The stance in ballet is called. Classic terminology

D - D

• Divertissement(Divertissement - entertainment) - a series of dance numbers following one after another; a concert program consisting of dance numbers of various genres and characters

K-C

• coda(from Italian coda - tail, train):

1. The final part of the solo variation, as a rule, consisting of virtuoso spins or jumps performed diagonally, in a circle, or advancing "to the public".
2. The final part of various musical and dance forms ( pas de deux, pas de trois, pas de quatre etc.), consisting of alternating solo soloists (in grand pas- with the participation of the corps de ballet), usually performing the most virtuoso jumps, spins and other technically complex movements at a fast pace in place, in a circle and diagonally.
3. The finale of the ballet performance, in which all acting characters and the corps de ballet participate.

L - L

• Leve, temps(from ch. lever- lift) - rise on half-toes or fingers or the simplest jump on two or one legs:

M - M

• Manege (en manege, lit. running in a circle) - the same as the "circle": jumps or rotations repeated several times in a row with advancement, performed in a circle of the stage. Usually executed as an element codes.
• Marches, pas(lit. walking, transition) - marching.
• Marche, pas(from ch. marcher- move, advance) - mazurka movement, light running on low half-toes with an accentuated bringing forward on a strong share of one leg in a semi-squat.
• menus, pas(lit. small) - minuet movement, small quick steps ( pass-pied) on low half-toes with moving forward; always performed in groups of three.

P - P

• pas- movement, step, leitmotif on which the dance is built (eg. pas waltz, pas polka); more generally, a complete dance phrase, combination, or whole choreographic composition:

• Pas de bourree- movement of the burre dance.

1. through position sur le cou-de-pied;
2. through the passing I position, standing on the entire foot or on the half-toes / fingers, as well as with the simultaneous rise on the half-toes / fingers and subsequent lowering into demi-plié; small steps, changing legs in the V position, moving forward or backward ( pas menus). See also paspier.

• Passe(from ch. passenger- pass, translate) - auxiliary movement, transfer of the working leg from one open position to another:

1. Passe par terre- transfer of a working leg, open on the toe to the floor or raised to any height forward, sideways or back, in any other direction through the I position on outstretched legs or in demi-plié, see also balancoire.
2. Passe en l "air- translation of the working leg, open to any height forward, sideways or back, in any other direction by bending the leg ( plie) to the position sur le cou-de-pied or to the position “at the knee” and its subsequent extension in the desired direction.
3. Transfer of the working leg from the V position to the position “at the knee”, see Fig. retire.
4. Passe(position) - a semantically incorrect term of the Russian school, a position in which the working leg, bent at the knee eversionally or in a straight position, is brought to the middle of the calf or knee of the other.

• Plie(from ch. plier- bend [knees]):

1. Squatting on two legs in any of the existing positions on the whole foot, half-toes or fingers, or squatting on one leg in any position. The movement can be performed at any pace and character and is distinguished by the strength of bending the knees, dividing into demi-plié(half squat) and grand plie(deep squat). Demi-plié can be performed both as a basic and as a linking movement (if it is used to move from pose to pose or from one movement to another).
   The vast majority of jumps, spins, jumps on half-toes / fingers begin and / or end in demi-plié. As an educational option that develops coordination and muscle strength, the classical dance lesson uses rotations starting from grand plie in any position. A rare stage example of the end of a jump in grand plie in V position can be seen in Lanquedem's variation from the ballet Le Corsaire.
2. Bending the working leg raised into the air in any direction to any height (for example, when moving from a pose Arabesque into a pose attitude; see also passe).

• port de bras(Porter - to wear, Bras - hand) - Correct passage of hands through the main positions (I, II, III), rounded (Arrondi), elongated (Allongé), involving turns or tilts of the head and body. Port de bras is the first (Premier Port de bras), the second (Deuxième Port de bras) and the third (troisième Port de bras)
• Poisson- cm. pas de poisson.

R - R

• Releve(from ch. relever- raise) - lifting on half-toes or fingers on one or two legs, as well as raising the working leg to any height in any direction.

1. Relevé lent, battement- smooth lifting of the working leg, extended at the knee, to the maximum height (90 ° and above) in any direction. Element adagio.
2. Releve, pas- cm. Leve, temps
3. Releve, temps- connecting movement preparation to the exercise rond de jambe en l "air, reception for the performance of pirouettes and tours. Performed in its purest form serves as a preparation for rotations.

• Renverse, pas(from ch. renverser- overturn) - a movement with tilting the body in a turn, consisting of tilting the body forward in a pose on demi-plié, jumping on half-fingers / fingers in the same position (or with a change of angle) with a slight bend of the body back and subsequent pas de bourree en tournant, on the first step of which the inflection increases, and on the second the body straightens. Renversé with a jump is performed by a technique temps left.

