Ballet terms

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Stardancer
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282684
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Ballet terms
Updated:
2015-04-15 23:33:20
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DEFINITIONS
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DEFINITIONS OF BALLET TERMS AND MOVEMENTS
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  1. DESSOUS

    (duh-SOO)
    • UNDER
    • INDICATES WORKING FOOT PASSES BEHIND (UNDER)  THE SUPPORTING FOOT
  2. DOS A DOS

    (doh za doh)
    BACK TO BACK
  3. COU-DE-PIED
    FLEXED
    TOUCH TOE TO ANKLE

    • FEEL WHERE PINKIE TOE TOUCHES INSIDE OF OPPOSITE SHINBONE
    • FLEX FT & TOUCH HEEL TO SAME SPOT ON INNER SIDE OF LEFT SHINBONE
  4. VOYAGE

    (vwah-yah-ZHAY)
    TRAVELED, TRAVELING

    INDICATES THAT WHILE HOLDING A SPECIFIC POSE, GENERALLY EN ARABESQUE, PROGRESSES ON SUPPORTING FT BY SERIES OF SM JUMPS LANDING ON BALL OF FT IN DEMI-PLIE WITH HEEL SLIGHTLY RAISED-HEEL IS PLACED DOWN WITH SLIGHT FONDU
  5. RENVERSE

    (rahn-vehr-SAY)
    • UPSET, REVERSED-SPANISH ORGIN
    • BENDING OF BODY DURING TURN
    • BALANCE IS UPSET BUT NOT EQUILIBRIUM APPLIES TO 3 STEPS
    • PIROQUETTE, PAS DE BOURREE, EN TOURNANT A DETOURNE
    • BODY BENDS FROM WAIST, SIDEWAYS & BACKWARDS
    • HEAD FOLLOWS MOVEMENT OF BODY
  6. EN RECULANT

    (ahn ruh-kew-LAHN)
    DRAWING BACK

    TERM OF FRENCH SCHOOL IMPLIES THAT WORKING LEG PASSES FROM FRNT TO BCK
  7. ALLEGRO

    (a-lay-GROH)
    BRISK, LIVELY
  8. SOUBRESAUT
    SUR LA POINTE

    (soo-bruh-SOH
    sewr lah pwent)
    SOUBRESAUT ON POINTE

    • JUMPS ARE VERY SMALL & ARE DONE IN DEMI-PLIE ON POINT WITHOUT STRAIGHTENING KNEE BETWEEN JUMPS
    • DONE WITH STRONGLY HELD HEEL KEEPING ARCH & ANKLE TENSE
  9. TOUR

    (toor)
    TURN

    A TURN OF THE BODY
  10. SAUT

    (soh)
    JUMP

    • JUMP OFF BOTH
    • LANDING IN SAME POSITION
  11. EN TOURNANT

    (ahn toor-NAHN)
    TURNING
  12. ROND

    (rawn)
    ROUND OR CIRCULAR
  13. UN

    (uhn)
    ONE
  14. A GAUCHE

    (a gohsh)
    TO THE LEFT
  15. SUR

    (sewr)
    FLOWN

    INDICATES THAT THE STEP IS DONE WITH A FLYING OR SOARING MOVEMENT
  16. A TERRE

    (a tehr)
    • ON THE GROUND
    • TERM INDICATES
    • 1) ENTIRE BASE OF FOOT OR FEET TOUCHES THE GROUND
    • 2) THE FOOT USUALLY RAISED IN A POSE IS TO REMAIN ON THE GROUND WITH THE TOES EXTENDED
  17. TEMPS

    (tahn)
    TIME, STEP, MOVEMENT

    PART OF A STEP OR MOVEMENT IN WHICH THERE IS NO TRANSFER OF WEIGHT

    A TEMP IS A SECTION OF A PAS (SIMPLE STEP THAT INVOLVES TRANSFER OF WEIGHT)
  18. SOUS-SUS

    (soo-SEW)
    UNDER-OVER

    • RELEVE IN 5TH DRAWING FEET & LEGS TIGHTLY TOG
    • FROM FRNT LOOKS AS ONE FOOT WITH 2 HEELS
    • BUTTERFLY HEELS
  19. MANEGES

    (ma-NEZH)
    CIRCULAR

    APPLIED TO STEPS OR ENCHAINEMENTS EXECUTED IN A CIRCLE
  20. GENOU

    (zhuh-NOO)
    KNEE
  21. TERMINE

    (tehr-mee-NAY)
    ENDED
  22. LOCATING CENTER
    • FEET PARALLEL
    • ENGAGE THIGHS, KNEES STRAIGHT
    • LIFT ABS UP & BCK (PULL UP POS)
    • RIB CAGE OVER HIPS,
    • SHOULDERS DOWN, CHIN UP, NECK LONG, ARMS CURVE FRNT OF THIGHS
    • WEIGHT ON BALLS OF FEET
  23. QUADRILLE

    (ka-DREE-yuh)
    A FRENCH SQUARE DANCE OF EARLY 19TH CENTURY
  24. CISEAUX

    (see-ZOH)
    • SCISSORS
    • SCISSOR LIKE MOVEMENT MADE BY OPENING FEET TO WIDE 2ND SUR LES POINTES OR JUMPING INTO AIR & OPENING BOTH LEGS TO 2ND EN L'AIR
  25. SAUTILLE

    (soh-tee-YAY)
    HOPPED, HOPPING

    WHEN THIS TERM IS ADDED TO THE NAME OF A STEP THE MOVEMENT IS PERFORMED WITH HOPS
  26. DEMI
    (duh-MEE)

    DEMI-POSTION
    (duh-MEE-paw-zee-SYAWN)

