Glossary of ballet

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• For more on the equestrian movement, see pirouette (dressage).

A significant part of ballet terminology is in the French language. Unless there is much to say about a specific term, there is no reason to put each and every one of them into a separate article. Please remember that foreign terms should be in italic, unless commonly accepted in the English language.

Contents

Top · 0–9 · A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

À la seconde

(aa lah seh kond) To the side or in second position. À la seconde usually means a step that moves sideways or a movement done to the side such as grand battement à la seconde. A technically challenging type of turn is pirouette à la seconde, where the dancer spins with the working leg in second position à la hauteur. This turn is usually performed by male dancers, and because of the technical skills required to perform it correctly, it is seen as the male counterpart of fouettés en tournant.

Adagio

ADAGE (French), ADAGIO (Italian) In music, Adagio means "slowly", and in ballet it means slow, unfolding movements. In a classical ballet class, the Adagio portion of the lesson concentrates on slow movements to improve the dancer's ability to control the leg and increase extension (i.e., to bring the leg into high positions with control and ease). In a Grand Pas (or Classical Pas de deux; Grand Pas d'action; etc.), the Adagio is usually referred to as the Grand adage, and often follows the Entrée. This Adage is typically the outward movement of the Grand Pas where the Ballerina is partnered by the lead male Danseur and/or one or more suitors. In ballet, the word adagio does not refer to the music accompanying the dance but rather the type of balletic movement being performed. For example, the Grand adage of the famous Black Swan Pas de deux from Swan Lake is musically an Andante, while the choreography is Adagio.

Allégro

fast jumps, sort of like a leap.

Aplomb

Aplomb refers to stability of the position.

Arabesque

(aa rah besk) Literally, "in Arabic fashion." The position of the body supported on one leg, with the other leg extended behind the body with the knee straight. The back leg may either touch the floor in tendu back (called arabesque par terre), or be raised at an angle. Common angles are 45° (also called à demi hauteur), and 90° (à la hauteur). When the angle is much greater than 90° and the body leans forward in line with the back leg, the pose is called arabesque penchée. There are also various arm positions, such as forward on the same side as the back leg or the other arm forward. See also: Attitude.

Arrière

(aa ree air) French for "back". A step en arrière moves backwards, away from the audience. A movement done to behind the dancer would be termed for instance grand battement en arrière.

Assemblé

(aa sem blay) Literally "assembled". A movement where the first foot performs a battement glissé/degagé, "swishing" out. With the dancer launching into a jump, the second foot then swishes up under the first foot. The feet meet together in mid-air, and the dancer lands with both feet on the floor at the same time, in third or fifth position.

Attitude

A position in which the dancer stands on one leg (known as the supporting leg) while the other leg (working leg) is lifted and well turned out with the knee bent at approximately 120-degree angle. The lifted or working leg can be behind (derrière), in front (devant), or on the side (à la seconde) of the body. If the leg in attitude derrière is resting on the floor, then the pose is known as B-plus. It is important to note that when executing an attitude posititon devant or derrière, the knee should be in line with the ankle, as if the whole leg would be resting on a surface. This positions can be performed with the supporting leg and foot either en pointe, demi pointe or on a flat foot. See also: Arabesque.

Avant

Refers to a direction to the front. A step en avant moves forwards. A movement done to the front would be for instance grand battement en avant.

B

Balancé

(bal an say) French word for "balance". It is a movement beginning with one foot in coupé derrière, then shooting out to support the other foot, the other foot coming behind in coupé derrière, then rocking back on the foot in coupé, then repeat.

Ballabile

Ballabili (or Ballabiles) is a dance in a ballet that is performed by the whole corps de ballet, with or without the principal dancers. Often used to give the principal dancers a chance to rest and change between variations in the context of a Grand pas.

Ballerina

Italian for "female dancer". Ballerina is a principal female dancer of a ballet company. The male version of this term is danseur.

Ballet

A theatrical work or entertainment in which a choreographer has expressed his ideas in group and solo dancing to a musical accompaniment with appropriate costumes, scenery and lighting.

Balletomane

A ballet fan or enthusiast. The word was invented in Russia in the early nineteenth century.