1. The most common form is renversé en attitude (renversé en dehors). The movement starts from a squat in an open or closed position. attitude, followed by a jump (jump) into a pose attitude croisee and pas de bourree en dehors. While doing renverse en dedans a jump (jump) is performed in a pose croisee forward a pas de bourree done back - in a turn en dedans.
2. Renversé en ecarte is a coordination more complex movement and is performed by the technique fouette.

C - C (S)

• Ciseaux- cm. pas de ciseaux.
• Saute, temps(from ch. sauter- to jump) - the term of the Moscow school; the same as temps left, jump on two legs in any position.
• Suivi- cm. pas de bourree suivi.
• Sus-sous(lit. over-under; see also dessus-dessous):

F - F

• Ferme(from ch. farmer- close) - closing the leg open to the air in the V position.
• Fermee, sissonne- jump from two legs to two legs with advancement in any direction.
• Fondu, battement(from ch. fondre- melt, melt, pour) - smooth flexion and extension of both legs.
• Fondue, sissonne - sissonne fermee, at the end of which both legs do not immediately gather in position: landing is performed on one leg, the second closes in the V position a little late, with the whole foot softly moving along the floor.
• Frappe, battement(from ch. frapper- hit) - a sharp summing up of the working leg open in any direction to the position sur le cou-de-pied and its subsequent accentuated opening on the toe to the floor or to the air.

There are several varieties of this movement:

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 foot, the left foot is lifted forward, a tour takes place on the toe (sur la pointe) or demi-pointe (demi-pointe) and the left leg remains extended in the air. ends in en arabesque sur pointe (ou demi-pointe).

Fouetté en tournant at 45° en dehors. If in the Russian school during the tour the right leg touches the back of the calf of the supporting left leg, then goes on touching the calf of the left leg in front (like a petit Battement), then here the working leg makes a demi rond by 45 °, which gives the movement an additional force, but dangerous " releasing the hip”, which can cause the ballerina to go off the axis, and the Fouetté is obtained with moving forward or to the side.

1. Grand Fouette. It has something from both 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 foot on the demi-plié, the left hand descends to the I position. Passing the half-bent right leg forward 90 ° (modern 120 °), rise on the left to the toes, quickly circling the right leg Grand rond de jambe back and finish it on the left foot on demi-plié in III arabesque (en face position). The hands make the following Port de bras: The left one rises to the third position and passes to the second, while the right one goes to the third position and passes through the first to the third arabesque while lowering the left foot to the plié.
3. les fouettes en dedans et en dedans- The movement is done on the same principle.
4. . Stand in a croiseé position forward (left leg in front), lower yourself onto a demi-plié on your left leg, jump on it on half-toes and throw your right leg to II position (alaseconde) at 90 ° (120 °) - Grand battement jeté. Turning, swing your right leg across the floor through the passé par terre (passing motion). The supporting leg turns on half-toes (turn to en dedans), keeping the right leg at the same height. Finish the movement on 3 arabesques per plié ml per arabesque.
5. Grand Fouette en tournant en dedans (Italian fuete). It is performed on the fingers according to the same principle. Only it does not start with plié, but with sur le cou de pied, and pumps into the attitudé position on pointe shoes, croisé, the right hand in the third position, and the left in the first.
6. Grand Fouette en tournant sauté 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.

W - Ch

• Chanes, tours(lit. chain of turns); the same as tours chaînés-déboulés- a series of quick half-turns on half-fingers (fingers) with diagonal or circular advance ( en manege), 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 extended legs and on demi-plié - depending on the performer's physique and the artistic tasks assigned to him. In ballets of the classical heritage, this movement most often completes a variation or dance combination, but there are other examples: in the variation of the soloist (Grand pas from the ballet Don Quixote) tour chains are performed in the middle part, moving diagonally backwards.

• Changement de pied(lit. change of foot) - change of feet in the V position in any way. Usually this term means changement de pied saute- jump from two legs to two, on the spot or with advancement in any direction ( changement de pied de volee), in which in the air the legs change places in the V position. It 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). Movement can be performed en tournant- with an air turn on any part of the circle, up to a full turn of 360 °.

• Chasse, pas(from ch. chaser- to drive, disperse) - a jump with the collection of outstretched legs in the air in the V position and simultaneous advancement in any direction. May start with sissonne tombee, pas failli, running and other movements that allow you to make a jump with advancement 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 virtuoso form - en tournant with the end in any position.

• Chat- cm. Pas de chat.

E - E

• Écartée, pose(from ch. ecarter- deviate) - a pose built from a position epaulement in the V position by moving one leg to the side, while the body from the waist slightly deviates from the vertical line towards the supporting leg. Small poses ecartee demi-plié. The leg raised in the air is extended at the knee and foot. The pose can also be performed in the air, on a jump. The position of the hands may be different.

1. Écartee forward: the working leg is open to the II position ( a la 2nd) diagonally forward, that is, towards the viewer, the head is turned in the same direction and slightly raised, the gaze is directed upwards.
2. Écartee back: working leg open II position ( a la 2nd) diagonally back, in the direction from the viewer, the head is turned towards the supporting leg, the gaze is directed down.