    DEMI-HAUTEUR
    (duh-MEE-oh-TUHR)
    HALF

    HALF POSITION-TERM FOR FOOT AT POINT MIDWAY BETWEEN  A TERRE & ITS EQUIVALENT EN L'AIR

    HALF HEIGHT-POS OF EXTENDED LEG RAISED TO POINT MIDWAY BETWEEN POS OF A TERRE & EN L'AIR
  27. PIETINER

    (pyay-tee-NAY)
    TO STAMP THE FEET
  28. BATTERIE

    (bat-REE)
    BEATEN

    • LEGS BEAT AGAINST THE OTHER
    • ACTUAL BEATING DONE WITH CALVES
    • BOTH LEGS EXTENDED 
    • DIVIDED INTO GRANDE AND PETITE ACCORDING TO ELEVATION
  29. TROIS

    (trwah)
    THREE
  30. TAQUETE

    (tak-TAY)
    PEGGED

    TERM USED TO INDICATE A DANCE SUR LES POINTES OF QUICK LITTLE STEPS IN WHICH THE POINTS STRIKE THE FLOOR SHARPLY IN A STACCATO MANNER
  31. EN L'AIR

    (ahn lehr)
    IN THE AIR
  32. SIX

    (seess)
    SIX
  33. SEPT

    (set)
    SEVEN
  34. TENDU

    (tahn DEW)
    STRETCHED
  35. ARABESQUE

    (a-ra-BESK)

    ONE OF THE BASIC POSES IN BALLET
    • TAKES ITS NAME FROM A FORM OF MOORISH ORNAMENT
    • A POS OF BODY IN PROFILE SUPPORTED ON 1 LEG STRAIGHT OR DEMI
    • OTHER LEG EXTENDED BEHIND & AT RIGHT ANGLES
    • ARMS IN VARIOUS POS
    • CREATING LONGEST LINE FROM FINGERTIPS TO TOES
    • SHOULDERS SQUARE TO THE LINE OF DIRECTION
  36. en ARRIERE

    (ah na-RYEHR)
    BACKWARD
  37. MARQUER

    (mar-KAY)
    TO STAMP, TO MARK

    THE ACCENTS IN A STEP

    ALSO TO MARK OR "WALK THROUGH" THE STEPS OR AN ENCHAINMENT OR VARIATION
  38. JARRET

    (zha-REH)
    HAM

    (BEND OF THE KNEE)
  39. DEUX

    (duh)

    DEUXIEME

    (duh-ZYEM)
    TWO

    SECOND
  40. BATTU

    (ba-TEW)
    BEATEN

    ANY STEP EMBELLISHED WITH A BEAT IS PAS BATTU
  41. FERME (e)

    (fair-MAY)
    CLOSED
  42. TETE

    (tet)
    HEAD
  43. DERRIERE

    (deh-RYEHR)
    • BEHIND, BACK
    • REFERS TO A MOVEMENT OF PLACING  A LIMB IN BACK OF THE BODY
  44. EN DEDANS

    (ahn duh-DAHN)
    • INWARD
    • INDICATES THE LEG MOVES IN A CIRCULAR DIRECTION
    • COUNTERCLOCKWISE FROM BACK TO FRONT
    • PIROUETTES
    • INDICATES THAT A PIROUETTE IS MADE INWARD TOWARD THE SUPPORTING LEG
  45. DEVANT

    (duh-VAHN)
    • IN FRONT
    • STEP OR MOVEMENT OF PLACING LIMB IN FRONT OF THE BODY
    • ALSO MEANS WORKING FOOT IS CLOSED IN FRONT
  46. de SUITE

    (duh sweet)
    CONTINUOUSLY

    INDICATES A STEP OR MOVEMENT IS TO BE REPEATED SEVERAL TIMES
  47. EN HAUT

    (ahn oh)
    HIGH

    INDICATES A HIGH POSITION OF ARMS
  48. RETOMBE

    (ruh-tawn-BAY)
    • FALLING BACK
    • FRENCH AND CECCHETTI

    TO FALL BACK AGAIN TO THE ORIGINAL POSITION
  49. JAMBE

    (zhahnb)
    LEG
  50. EN DEHORS

    (ahn duh-AWR)
    • OUTWARD
    • INDICATES LEG MOVES IN A CIRCULAR DIRECTION, CLOCKWISE
    • PIROUETTES
    • INDICATES THAT A PIROUETTE IS MADE OUTWARD TOWARD WORKING LEG
  51. A DROITE

    (a drwaht)
    TO THE RIGHT
  52. ALLONGE

    (a-lawn-ZHAY)
    EXTENDED, OUTSTRETCH
  53. ARRONDI

    (a-rawn-DEE)
    ROUNDED, CURVED
  54. TARANTELLA

    (tah-rahn-TEL-lah)
    A FAST ITALIAN DANCE IN 6/8 TIME
  55. PENCHE

    (pahn-SHAY)
    LEANING, INCLINING
  56. MINUET
    A DIGNIFIED DANCE IN 3/4 TIME- INTRODUCED DURING THE REIGN OF LOUIS XIV
  57. SERRE

    (seh-RAY)
    TIGHT, CLOSE
  58. CAMBRE

    (kahn-BRAY)
    ARCHED

    • BODY BENT FROM WAIST
    • BACKWARD OR SIDEWAYS
    • HEAD FOLLOWING MOVEMENT OF BODY
  59. SOUTENU

    (soot-NEW)
    SUSTAINED
  60. WALKING & RUNNING
    MAINTAIN TURNOUT AT ALL TIMES

    • POINT EACH FT EVERY TIME IT LEAVES FLOOR & AS YOU RETURN EACH FT TO FLOOR
    • PLACE TOE 1ST, TRANSFER WEIGHT TO BALL & FINALLY HEEL
    • TOE-BALL-HEEL
  61. en QUARRE
         (carre)

