand on the left, right bent to the side, toe at the knee to the side.

If the leg is unbent forward, then from the starting position it is transferred from the position of sur le cou de pied in front. If the leg unbends back, from the position of sur le cou de pied from behind.

Then the working leg slides up on the supporting leg (but without touching it) and opens in the required direction. If the leg unbends to the side, then, without slightly bringing the toe to the knee of the skating leg, it must be transferred to the inside of the skating leg and then straightened.

When performing, it is necessary to monitor the “eversion” of the thigh, the tightness of the lift and fingers.

When the pass is well mastered, the second part of the movement is introduced - leg extension in one of three directions forward, sideways, back. First, the development is learned to the side, then forward and later back. To the side and back, leg extension is learned facing the machine. The movement is smooth. It is necessary to monitor the "eversion" of the leg during its extension and return to its original position. Time signature -3/4, 4/4, slow tempo. When performed in the middle, various rotations of the torso and positions of the arms can be given. The passe position can also be used when moving the leg from one pose to another.

Development is performed from the fifth position in the UTG-3, UTG-4, SS, VSM groups in the upward position, and as it is mastered upward in three directions and on the half-fingers, into poses, in combination with elements of the chosen sport.