• Echappe, pas(from ch. echapper- go into the gap, pull ahead) - a jump from two legs, during which the position of the legs in the air changes. It usually consists of two movements: on the first, the legs from the V position are opened in the air to the II or IV position, on the second they are reassembled in V. There is another version - pas echappé 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 echappé performed with a jump on the half-fingers (fingers).

• Effacee, pose(from ch. effacer- clean, hide) - a pose built from a position épaulement effect in the 5th position by moving the leg forward (pose effacée forward) or back (pose effacee back). Small poses efficiency are performed on an extended toe to the floor, medium ones - by raising the legs to a height of 45 °, large ones - by 90 ° and above. The supporting leg can stand on the entire foot or be on half-toes / fingers, extended at the knee or on demi-plié. The leg raised in the air can be either extended at the knee or bent ( posture attitude). It is also performed in the air, on a jump. Combining different positions of the hands and head allows you to endlessly vary the pose.
• Epaulement: (from epaule- shoulder) - a position in which the dancer stands half-turned to the mirror or to the auditorium: the feet, hips and shoulders are turned to the right or left of the viewer (p. 1) by 45 ° or 135 °, while the head is turned towards the shoulder directed diagonally forward. Position between positions en face and a profile that gives the dance three-dimensionality, expressiveness and artistic coloring. When performing it, the performer is required to have accuracy in the position of the shoulders and turn of the head, a confident gaze direction.

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

1. Epaulement crise(from ch. croiser - 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 extended forward and the head is turned to the right , the right leg will stand in front, but if the left shoulder is extended and the head is turned to the left, then the left one. From this position, opening the leg forward or backward, you can take any position. croisee.
2. Epaulement effect(from ch. 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 with the shoulder turned towards the viewer: if the right shoulder and head are pushed forward turned to the right, the left leg will stand in front, but if the left shoulder is extended and the head is turned to the left, then the right one. From this position, opening the leg forward or backward, you can take any position. efficiency.

Terminology in ballet

This page is a glossary.

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 foot, the left foot is lifted forward, a tour takes place on the toe (sur la pointe) or demi-pointe (demi-pointe) and the left leg remains extended in the air. ends in en arabesque sur pointe (ou demi-pointe).

Fouetté en tournant at 45° en dehors. If in the Russian school during the tour the right leg touches the back of the calf of the supporting left leg, then goes on touching the calf of the left leg in front (like a petit Battement), then here the working leg makes a demi rond by 45 °, which gives the movement an additional force, but dangerous " releasing the hip”, which can cause the ballerina to go off the axis, and the Fouetté gets to move forward or to the side.

1. Grand Fouette. It has something from both 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 foot on the demi-plié, the left hand descends to the I position. Passing the half-bent right leg forward 90 ° (modern 120 °), rise on the left to the toes, quickly circling the right leg Grand rond de jambe back and finish it on the left foot on demi-plié in III arabesque (en face position). The hands make the following Port de bras: The left one rises to the third position and passes to the second, while the right one goes to the third position and passes through the first to the third arabesque while lowering the left foot to the plié.
3. les fouettes en dedans et en dedans- The movement is done on the same principle.
4. . Stand in a croiseé position forward (left leg in front), lower yourself onto a demi-plié on your left leg, jump on it on half-toes and throw your right leg to II position (alaseconde) at 90 ° (120 °) - Grand battement jeté. Turning, swing your right leg across the floor through the passé par terre (passing motion). The supporting leg turns on half-toes (turn to en dedans), keeping the right leg at the same height. Finish the movement on 3 arabesques per plié ml per arabesque.
5. Grand Fouette en tournant en dedans (Italian fuete). It is performed on the fingers according to the same principle. Only it does not start with plié, but with sur le cou de pied, and pumps into the attitudé position on pointe shoes, croisé, the right hand in the third position, and the left in the first.
6. Grand Fouette en tournant sauté 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.

W - Ch

• Pas de chat(cat movement) - a jumping movement that imitates the graceful jump of a cat. It is performed with bending the legs in a jump. Grand Pas de chat (Italian) - throwing the legs forward above 90 °, arms open from the III position, the body bends back

E - E

• Echappe is a jump that, with demi plié in fifth position, two legs push off the floor and retract (stick) to each other in the air (as in the soubresaut movement), then open in the air in II (à la seconde) or IV (en quatrième) landing position. This movement is performed on the fingers (sur pointes, movement relevé sur pointes). The Échappé battu movement starts in the same way, but after landing in the second or fourth position, a push again and the legs gather in a jump in the fifth position. In elementary grades, this movement helps in preparing for entrechat.