    (ahn ka-RAY)
    IN THE SHAPE OF A SQUARE
  62. GIGUE

    (zheeg)
    JIG- EARLY 18TH CENTURY DANCE IN 2/4 TIME
  63. EN BAS

    (ahn bah)
    LOW

    USED TO INDICATE A LOW POSITION OF ARMS
  64. NEUF

    (nuhf)
    NINE
  65. MAINS

    (men)
    HANDS
  66. GAVOTTE

    (ga-VAWT)
    • PEASANT DANCE
    • BECAME COURT DANCE DURING THE REIGNS OF LOUIS XIV & XV
  67. TALON

    (ta-LAWN)
    HEEL
  68. ENCHAINEMENT

    (ahn-shen-MAHN)
    • LINKING
    • COMBO OF 2 OR MORE STEPS ARRANGED TO FIT MUSIC
  69. EPAULEMENT

    (ay-pohl-MAHN)
    • SHOULDERING
    • PLACING OF SHLDER
    • USED TO INDICATE MOVEMENT OF TORSO FROM THE WAIST UPWARD
    • BRING 1 SHLDER FORWARD & OTHER BACK WITH HEAD TURNED OR INCLINED OVER FORWARD SHLDER
    • 2 MAIN POS
    • CROISE-
    • 5TH, R FRNT, FACING LFT FRNT CRNR, HEAD TO R SHLDER
    • EFFACE-
    • 5TH, L FRNT, FACE LFT FRNT CRNR, HEAD TO LFT SHLDER
  70. SISSONNE

    (see-SAWN)
    • NAMED FOR ORIGINATOR OF STEP
    • JUMP FROM BOTH FT ONTO ONE EXCEPT SISSONNE FERMEE - CLOSED
    • SISSONNE TOMBE - FALLING
    • SISSONNE FONDU - SINKING
    • WHICH FINISH ON 2 FEET
  71. EN CROIX

    (ahn krwah)
    • IN SHAPE OF A CROSS
    • EXERCISE EXECUTED TO FRONT, SIDE, BACK, OR VICE VERSA
  72. SAUTE

    (soh-TAY)
    • JUMP FROM 2 FEET TO 2 FEET
    • WHEN TERM IS ADDED TO A STEP THE MOVEMENT IS PERFORMED WHILE JUMPING
    • IN ALL JUMPING MOVEMENTS TIPS OF TOES TOUCH FIRST THEN BALL FOLLOWED BY HEEL
  73. PAS BALLONNE

    (pah ba-law-NAY)
    • BALL-LIKE OR BOUNCING STEP
    • SPRING INTO AIR EXTENDING 1 LEG OUT
    • LAND WITH EXTENDED LEG EITHER COU-DE-PIED OR RETIRE
  74. RELEVE

    COU-DE-PIED
    • FACE BAR 1ST POS
    • DEMI-PLIE
    • RISING TO RELEVE ONTO LFT-LIFTING RT INTO COU-DE-PIED BACK
    • (RT HEEL BCK ON LOWER CALF-TOES BCK)
    • DEMI PLIE LFT LEG MAINTAIN COU-DE-PIED POS
  75. TOMBE

    (tawn-BAY)
    • FALLING
    • USED AS A PREPARATORY STEP

    • WITH WORKING LEG RAISED IN AIR
    • FALL FORWARD, BACK, OR SIDEWAYS INTO A FONDUE ON WORKING LEG
    • TRANSFERRING WEIGHT OF BODY
  76. RELEVE

    (ruhl-VAY)
    • RAISED-RAISING TO POINTS OR DEMI-POINT
    • 2 WAYS
    • FRENCH-DONE IN A SMOOTH CONTINOUS RISE
    • CECCHETTI & RUSSIAN-DONE WITH A SLIGHT SPRING DURING WHICH TOES ARE BROUGHT DIRECTLY UNDER CENTRAL LINE (WHERE INSTEPS WERE)
  77. CABRIOLE

    (ka-bree-AWL)
    • CAPER
    • ALLEGRO STEP IN WHICH EXTENDED LEGS ARE BEATEN IN AIR-
    • PETITE-EXECUTED AT 45 DEGREES
    • GRANDE-EXECUTED AT 90 DEGREES
    • WORKING LEG THRUST IN AIR
    • UNDERNEATH LEG FOLLOWS & BEATS 1ST LEG SENDING IT HIGHER
    • LANDING MADE ON UNDERNEATH LEG
  78. COUPE
    • WHEN IN DOUBT COUPE OUT
    • CUT, CUTTING
    • SM INTERMEDIARY STEP DONE AS A PREP FOR OTHER STEPS
    • MAY ALSO BE DONE IN SERIES FRM 1 TO OTHER FT
    • GO IN DIRECTION & DO DEMI WHILE BRINGING OTHER IN COU-DE-PIED POS
    • BK OR FRNT
  79. TOUR DE PROMENADE

    (toor duh prawn-NAD)
    TURN IN A WALK

    TURN SLOWLY ON 1 FT BY SERIES OF SLIGHT MOVEMENT OF HEEL WHILE MAINTAINING A DEFINITE POSE
  80. FOUETTE

    (fweh-TAY)
    • WHIPPED
    • MOVEMENT MAY BE A SHORT WHIPPED MOVEMENT OF RAISED FT AS PASSES RAPIDLY IN FRNT OR BEHIND SUPPORTING FT
    • OR SHARP WHIPPING AROUND  BODY FROM 1 DIRECTION TO ANOTHER
    • GREAT VARIETY OF FOUETTES
  81. TEMPS DEVELOPPE

    (tahn dayv-law-PAY)
    • TIME DEVELOPED
    • THE WORKING LEG IS DRAWN UP TO THE KNEE OF SUPPORTING LEG & SLOWLY EXTENDED TO AN OPEN POSITION
    • HELD THERE WITH PERFECT CONTROL
    • HIPS LEVEL AND SQUARE DIRECTION DANCER FACING
    • FOOT IS BROUGHT UP TO RETIRE, TOE POINTED AT SIDE OF KNEE BEFORE EXTENDING
  82. DEBOULES

    (day-boo-LAY)
    • ROLLINGS LIKE A BALL
    • SERIES OF DEMI-TOURS EXECUTED ALTERNATELY ON EACH FOOT MOVING FORWARD IN SINGLE DIRECTION TURNING RT
    • 1ST HALF-TURN WILL BE ON R FOOT THEN L FOOT STEPS FORWARD & COMPLETES THE TURN
    • FEET ARE HELD VERY CLOSE TOG IN 1ST POS & DONE QUICKLY AS POSSIBLE
  83. FONDU, FONDUE