Ballon

Ballon means to bounce, where the dancer can show the lightness of the movement. It describes a quality, not the elevation or height, of the jump. Even in small, quick jumps (petite allégro), dancers strive to exhibit ballon.

Barre

A horizontal bar, approximately waist height, used for warm-up and exercises for ballet techniques. The study of ballet, and each class, will commonly start at the barre for everyone. Usually wooden and mounted along a wall, usually with the mirrors, there are also portable barres for individuals or group work.

Battement

(bat-mal) This is a kicking movement of the working leg (i.e. the leg that is performing a technique). Battements are usually executed in front (en avant or à la quatrieme devant), to the side (à la seconde) or back (en arrière or à la quatrieme derrière).

• battement tendu jeté (Russian school) is a battement normally taken to anywhere from 2 cm off the floor up to 45 degrees, depending on the style. It is the same as battement dégagé (Cecchetti) or battement glissé (French school).
• battement fondu is a battement (usually slower) from a fondu (both knees bent, working foot on the cou-de-pied of the supporting leg) position and extends until both legs are straight. It can be executed double.
• battement frappé is a battement where the foot moves from a flexed position next to the other ankle, and extends out to a straight position, by doing so hitting the floor (the so-called frappé). In the Russian school the foot is wrapped around the ankle, rather than flexed and does not strike the floor. In this case, the frappè is given by the working foot striking the ankle of the supporting leg. Battements frappès can be executed double.
• battement glissé is a rapid battement normally taken to 2-3 centimeters off the floor (literally means a "gliding" battement). See battement tendu jeté.
• battement lent is a slow battement, normally taken as high as possible, which involves considerable control and strength.
• battement tendu is a battement where the extended foot never leaves the floor. The working foot slides forward or sideways from the fifth or first position to reach the forth or second position, lifting the heel off the floor and stretching the instep. It forms the preparation for many other positions, such as the ronds de jambe and pirouette positions.
• petit battement is a battement action where the bending action is at the knee, while the upper leg and thigh remain still. The working foot quickly alternates from the cou-de-pied position in the front to the cou-de-pied position in the back, slightly opening to the side.
• grand battement is a powerful battement action where the dancer takes the leg as high as they can, while the supporting leg remains straight.
• grand battement en cloche is a grand battement which continuously "swishes" forwards and backwards passing through the first position of the feet (literally: large battement with pendulum movement).

Batterie

A whole family of techniques involving jumps, where the feet cross quickly in front and behind each other, creating a flapping or "beating" effect mid-air and brushing through first position. Also called beats in the Royal Academy of Dance (RAD) syllabus.

Brisé

(bre sey) A jump similar to an assemblé. One leg is thrust from the fifth position to the second position in the air; the second leg reaches the first in mid-air executing a beat. It is a traveling movement. In other words, the dancer executes an assemblè, then, doing a beat, changes fifth positions in the air. The dancer may pratise petits battements in preparation for this step.

C

Chaînés

(sha ney) This is a common abbreviation for tours chaînés déboulés, which is a series of quick turns on alternating feet with progression along a straight line or circle. They are also know as chaînés tournes. In classical ballet it is done on the pointes or demi-pointes (on the balls of the feet).

Changement

(shawn sh mah) Literally "exchange". A jump in which the feet change positions in the air. For example, beginning in fifth position with the right foot front, plié and jump, switching the right to the back, landing with the left foot in front in fifth position.

Chassé

(sha say) Chassé, literally chased or hunted. A slide forwards, backwards, or sideways with both legs bent, then springing into the air with legs meeting and straightened. It can be done either in a gallop (like children pretending to ride a horse) or by pushing the first foot along the floor in a plié to make the springing jump up.

Coda

Literally "tail". In music, a coda is a passage which brings a movement or a separate piece to a conclusion. In ballet a coda has essentially the same function, though it is always an independent musical movement. In ballet, a coda is typically the ending, or "finale", of a suite of dances known as the Grand Pas or Grand Pas d'action, and brings the suite to a close. A coda also serves the same function in a Classical Pas de deux, etc. A coda can take many forms. For a large or complex Pas d'action or Grand Pas, the coda is usually given the title Grand Coda. If a large group of dancers are in involved, it is usually titled Coda Générale. The coda may serve also as the final number of a particular scene, in which case it is usually given the title Grand Coda Générale. In ballet there are many famous coda. One in particular is for the Black Swan Pas de deux from Swan Lake, in which the Ballerina performs the famous 32 fouettés en tournant. Another celebrated coda is from the Le Corsaire Pas de Deux.