Directions in ballet schools

Classical school:

1. American: Balanchine method
2. English: Royal Ballet School and Royal Academy of Dance
3. Danish Bournonville method
4. Italian: Cecchetti method
5. Cuban: Alicia Alonso Method
6. Russian: Vaganova method

Literature

Notes

1. // Encyclopedic Dictionary of Brockhaus and Efron: In 86 volumes (82 volumes and 4 additional). - St. Petersburg. , 1890-1907.
2. "Russian Ballet: Encyclopedia" - "Entrechat". - M .: “The Great Russian Encyclopedia; Agreement", . - S. 548. - 10,000 copies. - ISBN 5-85370-099-1
3. "Russian Ballet: Encyclopedia" - "Brisé". - M .: “The Great Russian Encyclopedia; Agreement", . - S. 545. - 10,000 copies. - ISBN 5-85370-099-1
4. N.P.Bazarova, V.P.Mei ABC of classical dance = teaching aid. - 2nd ed. - L.: "Art", 1983. - S. 159. - 207 p. - 25,000 copies.
5. The term is used in French cooking and means "whipped cream" (fr.creme fouettee)
6. "Russian Ballet: Encyclopedia" - Fouetté. - M .: “The Great Russian Encyclopedia; Agreement", . - S. 549. - 632 p. - 10,000 copies. - ISBN 5-85370-099-1
7. Description of Vaganova. See also: "Russian Ballet: Encyclopedia" - "Grand Fouetté" and "Italian Fouetté". - M .: “The Great Russian Encyclopedia; Agreement", . - S. 549. - 632 p. - 10,000 copies. - ISBN 5-85370-099-1
8. Agrippina Vaganova Fundamentals of classical dance. - 5th ed. - L .: "Art", 05/16/1980. - S. 157. - 192 p. - 30,000 copies.
9. The textbook by A. Ya. Vaganova was first published in 1943 and was reprinted 4 times. The method of teaching classical dance outlined in it is intended for students and teachers of choreographic schools.

Gradually I begin to understand that dancing is becoming a big and important part of my life, along with music and vocals. Of course, work is to blame for this. And also the movie "Step Up". It's so cool to be able to dance, to combine ballet and street dance. So far, neither one nor the other has been given to me, but now I'm already beginning to understand the classic machine. Thanks to "Rhythms" - Yulia Vladimirovna explains everything very clearly to the guys, and I also listen and remember.

When a throw is made with the foot forward or backward, the head looks to the side (center of the class), and when the foot is thrown to the side, the head looks straight.
With battement tendu, the foot is brought forward with the heel. In general, where the heel is directed is very important. For if you send it in the wrong direction, there will be no sense in the movement. I tried it myself last night.
When jumping, it is important to jump as high as possible and hang in the air for as long as possible. Only then can you have time to change position in the air from 5 to 2, from 5 to 5, etc.
Preparation for jumping (plié) must be very active so that the mortal, heavy and loose body is still pushed up.
According to the rules of classical graphics, you need to end the movement in the same position in which you started. With rare exceptions, which must be negotiated.
Demi plie(demiplie)- semi-squats (Fig. 8). It is important to achieve maximum bending of the legs in the knee joints without separating the heels from the floor. The weight of the body is evenly distributed on both feet without "blockage" on the big toe. The knees and feet keep the eversion position all the time, without violating the correct positions. The back is kept straight. The exercise is performed in I, II, III positions, less often and only at the support - in V, IV positions.

Grand plie (grand plie). When performing the exercise (Fig. 9), you should keep your heels on the floor as long as possible - the movement is performed through demi plie. When straightening your legs, you need to put your heels on the floor as early as possible. It is necessary to rise on half-toes and put the heels on the floor at the same time with both legs. Throughout the exercise, the maximum eversion of the hips and feet is maintained. The weight of the body is evenly distributed on both legs, without "blockage" on the big toes.

Batman(battement)- abduction of the working leg in any direction and its return to the supporting leg. Each type of batman has its own form and independent name.

Batman tandyu sample(battement tendu simple) - putting the foot forward, to the side, back on the toe. The exercise contributes to the development of lifting the leg and strengthening the ankle joint, and is preparatory for mastering a number of subsequent movements of this classification group. When performing batman tandyu, the eversion leg is retracted with a sliding movement from positions I, III, V forward, to the side, back to the toe and returns to and. n. The movement should be performed in a straight line from the heel of the supporting leg to the toe of the retracted leg and back (Fig. 10). Sliding of the leg is performed first with the entire foot with a gradual separation of the heel from the floor to the position of the most retracted toe without resting on the toe in the final position. With a similar sliding movement, the leg returns to and. n. The support is straightened at the knee. The center of gravity is on the supporting leg. The working leg maintains an eversion position.

Batman tandu demi plie(battement tendu demi plie) - a combination of leg abduction followed by adduction and a semi-squat on two legs (Fig. 11). When performing the exercise, it is necessary to achieve complete unity of the two movements. To do this, bending the legs at the knees begins a little earlier than the working leg returns to position 1 or III. The body is held straight, the weight of the body with demi plie is evenly distributed on both feet.