    (fawn-DEW)
    • SINKING DOWN
    • LOWERING THE BODY MADE BY BENDING THE KNEE OF SUPPORTING LEG
    • OR THE ENDING OF A STEP WHEN THE WORKING LEG IS PLACED ON GROUND WITH A SOFT & GRADUAL MOVEMENT
  84. BATTEMENT TENDU
    ECARTE DERRIERE

    (ay-car-JAY duh-ree-AIR)

    ONE OF NINE BATTEMENT TENDU POSITIONS
    • ECARTE DERRIERE
    • OPEN & BACK TO THE SIDE
    • FACE D2-5TH RT FRNT-ARMS LOW 5TH
    • RT FT TENDU TO SIDE (D4) BRINGING ARMS THRU MID 5TH
    • LIFT RT ARM OVERHEAD AS OPENING LFT TO 2ND 
    • FACING D8 CHIN LIFTED-EYES LOOKING OVER LFT ARM
  85. BATTEMENT TENDU
    A LA SECONDE

    (ah la se-COND)

    ONE OF THE NINE BATTEMENT TENDU POSITIONS
    • A LA SECONDE
    • FLAT FRONT TO THE SIDE

    • FACE D1-5TH RT FRNT-ARMS LOW 5TH
    • RT TENDU TO SIDE TOWARD D3
    • BRING ARMS THRU MID 5TH & OPEN TO 2ND HEAD FACING D1
    • CHIN LIFTED
  86. BATTEMENT TENDU
    CROISE DERRIERE

    (kwah-ZAY duh-ree-AIR)

    ONE OF THE NINE BATTEMENT TENDU POSITIONS
    • CROISE DERRIERE
    • CROSSED & TO THE BACK

    • FACING D2-5TH RT BCK-ARMS LOW 5TH
    • RT TENDU TO BCK TO D6
    • ARM THRU MID 5TH
    • LIFT RT ARM OVER HEAD AS YOU OPEN LFT ARM TO 2ND
    • HEAD FACING CORNER D8 CHIN LIFTED D8
  87. BATTEMENT TENDU
    QUATRIEME DERRIERE
      
    (kah-tree-EM duh-ree-AIR)

    ONE OF NINE BATTEMENT TENDU POSITIONS
    • QUATRIEME DERRIERE
    • FLAT FRNT TO THE BACK

    • FACING D1-5TH RT FT BK-ARMS LOW 5TH
    • RT TENDU BACK TO D5
    • ARMS THRU MID 5TH OPEN TO 2ND
    • HEAD FACES FRNT (D1) CHIN LIFTED
  88. BATTEMENT TENDU
    QUATRIEME DEVANT

    (kah-tree-EM duh-VAHN)

    ONE OF THE NINE BATTEMENT TENDU POSITIONS
    • QUATRIEME DEVANT
    • FLAT FRONT TO THE SIDE

    • FACING D1-5TH RT FRNT-ARMS LOW 5TH
    • RT TENDU FRNT
    • ARMS THRU MID 5TH INTO 2ND
    • HEAD FACES FRNT - CHIN LIFTED
  89. BATTEMENT TENDU 
    CROISE DEVANT

    (kwah-ZAY duh-VAHN)

    ONE OF NINE BATTEMENT TENDU POSITIONS
    • CROISE DEVANT
    • CROSSED & TO CORNER

    • FACING D8 - 5TH RT FT FRNT - ARMS LOW 5TH
    • RT FT TENDU TO FRNT D8
    • BRING RT ARM 2ND & LFT ARM OVERHEAD
    • HEAD INCLINED TO RT
  90. BATTEMENT TENDU
    ECARTE DEVANT

    (AY-tay duh-VAHN)

    ONE OF THE NINE BATTEMENT TENDU POSITIONS
    • ECARTE DEVANT
    • TO THE CORNER, OPEN SIDE

    • FACING D8 - 5TH RT FRNT - ARMS LOW 5TH
    • RT FT TENDU SIDE D2
    • ARMS THRU MID 5TH LIFT RT ARM OVER HEAD AS LEFT OPEN TO 2ND
    • HEAD FACES D2- CHIN LIFTED
  91. BATTEMENT TENDU
    EFFACE DERRIERE

    (ef-fah-SAY duh-ree-AIR)

    ONE OF THE NINE BATTEMENT TENDU POSITIONS
    • EFFACE DERRIERE
    • TO THE BACK CORNER IN BACK

    • FACING D2-5TH RT FRNT - ARMS LOW 5TH
    • RT TENDU SIDE TO D4
    • ARMS THRU MID 5TH
    • LIFT RT ARM OVERHEAD AS OPEN LFT ARM TO 2ND
    • HEAD IS FACING CORNER D8- CHIN LIFTED- EYES LOWERED OVER LFT ARM
  92. BATTEMENT TENDU
    EFFACE DEVANT

    (ef-fah-SAY duh-VAHN)

    ONE OF NINE BATTEMENT TENDU POSITIONS
    • EFFACE DEVANT
    • TO THE CORNER IN FRONT, OPEN

    • FACE D2 5TH RT FRNT ARMS LOW 5TH
    • RT FT TENDU FRNT D2
    • ARMS THRU MID 5TH
    • LIFT RT ARM INTO 2ND & LFT OVERHEAD
    • HEAD FACES D8- CHIN LIFTED
  93. PAS JETE

    (PAH juh-tay)
    • 5TH LFT FRNT
    • DEGAGE RT TO SIDE WHILE DEMI-PLIE ON LFT
    • ARMS LOW 4TH RT FRNT
    • PUSH OFF LFT TO JUMP BRINGING LFT TO COU-DE-PIED BCK
    • MAINTAIN AS LANDING DEMI-PLIE ON RT
    • ARMS LOW 4TH
    • ALWAYS START WITH BACK LEG
  94. PAS DE CHAT