Croisé, croisée

(qua zey) The crossing of the legs, with the body placed at an oblique angle to the audience. The leg may be crossed to the front or to the back. Croisé is used in the third, fourth and fifth positions of the legs. The dancer is in croisé if the front leg is the right leg, and the dancer is facing the front-left corner of the stage; or if the front leg is the left, and the dancer is facing the front-right corner, then the dancer is in croisé. One of the directions of épaulement.

D

danseur

(dan=SE=ur) A male ballet dancer. The female version is ballerina

Demi

(dem-EE) Half, or small. Applied to plié and pointe and other movements or positions to indicate a smaller or lesser version.

Derrière

(derry air) At or to the back side. For example, a battement tendu derrière is a battement tendu taken to the rear.

Dessous

(dessoo) Literally "under". Used where the front leg is brought to the back, in techniques such as the assemblé, pas de bourrée, and glissade.

Dessus

(deh syoo) Literally "over". Used where the back leg is brought to the front, in techniques such as the assemblé, pas de bourrée, and glissade.

Devant

Literally "front". For example, tendu devant would mean stretching the foot to the front, or attitude devant would mean executing an attitude to the front.

Développé

(de vell lo pay) A movement in which the leg is first lifted to retiré position, then fully extended passing through attitude position. It can be done in front (en avant), to the side (à la seconde), or to the back (derrière).

Double

(doobl) Making two of the movement, such as in double battement fondu and double rond de jambe en l'air.

E

Échappé

(eh sha PAY). Literally "escaped". A movement done from a closed (first or fifth) position to an open (second or fourth) position. There are two kinds of échappés: échappé sauté and échappé sur le pointes or demi-pointes. In an échappé sauté, the dancer takes a deep plié followed by a jump in which the legs "escape" into either second (usually when starting from first position) or fourth position (usually when starting from fifth position), landing in demi-plié. In échappé sur le pointes/demi-pointes the dancer, after taking a deep plié, springs onto pointes or demi-pointes, ending in either second position (when starting from first position) or fourth (when starting from fifth) with knees straight. In all cases, the dancer may or may not return to the initial position, depending on the choreography.

Effacé, effacée

(ef fah say) Literally "shaded". One of the directions of épaulement in which the dancer stands at an oblique angle to the audience so that a part of the body is taken back and almost hidden from view. This direction is termed ouvert in the French method. Effacé is also used to qualify a pose in which the legs are open, not crossed. This pose may be taken devant or derrière, either à terre or en l'air. If the front leg is the right, and the dancer is facing the front-right corner of the stage, he is in effacé; or, if the front leg is the left and she is facing the front-left corner, she is in effacé. This position is the opposite of croise.

Elevé

(ay-leh-VAY). Literally "rise". A relevé without the plié, so that the dancer simply rises directly to demi or pointe from flat feet. See Rélevé.

En dedans

(on de dons) Movement within a circle so that the leg starts at the back or the side and moves towards the front. For the right leg, this is a counter-clockwise circle. For the left leg, this is a clockwise circle. It is also considered an inside movement: if you were facing toward the barre, the leg would sweep toward the barre. If you can remember devant you can remember dedans. The opposite is en dehors.

En dehors

(on de OR) Movement within a circle so that the leg starts at the front or the side and moves towards the back. For the right leg, this is a clockwise circle. For the left leg, this is a counter-clockwise circle. You might remember "En dehors -- open the door" because it is considered an open or outside movement, such as for a pirouette. En dedans is the opposite.

Entrechat

(on te shri cot) Interweaving or braiding. A step of beating in which the dancer jumps into the air and rapidly crosses the legs before and behind each other, usually jumping from the fifth position and landing back in the fifth position. Entrechats are counted from two to ten according to the number of crossings required and counting each crossing as two movements, one by each leg; that is, in an entrechat quatre each leg makes two distinct movements. Entrechats are divided into two general classes: the even-numbered entrechats, or those which land on two feet-- deux, quatre, six, huit and dix-- and the odd-numbered entrechats, or those which land on one foot-- trois, cinq, sept and neuf. For example: in an Entrechat-quatre, the dancer will jump from the fifth position, crossing his legs twice, landing in the same position he started.