Batman tandyu pimp(battement tendu soutenu) - is an exercise from the combination of simultaneously performed leg leads-adductions with a semi-squat on the supporting one. In this case, the body deviates somewhat in the direction opposite to the working leg. After performing the exercise with the face, sideways to the support, the form of this movement becomes more complicated: i. p. - right in front on the toe (IV position) through the I position to the right position back on the toe. In the future, it is possible to complicate the exercise with various hand movements, lifting on half-fingers, changing the direction of movement.

Batman tandyu zhete(battement tendu jete) - this exercise is profiling for all swing movements. Unlike batman, tandyu is performed with the toe off the floor when retracted from and. n. In fact, it is a swing to a height of about 25 ° (Fig. 12). The movement should be clear, unified, energetic. The legs maintain an eversion position, the center of gravity is on the supporting leg. Hands in II position.

Batman tandyu jete pointe (battement tendu jete pointe). In principle, this movement does not differ from the batman tandyu jet, however, after the abduction, the leg does not close into position, but is placed with the toe on the floor. The exercise can be performed 2-3 times in a row, then the leg is closed in the III position (Fig. 13). When the movement becomes more difficult, the leg is transferred along a low arc from the right (left) position in front, behind on the toe (IV position) to the side to the toe and back or “cross”.

Double batman tandu(double battement tendu) is a kind of batman tandu. It is performed with lowering the heel to the floor in position II: with one, two or three or more lowering (Fig. 14). At the moment of lowering the heel to the floor, the center of gravity remains on the supporting leg. The emphasis of the movement coincides with the lowering of the heel to the floor.

Batman frappe(battement frappe)- flexion and extension of the lower leg at an angle of 45 ° (Fig. 15). Before starting to study the movement, the position of the leg is mastered. sur le cou de pied(sur le coup-de-pied) (Fig. 16) . In gymnastics, the forward position (conditional) is used - the leg is bent at the knee, the toe is in front at the ankle of the supporting leg, the thigh is turned backwards - the toe is pressed from behind at the ankle of the supporting leg. Batman frappe consists in quickly bending the lower leg from and. n. right (left) to the side in the position of sur le cou de pied in front or behind with a light blow on the supporting leg, followed by extension forward, sideways, back. The exercise is performed with a sharp, strong movement. In this case, the hip and knee retain the eversion position. Since the exercise starts from I.P. leg to the side, then before the start, the leg from I, III positions through the batman tandyu opens to the side, while the arm rises from the preparatory position through I to II position.

There is a more complicated version batman double frappe(battement double frappe) , characterized by a double "hit" of the working leg at the supporting ankle.

Batman fondue(battement fondu)- a combination of a semi-squat on the supporting leg with simultaneous bending of the free one on sur le cou de pied in front (rear) with subsequent extension of the working leg and straightening of the supporting leg (Fig. 17).

It is performed forward, to the side, back, with the toe to the floor, with the leg raised by 45, 90 °. When bending the leg to the position of sur le cu de pied, the thigh should not be lowered immediately, first the knee is bent, and the thigh is held motionless at a height of 45 °, then gradually lowers along with the lower leg to the final position. When the batman frappe is performed at 90°, the leg is first lowered to 45°, then bent as described above. Musical time signature 2/4 or 4/4.

Double batman fondue(double battement fondu) . The movement begins with demi-plié on the supporting one, then the half-toes are lifted, but the free leg does not open in the given direction, but lingers in the position bent at the ankle; then the semi-squat on the supporting leg is repeated again with simultaneous straightening of the free leg by 45 or 90 °; at the moment of the final straightening of the free leg, the supporting leg is also straightened, ending with a rise to the half-toes.

Grand Batman Jete(grand battement jet) - swing your legs forward, to the side, back (Fig. 18). The movement is performed through the batman tandyu until the toe touches the floor, then the leg rises to the maximum height and returns to the sp through the batman tandyu. (I or III position).

Gran Batman Jete Balance(grand battement jet balance) - swings in the direction forward and backward by 90 ° and above through the I position (Fig. 19). The movement can be performed to the side: in I.P. facing the support or in the middle of the hall alternately with one and the other foot. Perhaps a combination with a tilt of the body, lifting on half-toes, half-squats.

Grand Batman Jete Pointe(grand battement jete pointe) performed like a grand batman jet, but until the toe touches the floor (Fig. 20).

Grand Batman Jete Passe(grand battement jete passe) performed according to the rules of Grand Batman Jete, but with the transfer of the leg from one direction to another using the technique passe (passe)(Fig. 21): the leg is bent, the thigh is turned out, the knee is to the side, the toe is at the supporting knee, without touching it. Runs forward and backward. Musical size 2/4.

batman devloppe(battement developpe) performed forward, to the side, backward by 90 ° and above (Fig. 22). From position III, the working leg, bending and sliding with an outstretched toe, rises to the knee of the supporting leg, after which it straightens in any direction and descends to the SP. Throughout the movement, the thigh maintains maximum eversion; when the leg is straightened, the knee does not drop. When moving forward and to the side, the body remains straight, backward - slightly leans forward. Musical size 2/4, 4/4.