    (PAH duh SHAH)
    CAT'S STEP

    • 5TH LFT FRNT ARM LOW 4TH
    • LIFT RT LEG INTO RETIRE AS DEMI-PLIE ON LFT
    • PUSH OFF LFT LEG INTO AIR BRING LFT INTO RETIRE
    • DIAMOND SHAPE WITH LEGS
    • LAND ON RT-LFT IN RETIRE
    • CLOSE LFT IN FRNT 5TH
  95. POSITIONS DES BRAS

    (paw-see-SYAWN say brah)

    3RD POSITION
    • 3RD POS:
    • ARMS HELD WITH 1 ARM CURVED IN FRNT OF BODY
    • OTHER ARM SLIGHTLY ROUNDED & OPEN TO SIDE
  96. ECHAPPE

    (ay-sha-PAY)
    • ESCAPING OR SLIPPING MOVEMENT
    • LEVEL OPENING OF BOTH FEET FROM CLOSED TO OPEN POS
    • SAUTE IS DONE WITH A SPRING FROM 5TH TO DEMI PLIE IN OPEN POS
    • SUR LE POINTES OR DEMI POINTES IS DONE WITH RELEVE & STRAIGHT KNEES WHEN OPEN
    • BOTH ARE DONE TO 2ND OR 4TH
  97. BATTEMENT FRAPPE

    (bat-MAHN frah-PAY)
    • BATTEMENT TENDU SIDE
    • FT TO FRNT COU-DE-PIED FLEXED
    • BATTMENT TENDU DEGAGE FRNT
    • AS CLOSER TO FLOOR-HALFWAY THRU-STRIKE FLOOR
    • RETURN TO COU-DE-PIED FLEXED
    • REMEMBER STRGHT LINE(NO DIP)
    • EXECUTE WITH ACCENT
    • LOWER MOVES
    • UPPER LEGS QUIET & TURNED OUT
  98. PAS DE BOURREE

    (PAH duh boo-RAY)
    • BACK-SIDE-FRONT-REPEAT
    • DOWN-UP-DOWN
    • 5TH-RT ARM LOW 5TH-LFT COU-DE-PIED BCK
    • DEMI-PLIE-ARM LOW 4TH RT FRNT
    • RISE TO BALL RT FT
    • CLOSE LFT IN BCK 5TH
    • RT FT TO 2ND (STILL IN RELEVE) RT ARM TO 2ND
    • CLOSE LFT IN FRNT OF RT
    • DEMI-PLIE ON LFT AS RT FT INTO COU-DE-PIED IN BCK
    • CLOSING LFT ARM IN LOW 4TH ALL AT SAME TIME
    • THEN TO OTHER SIDE
  99. GARGOUILLADE

    (far-goo-YAD)
    • GURGLING OR RUMBLING STEP
    • RESEMBLES A PAS DE CHAT WITH DBL ROND DE JAMBE
    • ACTUALLY A ROND DE JAMBE & A HALF
    • WITH COMMENCING LEG-EXECUTE DBLE ROND DE JAMBE EN L'AIR WITH RT LEG
    • FINISH RT FT AT LFT KNEE
    • SPRING UPWARD TO RT OFF LFT FT
    • LANDING DEMI-PLIE ON RT FT
    • BRING LFT TO RT KNEE
    • CLOSE LFT DEMI-PLIE IN 5TH FRNT
  100. PAS ASSEMBLE

    (PAH ah-sahm-BLAY)
    • 5TH LFT FRNT-ARMS LOW 4TH- RT FRNT
    • DEMI PLIE
    • BRUSH RT LEG DEGAGE TO SIDE
    • JUMP OFF LFT LIFT LFT LEG TO MEET RT LEG ASSEMBLING LEGS IN AIR LFT CROSS IN 5TH BCK
    • LAND 5TH RT FRNT DEMI-PLIE
    • NO TRAVELING
    • UP & DOWN
    • REPEAT STEP TO LEFT
  101. RETIRE

    (ruh-tee-RAY)
    • WITHDRAWN
    • 1ST RT FRNT WEIGHT ON LFT ON BALLS OF FEET
    • LIFT RT OFF FLOOR -RAISE THIGH
    • BEND KNEE POINTING TOE
    • DRAW BABY TOE UP ANKLE TO SHIN TO KNEE
    • TOUCH FT TO LFT LEG JUST BELOW KNEE CAP -KNEE BEHIND FT
    • ARMS TO MID 5TH
  102. COUPE DESSOUS

    (koo-PAY duh-SOO)
    • COUPE UNDER
    • WHEN 1 FT CUTS UNDER THE HEEL OF THE SUPPORTING FT
    • 4TH RT BCK TENDU
    • DEMI-PLIE ON LFT
    • FINISH IN FONDU ON RT FT IN PLACE VACATED BY LFT FT
    • LFT FT EXTENDED A TERRE OR DEMI-HAUTEUR
  103. PAS DE CHEVAL

    (pah duh shah-VAL)
    HORSE'S STEP (PAWING THE GROUND)

    • 4TH DEVANT POINTE TENDU
    • BRUSH POINTED FT IN TOWARD KNEE
    • EXECUTE A DEVELOPPE FRNT
    • FINISHING POINTE TENDU A TERRE IN 4TH POS DEVANT
  104. RIGHT LEG ARABESQUE
    • 1ST EASIEST-RT ARM OUT TO 2ND PALM DOWN LFT ARM STRGHT AHEAD
    • 2ND OPPOSITION-RT ARM STRGHT AHEAD LFT TO 2ND PALM DOWN
    • 3RD ROMANTIC-BOTH ARMS FRT RT STRGHT LFT SLIGHTLY UP
    • 4TH OPPOSITION-RT FRNT LFT ARM TO SIDE PALM DOWN
  105. GRAND BATTEMENT