Entrée

In ballet, the term Entrée has two meanings -

1. Entrée can refer to the opening number in a suite a dances known as the Grand Pas (or Grand Pas d'action; Classical Pas de deux; etc.) The Entrée typically precedes the Grand Adage,and is typically a short number which serves as an introduction for the suite. One famous Entrée is the opening number of the famous Paquita Grand Pas Classique, in which the lead Ballerina and the corps de ballet perform a waltz. Another famous Entrée is the opening waltz to the Black Swan Pas de deux from Swan Lake. When the term Entrée refers to the opening number of the Grand Pas, etc., it is referred to in musical terms as the Intrada.
2. Entrée can also mean a number in which the lead character or characters of a ballet make their initial appearance on stage. One famous Entrée occurs in the first act of the Petipa/Tchaikovsky ballet The Sleeping Beauty, in which the Princess Aurora makes her Entrée during her birthday celebrations. Another occurs in the first act of the Petipa/Minkus ballet La Bayadère, in which the temple dancer Nikiya makes her entrance during the festival of fire. The opening harp candenza of the celebrated Le Corsaire Pas de Deux serves as the musical Entrée, as the Danseur also makes his Entrée before the Grand adage.

Épaulement

(ay paul mawl) Literally "shouldering". Rotation of the shoulders and head relative to the hips in a pose or a step.

F

Fouetté

(fweh TAY). Literally "whipped". The term indicates either a turn with a quick change in the direction of the working leg as it passes in front of or behind the supporting leg, or a quick whipping around of the body from one direction to another. There are many kinds of fouetté: petit fouetté (à terre, en demi-pointe or sauté) and grand fouetté (sauté, relevé or en tournant). An introductory form for beginner dancers, executed at the barre is as follows: facing the barre, the dancer executes a grand battement to the side, then turns the body so that the lifted leg ends up in arabesque position.

Fouetté jeté

(fweh-TAY jeh-TAY) literally "whipped throw". A leap which starts as a fouetté and then the second leg also kicks in front.

Fouetté rond de jambe en tournant

• For history, see main article on 32 fouettés en tournant.

(fweh te ron de ja mm an torh nant) A turn made by using a fouetté. For each turn the dancer stands momentarily on flat foot and in plié, as the working leg is extended in fourth position en l'air (or à la hauteur) front then whipped around to the side as the working foot is pulled in to touch behind the supporting knee. That creates the impetus to spin one turn as the dancer executes a relevé, rising onto pointe. Done properly, the dancer remains in place. The famous 32 continuous fouettés in the coda of the "Black Swan" Pas de Deux from Swan Lake are a bravura performance designed to express the strength and triumph of the character. In the Vaganova method, the leg is extended à la seconde instead of fourth position front.

Frappé

(frah pay). Literally "hit" or "strike". See Battement frappé describing hitting the floor or an ankle with a moving foot.

G

Glissade

(glee sahd) Literally, to glide. This is a traveling step starting in fifth position with demi-plié: the front foot moves out to a point, both legs briefly straighten as weight is shifted onto the pointed foot, and the other foot moves in to meet the first. A glissade can be en avant, en arrière, dessous, and dessus.