Batman devloppe passe (battement developpe passe). The working leg rises, then bends, the toe goes under the supporting knee without touching it (passe position), after which the leg rises again in any direction.
Batman devloppe with leg abduction 1/4 of the circle. The working leg is brought forward, then retracted to the side and lowered into and. n. The same is done in the opposite direction. Then the leg is lifted to the side and retracted forward or backward.
Batman devloppe with leg abduction 1/4 of the circle. The leg from the III position is raised forward by 90 ° and higher, the extended leg is retracted through the side back and lowered to the III position. Similarly, it is performed in the opposite direction.

Batman devloppe balance (battement developpe passe). The leg rises forward, to the side, back, then with a short movement slightly lowers and immediately abruptly returns to its previous height. Musical time signature 2/4 and 4/4.

Ron de jambe (rond de jambe). This type of exercise includes leg movements in an arc on the floor and in the air. The movement of the leg in an arc back, sideways, forward, that is, directed towards the supporting leg, is called en dedan (en dedans). The movement of the leg in an arc forward, to the side, back, that is, directed from the supporting leg, is called en deor (en dehors). Exercises of this group contribute to the development of mobility of the hip joints, eversion of the legs.

Ron de jambe par terre (rond de jambe par terre)- movement of the outstretched leg in an arc, touching the toe of the floor (Fig. 23). The exercise is performed with a uniform movement of the outstretched leg in an arc, separating the fingers from the floor. The thigh is in an eversion position, the weight of the body is on the supporting leg.

Ron de Jamb en Lair(rond de jambe en l'air) - circular movements of the lower leg in the air (Fig. 24). From i.p. right (left) to the side at a height of 45 ° circular movements of the lower leg, while bending the knee inward (an deor), outward (an dedan) until the toe touches the calf muscle. The thigh is in a reversible position.

Grand ron de jamb jete (grand rond de jambe jete) - a large swing of the leg in an arc of 90 ° in the direction of an deor and an dedan.

Gymnastics all-around: Women's types. Ed. G 48 2nd, revised. Floor exercise. T.S. Lissitskaya, V.E. Zaglada / edited by Gaverdovsky Yu.K. - M.: Physical culture and sport, 1986. - 336 p., ill. "

pas (pa ) - step; movement or combination of movements; used as an equivalent to the concept of "dance".
Pas d'actions (pas de action ) is an effective dance.
pas de deux (pas de deux listen)) is a dance between two performers, usually a dancer and a dancer.
pas de trois (pas de trois ) - a dance of three performers, more often two dancers and one dancer.
pas de quatre (pas de cartes ) is a dance of four performers.

Adagio (adagio ) - slow, slow part of the dance.
Allegro (allegro ) - fast, jumping.
Allongee (alonge ) - from Ch. lengthen, prolong, extend; movement from the adagio, meaning the extended position of the leg and the hidden hand.
Aplomb (aplomb ) - stability.
Croisee (croiset ) - a pose in which the legs are crossed, one leg covers the other.
Degage (degassing ) - release, take away.
Demi (demi ) - medium, small.
Ecartee (ekarte ) - take away, push apart; a pose in which the whole figure is turned diagonally.
effect (ephase ) - deployed position of the body and legs.
En dedans (en dedan ) - inside, in a circle.
En dehors (en deor ) - out, from the circle.
en face (en face ) - directly; straight position of the body, head and legs.
En tournant (en turnan ) - from Ch. "rotate"; rotation of the body during movement.
Grand (grandee ) - big.
Petite (petit ) - small.
port de bras (port de bra ) - exercise for arms, body, head; inclinations of the body, head.
preparation (preparation ) - preparation, preparation.

Arabesque (arabesque ) - a pose whose name comes from the style of Arabic frescoes.
Attitude (attitude ) - posture, body position; raised leg half-bent.
passe (passe ) - from Ch. "to pass, to pass"; linking movement, holding or moving the leg.
Sur le cou-de-pied (sur le cou de pied ) - the position of one leg on the ankle of the other, supporting.
Tire-bounchon (Tyr bouchon ) - “twist, curl”; the raised leg is in a half-bent position forward.