    (SIDE)
    • SIDE
    • START POS RT ARMS 2ND
    • BRUSH RT LEG OUT TO RT
    • TOES OF POINTED FT LAST TO LEAVE
    • TOP OF KICK CAN SEE SOLE IN MIRROR-LEG BEHIND ARM
    • CONTINUE TO LIFT LEG TO RT
    • AS LOWERING TO 5TH TOUCH TOES 1ST
    • THEN BRUSH FT ALONG GRND
    • CLOSE BEHIND 5TH
  106. GRAND BATTEMENT DEVELOPE

    (DAVE-low-PAY)

    BACK
    • FT IN COU-DE-PIED BCK (TOES FARTHER BCK THAN HEEL) ARMS LOW 5TH
    • CONTINUE TO BRING FT UP SHIN POINTED TOES ARE WITH KNEE- ARMS MID 5TH
    • LEG TURNED OUT LIFT KNEE STRAIGHTEN KNEE- ARMS 2ND
    • WHEN LEG IS STRAIGHT LIFT 1 SEC MORE
    • CLOSE TO 5TH IN BCK
  107. ROYALE

    (rwah-YAL)
    • ROYAL-CHANGEMENT IN WHICH CALVES ARE BEATEN TOG BEFORE FEET CHANGE POS
    • ALSO TERMED CHANGEMENT BATTU
    • 5TH RT FRNT
    • DEMI-PLIE
    • SPRING INTO AIR OPENING BOTH LEGS SLIGHTLY
    • QUICKLY CLOSE LEGS & BEAT CALVES TOG
    • OPEN SLIGHTLY TO SIDE
    • LAND DEMI-PLIE IN 5TH RT FT BCK
  108. BOURRE

    (boo-RAY)
    TRAVELING STEP

    • 5TH RT FRNT ARMS LOW 5TH
    • RELEVE TO SOUS-SUS WEIGHT ON RT
    • MOVE LFT FT 1-2" TO RT KEEPING IT BEHIND RT FT
    • SLIDE RT FT 1-2"
    • CONTINUE
    • (IT IS OKAY TO BEND KNEES SLIGHTLY)
    • THIGHS STAY TOG
  109. DETOURNE

    (day-toor-NAY)
    • PIQUE TURNED ASIDE
    • 5TH RT BCK
    • PLIE
    • DEGAGE RT FT TO 2ND AT 45*
    • STEP ON RT POINT
    • IMMEDIATELY STEP ON LFT POINT CROSSED BEHIND IN 5TH
    • PIVOT TO BCK FT
    • TURN FINISHES 5TH LFT FT FTNT
  110. GLISSADE

    (glee-SAHD)
    CONNECTING STEP

    • 5TH LFT FRNT ARMS 2ND DEMI-PLIE
    • RT SIDEWAY DEGAGE 2ND POS MAINTAIN PLIE
    • PUSH OFF LFT STRAIGHTENING KNEES
    • LAND ON RT LOWER INTO DEMI-PLIE WITH LFT TO SIDE IN DEGAGE
    • CLOSE LFT FRNT 5TH DEMI-PLIE
  111. FOURTH ARABESQUE

    (DEVELOPPES)
    • OPPOSITION
    • D2 5TH RT BCK ARMS LOW 5TH
    • RT TENDU BCK ARMS MID 5TH
    • RT ARABESQUE MAINTAIN TURNOUT HEEL CAN'T BE SEEN FROM FRNT
    • STRGHTEN RT ARM IN FRNT OF RT SLDER EYE LEVEL LFT ARM SLIGHTLY BCK & LOWER THAN LFT SHLDER PALM DOWN
  112. POSITIONS DES BRAS

    (paw-zee-SYAWN day brah)

    1st
    1ST POSITION:  ARMS ARE CURVED AND HELD AT SIDES WITH FINGERTIPS JUST OFF THIGHS
  113. SISSONE FERMAY

    (see-sone fair-MAY)
    • CLOSED SISSONE
    • LANDING CLOSED
    • 5TH RT FRNT ARMS LOW 4TH RT FRNT PLIE
    • JUMP FROM BOTH LEGS TRAVEL RT OPEN ARMS TO 2ND
    • LAND ON RT LIFTING LFT LEG ARMS IN 2ND
    • CLOSE LFT TO FRNT IN 5TH BRING LFT ARM TO LOW 4TH
  114. POSITIONS DES BRAS

    (paw-see-SYAWN day brah)

    5th
    • 5TH POS:  WHENEVER ARMS FORM A CIRCLE THEY ARE IN 5TH
    • EN BAS (LOW) ROUNDED ARMS REST JUST OFF THIGHS FINGERTIPS ALMOST TOUCH
    • EN AVANT (FORWARD) ROUNDED ARMS RAISED IN FRNT OF BODY PALMS OF HANDS FACING BODY
    • EN HAUT (HIGH) ROUNDED ARMS ARE RAISED ABOVE HEAD FINGERTIPS JUST IN LINE OF VISION
  115. POSITIONS DES BRAS

    (paw-zee-SYAWN day brah)

    2nd
    • 2ND POSITION:  
    • ARMS HELD OUT TO SIDES IN A SWEEPING LINE SO ELBOW IS LOWER THN SHOULDER AND WRIST IS LOWER THAN ELBOW PALMS FACE AUDIENCE
    • DEMI ARMS TO SIDE HALFWAY BETWEEN 1ST & 2ND PALMS TURNED INWARD- USED IN ALLEGRO STEPS
  116. SISSONNE OUVERTE