Grand Pas and Grand Pas d'action

Literally, big or large step. A Grand pas is a suite of individual dances that serves as a showpiece for lead dancers, demi-soloists, and possibly the corps de ballet. In the context of a full-length ballet the Grand pas is considered a Pièce de résistance. The Grand pas is merely a display of dance, and in no way contributes to the ballet's action. If the Grand pas does contribute to the ballet's action, then it is known as a Grand Pas d'action. When a Grand Pas is referred to as a Grand pas classique, is simply means that classical technique prevails and no character dances are included. A Grand pas usually consists of the Entreé, the Grand adage, an optional dance for the corps de ballet (often referred to as the Ballabile), optional variations for the demi-soloists, variations for the lead Ballerina and/or Danseur, and a final Grande coda or Coda générale which serves to bring the whole piece to a grand conclusion. One famous Grand Pas was created by Marius Petipa in 1881 for his revival of Joseph Mazilier's ballet Paquita. This is known today as the Paquita Grand Pas Classique, and is danced by many companies throughout the world. A rather elaborate Grand Pas is taken from the 1862 Petipa/Pugni ballet The Pharaoh's Daughter, which was revived in 2007 after decades of being absent from the stage. The dances are presented in Petipa's original order: Entrée, Variations for 3 demi-soloists, Grand adage, Waltz for the corps de ballet, variations for the three lead soloists, and the final Coda générale. There are many famous Grand Pas d'action as well, one being from the first act of the 1890 Petipa/Tchaikovsky ballet The Sleeping Beauty. This consists of the famous Grand adage known as the "Rose Adagio", a "Dance for the Maids of Honor and Pages", the "Variation of Aurora", and the Coda, which is interrupted by the evil fairy Carabosse who gives the Princess Aurora the poisoned spindle. In the context of the full-length ballet, this particular Grand Pas d'action helps contribute to the action, with the Princess Aurora choosing between her four prospective princes and receiving a rose from each. Many Grand Pas and Grand Pas d'action are often extracted from full-length works and performed independently. Differing forms of a Grand pas —

-Grand pas de deux – a Grand pas which serves as the Pièce de résistance for the principal male and female characters of a full-length ballet. When more soloists are included, then the title changes thusly: Pas de trois, Pas de quatre, etc.

-Grand pas classique – when the Grand pas consists of no character numbers and only serves to demonstrate classical technique.

-Grand ballabile – when the Grand pas serves as a showpiece for not only soloists but for a large corps de ballet.

Grand plié

(grahn pli AY) A full plié, or bending of the knees. The back should be straight and aligned with the heels, and the legs are turned out with knees over the feet. As a movement, it should be fluid. It may also be in preparation for another movement such as a leap.

Grand jeté

(grahn jeh TAY) A long horizontal jump, starting from one leg and landing on the other. It is most often done forward and usually involves doing full leg splits in mid-air. The front leg brushes straight into the air, as opposed to performing a develope or "unfolding" motion. Also called grand écart en l'air, and referred to in some schools as Saut de chat, or Grand Pas de Chat.

P

Partnering

In general, partnering is an effort by both the male and female dancers to achieve a harmony of movement so that the audience is unaware of the mechanics to enjoy the emotional effects. Also known as pas de deux dance for two. For a male dancer, partnering includes lifting, catching, and carrying a partner, also assisting with leaps, promenades and supported pirouettes. For a female dancer, partnering means helping with that help.

Pas

(pah) Literally, "step". In ballet, the term pas often refers to a combination of steps which make up a dance (typically, in dance forms such as jazz, hip-hop, tap, etc., this is called a routine). Pas is often used as a generic term when referring to a particular suite of dances, i.e. Pas de deux, Grand Pas d'action, etc., and may also refer to a variation. The use of the word Pas when referring to a combination of steps which make up a dance, is used mostly in Russia, and much of Europe, while in English speaking countries the word combination may be used.

• Pas de chat - "step of the cat". The dancer jumps sideways, and while in mid-air, bends both legs back to touch the feet to the buttocks, with knees apart. The Dance of the Cygnets from Swan Lake involves sixteen pas de chat, performed by four dancers holding hands with their arms interlaced.
• Grand pas de chat - A jump with a developpé to one leg front and one leg back in the air.
• Pas de basque - "step of the Basques". Halfway between a step and a leap, taken on the floor (glissé) or with a jump (sauté), and can be done moving toward the front or toward the back.
• Pas de bourrée - three quick steps. When done a la seconde the feet usually switch derrier positions (right left right).
• Pas de cheval - "step of the horse". The dancer does a coupé then a small developpé and tendus back into starting position.
• Pas de poisson - "step of the fish". The dancer begins from fifth position and grand plié, and jumps arching the back with the legs straightened behind, so that the whole body is curved like a fish jumping out of water.
• Pas de valse - "waltz step". A travelling step done to music in 3/4 time, either straight or while turning (en tournant).