Balance (balance sheet ) - "swing, sway"; swaying movement.
Balancoire (balancer ) - “swing”, used in grand battement jete.
Battement (batman ) - scope, beat.
Battement developpe (batman devloppe ) - swing, open, take out the leg 90 * in the right direction.
Battement double frappe (batman double frappe ) is a movement with a double strike.
Battement fondu (batman fondue ) - soft, smooth, "melting" movement.
Battement frappe (batman frappe ) - movement with a blow, or shock movement.
Battement soutenu (batman hundred ) - withstand, support; movement with pulling up the legs in the fifth position, continuous movement.
Battement tendu (batman tandu ) - abduction and adduction of the extended leg, without lifting the sock from the floor.
Battery (batry ) - drum beat; the foot in the sur le cou-de-pied position makes a series of small shock movements.
Demi-plie (demi plie ) - a small squat.
Dessus-dessous (ten desu ) - upper-lower part, above-under, view of pas de bourree.
grand battement (grand batman ) is a big batman.
grand plie (grand plie ) is a big squat.
Jete (zhete ) - throw a leg in place or in a jump.
pas couru (I smoke ) - a run through the sixth position.
pas de bascue (pas de basque ) - Basque step; this movement is characterized by an account of 3/4 or 6/8 (triple size), performed forward and backward.
Pas de bourree (pas de bure ) - a chased dance step, stepping over with a slight advance.
petite battement (petit batman ) - a small batman, on the ankle of the supporting leg.
Plie (plie ) - squatting.
Releve (relevé ) - from Ch. "raise, elevate"; lifting on fingers or half-fingers.
Relevelent (Revelian ) - slow leg lift 90 *.
Soutenu (hundred ) - from Ch. "endure, support, draw in."

Fouette (fouette ) - from ch "quilt, whip"; kind of dance turn, fast, sharp; the open leg bends towards the supporting leg during the turn and opens again with a sharp movement.
Pirouette (pirouette ) - "yula, turntable"; fast rotation on the floor.
port de bras (port de bra ) - inclinations of the body, head.
Renverse (ranverse ) - from Ch. "overturn, overturn"; overturning of the body in a strong bend and in a turn.
Rond (rond ) - "circle, round".
Rond de jambe en l'air (ronde de jamb en ler ) - circle with the foot in the air.
Rond de jambe par terre (ronde de jamb par ter ) - a circular movement of the leg on the floor, a circle of toes on the floor.
Tour (tour ) - turn.
tour chain (Chenet tour ) - “linked, connected”; fast turns following one after another.
Tour en l'air (tour en ler ) - tour in the air.

Assembly (assembly ) - from Ch. connect, collect; jump with picking up extended legs in the air; jump from two legs to two legs.
Brise (breeze ) - to break, crush; movement from the jumping section with skids.
Cabriole (cabriole ) - jump in place with knocking one leg to the other.
Changement de pieds (checkman de pied ) - jump with a change of legs in the air (in the V position).
coupe (coupe ) - knocking; jerky movement, short push.
Echappe (eschappé ) - a jump with opening the legs to the second position and collecting from the second to the fifth.
Entrechat (entrecha ) - jump with a skid.
Glissade (glide path ) - "slip"; a jump performed without lifting the toes off the floor.
Jete farm (get a ferme ) - closed jump
Jete passe (zhete passe ) - passing jump.
Pas ballonne (pa balone ) - inflate, inflate; advancement at the time of the jump in various directions and poses, as well as legs strongly extended in the air until the moment of landing and bending one leg on sur le cou-de-pied.
Pas ballotte (pa balotte ) - fluctuate; a movement in which the legs at the time of the jump are extended forward and backward, passing through the central point; the body leans back and forth, as if hesitating.
pas chasse (on the chassis ) - ground jump with advancement, during which one leg knocks out the other.
Pas ciseaux (pa jail ) - scissors; jump with throwing forward in turn legs extended in the air.
Pas de chat (pa de sha ) - cat's step; a sliding jump from foot to foot, when in the air one foot passes by the other.
Pas Emboite (pa amboate ) - from Ch. "to invest, insert, stack"; a jump during which there is a change of half-bent legs in the air.
Saute (sauté ) - jump in place in positions.
Sissonne (season ) - a type of jump, diverse in form and often used.
Sissonne fermee (season farm ) - closed jump.
Sissonne ouverte (season douvert ) - jump with leg opening.
Sissonne simple (season simple ) - a simple jump from two legs to one.
Sissonne tombee (season tombe ) - a jump with a fall.

Tell the audience different stories. Drama and comedy are embodied in choreographic images, one of the most difficult elements of which is the jump in ballet.

Terminology

The history of ballet goes back to 18th century France. Therefore, in ballet it is traditional to use the names of dance figures in French. Only a few terms - cabriole, pirouette and revoltade - are Italian.

Jumping in ballet: name and brief description

• Antrasha - the dancer in a jump crosses his legs in the air in the 5th position. There are even and odd.
• Ballonne - a jump on one leg or a jump on the tips of the fingers with advancement behind the stretching leg, which, at the moment of a half-squat on the supporting leg, assumes the position of sur le coude-pied.
• Ballotte - the dancer gracefully bounces, moving the body in the right direction. The outstretched legs freeze for a moment in the 5th position, after which one leg in the rise is extended in the direction of advancement with a simultaneous deviation of the body, the other lowers onto the stage.
• Batri - jumping movement is complicated by one or more kicks to the leg.
• Brize - a short jump with advancement and a kick to the leg. Starts and ends in the 5th position.
• Glissade - a jump-slide with movement behind the opened leg. At the same time, the socks do not come off the stage.
• Jete - a jump in which the dancer's body moves from foot to foot. It can be moving in any direction.