    (oo-VAYRT)
    LANDING OPEN ON ONE LEG

    • D2 5TH FRNT ARMS LOW 5TH DEMI-PLIE
    • PUSH OFF BOTH LEGS SHOOTING RT LEG FORWARD LIFTING LFT BCK ARMS 1ST ARABESQUE
    • LAND ON RT KEEPING LFT BEHIND IN ARABESQUE-ARMS IN 1ST ARABESQUE
  117. TEMPS DE CUISSE
    (tahn duh kweess)
    • THIGH MOVEMENT
    • COMPOUND STEP CONSISTING OF A BATTEMENT DEGAGE & SISSONE FERMEE-WORKING LEG EXECUTES BATTEMENT DEGAGE ON UPBEAT OF MEASURE IN PREPARATION FOR SISSONE FERMEE IN REQUIRED DIRECTION-STEP TRAVELS SLIGHTLY & FEET CLOSE SHARPLY
  118. GRAND BATTEMENT
    (GRAHN bat-MAHN)
    EN ATTITUDE
    • HIGH KICK
    • BRUSH FT FRNT-LIFT LEG HIGH-KEEP TURN OUT-BEND LEG 90*
    • CONTROL DESCENT PUSHING GENTLY AGAINST GRAVITY-
    • FLOAT DOWN TO 5TH TO SIDE-SOLE OF FT SHOULD BE VISIBLE IN MIRROR TO BACK-KEEP TURN OUT
    • SHOULDERS PARALLEL TO FT WALL.
  119. POSITIONS DES BRAS
    (paw-see-SYAWN - day brah)
    4th
    • 4TH POSITION:
    •  EN AVANT-
    • 1 ARM IS OPEN TO  2ND
    • OTHER IS ROUNDED
    • RAISED FRNT OF BODY OPPOSITE LOWER RIB 
    • EN HAUT-
    • 1 ARM OPEN TO 2ND
    • OTHER IS RAISED ABOVE HEAD
    • EN ARABESQUE
    • FORWARD ARM TO BE EXTENDED IN 4TH FRNT
    • BACK ARM IS TO EXTENDED IN 4TH BACK
  120. POLKA
    • DANCE IN 3/4 TIME
    • 5TH RT FRNT -
    • TEMP LEVE ON LFT
    • PETIT DEVELOPPE A LA QUATRIEME DEVANT WITH RT
    • STEP FRNT ON RT
    • PLACE LFT SLIGHTLY BEHIND RT
    • STEP FORWARD ON RT
    • REPEAT ON ALTERNATE FEET
  121. ATTITUDE

    (a-tee-WEWD)
    • POSE DERIVED BY CARLOS BLASIS FROM  STATUE OF MERCURY BY GIOVANNI DA BOLOGNA
    • POSITION ON 1 LEG WITH OTHER LIFTED BACK
    • KNEE BENT AT 90* WELL TURNED OUT, KNEE HIGHER THAN FOOT
    • SUPPORTING FT A TERRE, DEMI-POINT OR POINTE
    • ARM ON SIDE OF RAISED LEG OVER HEAD IN CURVED POSITION
    • OTHER IS EXTENDED TO SIDE
  122. TOURS CHAINE DEBOULES
    (TOOR-sheh-VAY day-boo-LAY)
    TRAVELING TURN

    • 1ST-- ARMS LOW 5TH
    • RELEVE ARMS MID 5TH - 2ND
    • CLOSE ARMS INTO ROUNDED MID 5TH FRNT
    • LIFT LFT LEG SLIGHTLY OFF FLOOR,
    • ROTATE RT HALFWAY ROUND,
    • FT TO 1ST ARMS 2ND,
    • LIFT LFT LEG ROTATE TO RT COMING TO FRNT IN 1ST POS
    • (RELEVE THROUGHOUT)
  123. FIRST ARABESQUE
    (DEVELOPPE)
    • EASIEST-MOST COMMON
    • D7-5TH-RT BK-ARMS LOW 5TH
    • RT TENDU BCK -ARMS MID 5TH
    • RT ARABESQUE
    • MAINTAIN TURNOUT AT RT HIP-
    • STGHT KNEE-POINTED FT-HEEL CANT BE SEEN-
    • AS LIFT LEG RT ARM TO 2ND-PALM DOWN-ELBOW BEHIND SHLDER-
    • STRGHT LFT ARM-HAND EYE LEVEL-CHIN LIFTED
  124. SECOND ARABESQUE
    (DEVELOPPE)
    OPPOSITION

    • RT ARM FRNT-RT LEG BCK
    • D7-5TH RT BCK-ARMS LOW 5TH
    • RT TENDU-ARMS MID 5TH-
    • RT LEG ARABESQUE-
    • MAINTAIN TURNOUT-
    • STRGHT KNEE-POINTED TOE-
    • HEEL CAN  BE SEEN
    • AS LEFT LEG STRGHT RT ARM IN FRNT SLIGHT HIGHER THAN RT SHOLDER-
    • OPEN LFT ARM 2ND-PALM DOWN-ELBOW BEHIND SHLDER-
    • LOOK OVER RT ARM
  125. GRAND BATTEMENT
    (BACK)
    BACK - ARABESQUE