Passé

(pahs sey) As a position passé means when a foot is placed near or on the other knee. As a movement passé refers to the working foot passing close to the knee of the standing leg. When the foot arrives by the knee, it passes from the front to the back or back to front, and continues either to return to the floor by sliding down the supporting leg or into an arabesque or attitude etc. See Retiré.

Pirouette

(pii roh ett) A controlled turn on one leg, starting with one or both legs in plié, rising onto demi-pointe (usually for men) or pointe (usually for women). The other leg can be held in retiré position, or in attitude, grand battement level or second position. The pirouette can return to starting position, or finish in arabesque or attitude positions, or proceed otherwise. A pirouette can be en dehors turning outwards, or en dedans turning inwards. Most, and the one we think of as typical, are done en dehors. While ballet pirouettes are performed with the hips and legs rotated outward ("turned out"), it is common to see them done with an inward rotation ("parallel") for other genres of dance, such as jazz and modern. Pirouettes can be done with a single, a double, a triple rotation, or more. The current record for most pirouttes performed at one time equals 36 rotations, done in tap shoes. Correct technique includes a periodic whipping movement of the head keeping the dancer's gaze on a single spot, referred to as "spotting".

Piqué

(pii kay) Literally “pricked". A movement in which the strongly pointed toe of the lifted and extended leg sharply lowers to hit the floor then immediately rebounds upward. Same for some as the term pointé. Also a movement in which the dancer transfers a stance from one leg in plié to the other leg by stepping out directly onto pointe or demi-pointe with a straight leg; for example, a piqué arabesque.

Plié

(plee ay) Literally "bent". A smooth and continuous bending of the knees. This can be demi-plié, a bend to the deepest position where the heels stay on the floor. For grand-plié the dancer bends knees until just above below the hips, while maintaining classical turn-out at the hip joints, allowing the thighs and knees to be directly above the line of the toes and the heels to lift off the floor.

Pointe work

Main article: En pointe

Performing steps while on the tips of the toes.

Port de bras

(por d'brah) Literally "carriage of the arms". Sometimes misspelled "porte-bras". Movement of the arms to different positions. The basic port de bras exercise moves from bras bas to first arm position, to second arm position, then back down to bras bas. A full port de bras moves from bras bas to fifth overhead and back down. Example: See Video See Page with this video

Positions of the arms

There are two basic positions for the arms. In one, the dancer keeps the fingers of both arms almost touching to form an oval shape. In the other, the arms are extended to the sides with the elbows slightly bent. These positions may be combined to give other positions. Names differ according to the method followed, such as Vaganova, French, Cecchetti, etc. The following descriptions apply to the rounded positions of the arms; the corresponding allongés positions are obtained by stretching the elbows and rotating the palms of the hands downwards. Vaganova or Russian school:

• Bras bas preparatory position: both arms are down and rounded with both hands just in front of the hips, fingers almost touching.
• First position: maintaining the curved shape, arms are brought up so that the tips of the fingers are in line with the navel or no higher than the sternum.
• Second position: arms are out to the sides, angled down and forward, with palms facing forward. Elbows are slightly lower than the shoulders, and wrists are level with the elbow.
• Third position: arms are curved as in first position and raised just above and slightly forward of the head.

Combinations of the basic arm positions are called:

• Petite pose: one arm is in second position, the other is in first position
• Grande pose: one arm is in second position, the other is in third position

These are used mainly in the centre.

French school:

• Bras bas or bras au repos: both arms are rounded with the fingers almost touching, both hands just in front of the hips.
• First position: maintaining this curved shape, arms are brought up so that the tips of the fingers are in line with the navel.
• Second position: arms are out to the sides, angled down and forward, with palms facing forward. Elbows are slightly lower than the shoulders, and wrists are slightly lower than the elbow.
• Third position: one arm is in second position, the other is rounded and raised above the head.
• Fourth position: one arm is in first position, the other is rounded and raised above the head.
• Fifth position or bras en couronne: both arms are rounded and held above and slightly forward of the head.