• Cabriol is a complex virtuoso figure. The performer holds one raised leg at a certain height, knocking it out one or more times with the other leg.
• Pas de poisson is a large complex jump in ballet from the supporting leg to the other. At the same time, each leg is thrown back in turn. The ballerina bends back in flight and becomes like a fish jumping out of the water.
• Pas de bac - the dancer jumps from foot to foot with sliding forward and backward in the 5th position.
• Pas de sizo - a jump from the supporting leg to the other, in which the outstretched legs are powerfully thrown high forward in turn, for a moment they are connected in flight, in conclusion, one of the legs jerkily moves through the 1st position into an arabesque.
• Pas de sha - in a jump, the legs are bent and one after the other they are thrown forward or backward at an angle greater than a straight one. Hands are easily and gracefully retracted from the 3rd position, and the body bends back plastically.
• Pa subreso - a quick jump with the body bending from two legs to two from the 5th position to the 5th.

More types of jumps

• Revoltad - performed predominantly by a male artist. A complex figure with 1-2 flips in the air.
• Sauce de Basque is a figure of classical ballet. Simultaneously with the jump from foot to foot, movement to the side and a flip in the air are performed.
• Sote - the performer jumps from two legs again to two, all the while maintaining the same position.
• Tan lewe - single or multiple vertical bouncing.
• Tour an ler - a jump in place with a single or double turn of the body.
• Fayi - the dancer jumps from two legs to one with a quick turn of the body in flight. Requires precise coordination of movements.
• Shazhman de pied - a jump in ballet, in which the ballerina flies from the 5th position to the same, changing legs in flight. It can be supplemented with a coup in the air.
• Chasse - in a jump with advancement, one leg catches up with the other. At the peak point, they are connected to the 5th position.
• Eshape - a figure of two jumps with the transfer of legs from a closed to an open position and vice versa.

Virtuosity

In order for the jump in ballet to be light, airy, to create a feeling of weightlessness and flight, students must work long and hard for years. Muscle strength, good stretching, flexibility and joint mobility are crucial.

Compared to the soft feet of ordinary people, the ballerina's calf muscles have a steel hardness.

When the dancer takes a run before jumping, he develops a high horizontal speed - 8 m / s, and vertical - 4.6 m / s. If you think in scientific terms, then the acceleration of the dancers when jumping in ballet is 2g, which is comparable to the takeoff run of an airplane.

glide path(from glisser- slide) - a sliding jump with advancement behind the opening leg to the side, forward or backward. Serves as preparation for big jumps.

grand batman(from fr. grands battements) - leg throw to the maximum height

Grand plie(from fr. grand plie) - deep squatting in positions with heels off the floor.

Batman Tendue Jete(from fr. battements tendus jete) - ejection of the leg by 45 °.

Batman tendyu(from fr. battements tendus) - pull, pull.

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

degage(from fr. degage- extracted, released) - abduction of the leg to the desired height (according to the principle of battements tendus) and the subsequent transition to it with the transfer of the body

Demi plie relevé(from demi-plie- half-bent + releve- rise) - two movements that make up an inseparable whole; half-squat followed by lifting on half-fingers or fingers.

Jete(from fr. jet) - throw, throw. The term refers to the movements performed by throwing the leg.

Parterre(from fr. parter) - on the ground. A term indicating that a movement is performed on the floor

Plie(plier- fold, gently bend) - demi plié - a slight squat. Grandplier.

Port de bras(from fr. por de bra) - hand movements, involving rotation or tilt of the head and body

relevé(from fr. releve) - lifting on half-fingers, fingers.

Saute(from fr. saute- jumps) - a jump from two legs to two while maintaining a position in the air and landing. In elementary grades, it is learned at a slow pace, checking the positions and the moment of return after the jump. In high school, it is performed at a fast pace.

flick flack(from fr. flic-flac) - one leg is supporting, and the second is working. With the pads of the foot, the working leg with a sliding motion along the floor passes from the supporting leg and returns to it. The movement can be performed to the side, forward and backward.

Frape(from fr. frappe) - strike. Kicking the leg against the other and returning it to its original position

Fuete(from fr. fouetter- whip) - a swift biting rotation, in which the leg in the air is sharply thrown to the side and brought to the knee of the supporting leg with each turn

Shazhman de pied(from fr. changement de pied- change of legs) - a jump from V position to V with a change of legs in the air. Can be performed on a small jump, as well as in Grand changement de pied.

Eshape(fr. Echappe) - jump from two legs to two. It starts with demi plie V position in the legs, in the jump the legs are stretched tightly against each other, then in the air they open to the second position. Landing takes place in II or IV position in demi plie.

Ballonne. Jump on one leg or jump on the toes with advancement behind the working leg. The working leg, stretching during a jump or jump, returns to the position of the extended foot of the working leg on the ankle of the skating leg at the moment of semi-squatting (demiplie) on the skating leg.