    • 5TH-RT BCK-ARM 2ND
    • DEGAGE BCK-TOES BRUSH THRU 1ST-
    • LEG 90* BEHIND-TOE POINTED-HIP OUT (RT HEEL HIDDEN IN LINE WITH LEG)-
    • AS LIFTING BRING UPPER BODY FORWARD IN STRGHT LINE
  126. GRAND JETE
    (GRAHN juh-TAY)
    • D6 LFT TENDU CROISE DEVANT-
    • BODY FACING D2-ARMS 2ND-
    • 2 STEPS LT-RT
    • AS STEP WITH LFT-PLIE
    • BRUSH RT LEG GRAND BATTEMENT FRNT- RAISE ARMS LOW 5TH TO MID 5TH
    • AS RT LEG LIFTS-PUSH OFF WITH WITH LFT LEG
    • LFT LEG ARABESQUE
    • ARMS HIGH 4TH- LFT HIGH-LAND ON RT-DEMI- PLIE
    • LFT LEG ARABESQUE-ARMS HIGH 4TH LFT HIGH
    • LAND ON RT-DEMI-PLIE
    • LFT ARABESQUE
    • BRUSH LFT THRU 1ST TO BEGIN STEP 2X PREPARING FOR ANOTHER
  127. GRAND BATTEMENT DEVELOPPE
    (GRAHN bat-MAHN DAVE-low-PAY)
    FRONT
    • FT IN COU-DE-PIED FRNT
    • (KEEP HEEL FORWARD OF TOES)
    • CONTINUE  LIFTING FT TO REIIRE-ARMS TO MID 5TH
    • EXTEND LEG TO FRNT LEADING WITH POINTED TOE-ARMS TO HIGH 5TH
    • LEG STRGHT RISE 1 SEC MORE-LOWER TO 5TH-ARMS OPEN TO 2ND
  128. GRAND BATTEMENT DEVELOPPE
    SIDE
    • SIDE
    • COU-DE-PIED FRNT-ARM LOW 5TH
    • BRING FT TO SHIN UNTIL POINTED TOES ARE EVEN WITH KNEE-ARM MID 5TH
    • WITH LEG TURNED OUT-LIFT KNEE-
    • AS STRGHTING KNEE OPEN ARM TO 2ND IN FRNT OF LEG
    • WHEN LEG IS STRGHT LIFT FOR 1 MORE SEC-CLOSE TO 5TH BCK (SHOULD BE ABLE TO SEE BOTTOM OF FOOT)
  129. POlONAISE
    • PROCESSIONAL DANCE IN 3/4 TIME IN WHICH COURT BALLETS OF 17TH CENTURY WERE OPENED
    • MARCH 2 STEPS FORWARD ON DEMI-POINT
    • 3RD STEP IS FLAT WITH SUPPORTING KNEE IN FONDU & OTHER RAISED FRNT-REPEAT
  130. SOUBRESAUT
    (soo-bruh-SOH)
    • SUDDEN SPRING OR BOUND
    • 5TH FRNT-ARMS LOW 5TH-
    • DEMI-PLIE
    • JUMP-CROSS FEET A BIT MORE SO TOES ARE DIRECTLY BEHIND (5TH IN AIR)
    • (MAKE SURE FEET DO NOT GET BEHIND YOU)-
    • AS LANDING OPEN FEET SLIGHTLY TO LAND IN 5TH-DEMI-PLIE WITH SAME FT FRNT-STRGHTEN-HEAD STRGHT
  131. GRAND BATTEMENT
    FRONT
    • 5TH RT FRNT-ARMS RT 2ND
    • BRUSH RT LEG FRNT (DEGAGE)
    • CONTINUE TO LIFT HIGH AS POSS-
    • KEEP STOMACH & BACK LIFTED
    • KNEES STRGHT-
    • HIP OUT (KICK)
    • CONTINUE STRGHT LEG DOWN TO 5TH
  132. WALZ
    • DOWN-UP-UP
    • SWEEPING BALLROOM DANCE IN 3/4 TIME
    • 1ST INTRODUCED IN BALLET BY PIERRE GAIDEL IN 1800
  133. ENVELOPPE
    (ahn-vuh-law-PAY)
    • ENVELOPED-
    • ROTATE BODY TURNING ENDEDANS ON SUPPORT LEG (RELEVE OR SAUTE)OTHER LEG ENVELOPS OR ENCIRCLES IT-
    • GIVES MOMENTUM TO INWARD TURNS-
    • 5TH RT FRNT- RAISE L BCK DEMI-HAUTEUR-EXECUTE GRAND ROND DE JAMBE EN DEDANS-
    • L FT ON RT SHIN BONE-
    • 1 TURN TO RT-RT ARM FRNT, LFT TO 2ND-HEAD FOLLOWS RT HAND
  134. CHASSE
    (sha-SAY)
    • CHASED
    • STEP IN WHICH 1 FOOT LITERALLY CHASES THE OTHER OUT OF ITS POSITION,
    • DONE IN A SERIES
    • STARTS & ENDS IN PLIE
    • A GLIDE INTO A OPEN POS & FINISHED IN DEMI-PLIE
    • EXECUTED IN ALL DIRECTONS-
    • DEMI-PLIE ON BOTH,
    • SLIDE R FOOT FRNT,
    • KNEE BENT TO 2ND OR 4TH
    • STRAIGHTEN KNEES, WITH L FOOT POINTE TENDUE
  135. BALANCE
    (bah-lahn-SAY)
    CLASSIC WALTZ STEP
    • ROCKING STEP
    •  DOWN-UP-UP
    • 5TH FT FRNT
    • DEMI-PLIE DEGAGE RT TO 2ND
    • JUMP ON LIGHTLY IN DEMI-PLIE CROSSING LFT BEHIND RT
    • LIFT RT SLIGHTLY
    • BCK ON RT DEMI-PLIE WITH
    • LFT SUR LE COUDE PIED DERRIERE-
    • INCLINING HEAD & BODY TO RT WHEN START
  136. EN ANANT
    (ah na-VAHN)
    • FORWARD
    • DIRECTION FOR THE EXECUTION OF STEP
  137. PAS BALLONNE
    (pah va-law-NAY)
    • BALL-LIKE OR BOUNCING STEP
    • SPRING INTO AIR EXTENDING 1 LEG TO FRNT, SID OR BCK & LANDS WITH EXTENDED LEG EITHER SUR LE COU-DE-PLED OR RETIRE
  138. BRISE
    (bree-ZAY)
    • BROKEN, BREAKING
    • SM BEATING STEP 
    • WORKING LEG BRUSHES FROM 5TH TO 2ND SO POINT OF FOOT IS FEW INCHES OFF GROUND & BEATS IN FRONT OR BEHIND OTHER LEG, WHICH HAS COME TO MEET IT- RETURN TO GROUND SAME TIME IN DEMI-PLIE IN 5TH
  139. EN CLOCHE
    (ahn klawsh)
    • LIKE A BELL
    • ARE CONTINUOUS BATTEMENTS EXECUTED FROM THE 4TH FRNT OR BCK EN L'AIR TO THE 4TH BACK OR FRNT EN L'AIR PASSING THOUGH 1ST
  140. CROISE, CROISEE
    (krwah-ZAY)
    • CROSSED
    • ONE OF THE DIRECTIONS OF EPAULEMENT 
    • CROSSING THE LEGS WITH THE BODY PLACED AT AN OBLIQUE ANGLE TO AUD
  141. A DROITE
    (a drwaht)
    TO THE RIGHT

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