Cecchetti method:

• First position: both arms are slightly rounded with the fingers beside the dancer's thighs (as if holding the tutu).
• Second position: arms are out to the sides with an angle down and forward, palms facing forward. The elbow is slightly lower than the shoulder, and the wrist is slightly lower than the elbow. A position intermediate between the first and the second position is called demi-seconde.
• Third position: one arm is in the first position, the other is in demi-seconde.
• Fourth position - Fourth en avant in front: one arm is in second position, the other is in fifth en avant. Fourth en haut high: one arm is in second position, the other is in fifth position en haut.
• Fifth position: whenever the arms are rounded to form an oval, they are in fifth position. There is a fifth position en bas down; en avant forward (Russian and French first position); and en haut high (Russian third position).

Positions of the feet

(NOTE: the photos are only for relative positions. In all, the rolled ankles and collapsed arches show what beginners must greatly improve with practice, or fail in ballet. Beginners should not attepmt to replicate the positions in this manner, a collapsed arch and rolled ankle can be damaging to the knee and it is improper technique. Link to pictures of the Italian prima ballerina Marta Romagna demonstrating the proper technique (in Italian)) The basic five positions of the feet on the floor were set down by the dancing master Pierre Beauchamp in the late 17th century. Two more positions were introduced by Mr. Serge Lifar during his career as Ballet Master at the Paris Opéra Ballet (1929–45, 1947–58); their use nowadays is mostly limited to Lifar's choreographies.

• First position

The dancer stands with feet well rotated in "turn-out" and touching heel to heel, making as nearly a straight alignment as possible. The knees are also touching with legs straightened. Proper turn-out requires flexibility at the hips and correct posture, and is a fundamental characteristic of classical ballet.

• Second position

The dancer stands with feet turned out along a straight line as in first position, but with the heels about one foot apart. The term seconde generally means to or at the side.

• Third position

The dancer's feet are aligned to the turn-out of first position, but with one foot to the front and the heel of the front foot close to the arch of the back foot. There are two third positions, depending on which foot is in front. Sometimes thought of as the position used when dancer is physically incapable of fifth position. (no photo)

• Fourth position

Fifth position, but with feet about a foot apart to the front. If the heel of the front foot is in line with the heel of the back foot, that is called "open" fourth. There are two main fourth positions, depending on which foot is in front.

• Fifth position

The dancer stands with feet turned out as in first position, but the heel of one foot is placed close to the toe of the other foot, so that the legs are crossed more than third position. There are two fifth positions, depending on which foot is in front.

• Sixth position

Although not used much, there is a sixth position for normally parallel feet. For example, in pas couru sur les pointes en avant or en arrière, the feet are in sixth position. This position was codified by Serge Lifar.

• Seventh position

The dancer's feet are in fourth position en point with heels in line, according to Serge Lifar. There are two seventh positions, depending on which foot is in front.

R

Relevé

(reh leh VAY) Literally "lifted". Rising from plié position to balance on one foot on at least demi-pointe or higher; can be performed in every position. Smoothly done in some versions, a quick little leap up in other schools. See Elevé.

Retiré position

(reh teh ray) The working leg is raised to the side, with knee sharply bent so the toe is pointed next to the supporting knee (front, side, back). Common pose during standard pirouette, intermediate position for other moves. Also called raccourci (ra-koor-SEE) in the French school.

Rond de jambe

(ron deh ja mm) Literally "circle of the leg". Actually, half-circles made by the pointed foot, returning through first position to repeat; creating the letter 'D' on the floor. From front to back rond de jambe en dehors, or from back to front rond de jambe en dedans.

• Rond de jambe à terre: straightened leg with pointed toe remaining on the ground to sweep around.
• Rond de jambe en l'air: in the air. The leg is lifted to the side, movement is only below the knee. If the thigh is horizontal, the toe draws an oval approximately between the knee of the support leg and the second position in the air. If the thigh is in the lower demi-position then the oval is to the calf of the support knee.
• Demi-grand rond de jambe: the leg is straightened and sustained horizontal to make the circle to the side. If not reversed, foot returns past the knee.
• Grand rond de jambe: the leg is straightened and sustained at grand battement height, with the foot making the circle high. Requires advanced "extension" flexibility and strength. If not reversed, foot returns past the knee.

S

Saut

(soh) Literally "jump". As adjectives, sauté (masc.) or sautée (fem.) (soh TAY) are used to modify the quality of a step: for instance, échappé sauté indicates an échappé performed while jumping. Sauts include:

• Petits sauts (peh ti): small jumps, in which the feet do not change positions in mid-air.
• Echappé sautés (eh shah pay) "ripping jump": the legs jump up together, but split apart mid-air and land in second position.
• Changement de pieds (shanje-mawn duh pyay): the feet change position, i.e. front and back feet swap, very close together, in mid-air.
• Entrechat (ontreh-shah): A jump with a rapid beating motion, creating a blurring effect of the feet in mid-air. Assume right foot front fifth position, jump and while in mid-air beat the right foot back and front. Land fifth position right foot front.
• Saut de chat (soh duh shat): in the French school, the term indicates a step similar to the Italian pas de chat, where the working foot is brought to raccourci derrière instead of being raised to the side of the knee, and the landing is done on fondu on the leg that started the movement, while the other leg is in raccourci devant. The raised foot is then lowered to fifth position front.

Second position, seconde

Any position with parts separated to the side.

Sickle

A term that refers to the reverse of a turnout. It occurs when the dancers ankle is facing inward as well as the toes, creating a D-like shape. It is also notably harmful to one's instep when performed repeatedly.

Soutenu

(sue teh new) Similar to tours chaînés, a soutenu is a series of turns in quick succession. The dancer must first execute a deep plié while extending the leading leg in a tendu position and then stepping up on a tight leg and beginning the turn while simultaneously bringing the other leg up to a raised position while finishing a full 360 degree turn.

Sousou

(sue sue) Typically executed from fifth position, a dancer rises up on to the pointes with feet touched and ankles crossed in a particularly tight fifth position relevé. This can be performed at the barre after the plié exercises as a part of the warm up for center pointe work.

T

Tendu

(tohn dew) Literally, "to stretch"; a very common movement when the dancer begins in first or fifth position and extends the foot while "massaging" the floor until the entire leg is stretched and the foot is fully extended. When executing to the front, the aim is for the heel to lead the toe, creating a turn out; and when performed to the back, the toe tends to lead the heel as to avoid a sickle.

Temp levé

Time raised, or raising movement. A term of the Cecchetti method. This is a hop from on foot with the other raised in any position. The instep is fully arched when leaving the ground and the spring must come from the pointing of the toe and the extension of the leg after the demi-plié. In the Cecchetti method the term also means a spring from the fifth position, raising one foot sur le cou-de-pied.

Tours en l'air

(torhs an lee air) Literally "turn in the air". A jump, typically for a male, with a full rotation. The landing can be to both feet; on one leg with the other extended in attitude or arabesque; or down to one knee, as at the end of a variation. A single tour is a 360° rotation, a double is 720°. Vaslav Nijinsky was known to perform triple tours en l'air.

Tombé

(tohm bay) Typically a beginning move, the dancer begins with a coupe and then extending the leg, switching the weight distribution and leaning on the extended leg which has been placed on the floor in a deep plié. This leaves the working leg straightened but lifted slightly off the floor and this movement can be used before executing things such as a pa da boureé.

Turn-out, turnout

Main article: Turnout (ballet)

A rotation of the leg from the hips, causing the knee and foot to also turn outward. Properly done, the ankles remain erect and the foot arch remains curved and supporting. Turn-out technique is a defining characteristic of Classical Ballet. Not all dancers do have a perfect turn-out; but it is definitely a measure for selection. In beginner classes, a less-than-perfect turn-out is tolerated to save stress to knee joints until the ability is acquired.

See also

• Dance basic topics
• Ballet
• Glossary of ballroom dance terms

References

• Ryman, R. (1998). Dictionary of Classical Ballet Terminology. Princeton Book. ISBN 0-9524848-0-3. 
• Vaganova, A. Basic principles of classical ballet. 
• Beaumont, C. Theory and practice of classical theatrical dancing - methode Cecchetti. 
• Grant, G (1982). Technical manual and dictionary of classical ballet. Dover Publications. ISBN 0-486-21843-0. 
• Sinclair, J (1981). A dictionary of ballet terms. Da Capo Press. ISBN 0-306-80094-2

cite book: Minden, Eliza Gaynor. The Ballet Companion. 2005, Simon and Schuster Inc. New York City, New York.. 

External links

• American Ballet Theater: Video Dictionary