Ballet Epaule
![Jacklyn Dougherty Epaule, epaulee [ ay-poh-LAY ]. Shouldered. A term of the Cecchetti method to indicate a pose in which the dancer stands at an oblique angle to the audience in an arabesque position (the second arabesque, Cecchetti method) with the body facing one or other of the two front corners of the stage. The shoulders are held square to the line of direction, the arm nearer the audience extended forward and the corresponding leg extended to the fourth position back a terre or en l’air. The head is inclined and turned toward the audience. Epaule is one of the eight directions of the body, Cecchetti method. Epaule derriere (Russian School) [ ay-poh-LAY deh-RYEHR]. Epaule back. This position is exactly the same as the Cecchetti epaule, but is taken facing either one of the two upper corners of the room (corners 6 or 4; see diagram, p. 138) with the extended leg nearer the audience. Epaulement [ay-pohl-MAHN] . Shouldering. The placing of the shoulders. A term used to indicate a movement of the torso from the waist upward, bringing one shoulder forward and the other back with the head turned or inclined over the forward shoulder. The two fundamental positions of epaulement are croise and efface. When epaulement is used the position of the head depends upon the position of the shoulders and the shoulder position depends upon the position of the legs. Epaulement gives the finishing artistic touch to every movement and is a characteristic feature of the modern classical style compared to the old French style, which has little epaulement. Epaulement croise [ ay-pohl-MAHN krwah-ZAY ]. Shouldering croise. The dancer stands in the fifth position R foot front, facing the left front corner of the room with the head turned to the right shoulder. If the dancer faces the right front corner of the room, the L foot will be in front and the head will turn over the left shoulder. Epaulement efface [ ay-pohl-MAHN eh-fa-SAY ]. Shouldering efface. The dancer stands in the fifth position L foot front, facing the left front corner of the room with the head turned to the right shoulder. If the dancer faces the right front corner of the room, the R foot will be in front and the head will turn over the left shoulder.](https://static.wixstatic.com/media/761138_fd1d48c5593e4e9786cfa3e82fd51cd9~mv2.png/v1/fill/w_49,h_87,al_c,q_85,usm_0.66_1.00_0.01,blur_2,enc_auto/761138_fd1d48c5593e4e9786cfa3e82fd51cd9~mv2.png)
Epaule, epaulee [ ay-poh-LAY ]. Shouldered. A term of the Cecchetti method to indicate a pose in which the dancer stands at an oblique angle to the audience in an arabesque position (the second arabesque, Cecchetti method) with the body facing one or other of the two front corners of the stage. The shoulders are held square to the line of direction, the arm nearer the audience extended forward and the corresponding leg extended to the fourth position back a terre or en l’air. The head is inclined and turned toward the audience. Epaule is one of the eight directions of the body, Cecchetti method.
Epaule derriere (Russian School) [ ay-poh-LAY deh-RYEHR]. Epaule back. This position is exactly the same as the Cecchetti epaule, but is taken facing either one of the two upper corners of the room (corners 6 or 4; see diagram, p. 138) with the extended leg nearer the audience.
Epaulement [ay-pohl-MAHN] . Shouldering. The placing of the shoulders. A term used to indicate a movement of the torso from the waist upward, bringing one shoulder forward and the other back with the head turned or inclined over the forward shoulder. The two fundamental positions of epaulement are croise and efface. When epaulement is used the position of the head depends upon the position of the shoulders and the shoulder position depends upon the position of the legs. Epaulement gives the finishing artistic touch to every movement and is a characteristic feature of the modern classical style compared to the old French style, which has little epaulement.
Epaulement croise [ ay-pohl-MAHN krwah-ZAY ]. Shouldering croise. The dancer stands in the fifth position R foot front, facing the left front corner of the room with the head turned to the right shoulder. If the dancer faces the right front corner of the room, the L foot will be in front and the head will turn over the left shoulder.
Epaulement efface [ ay-pohl-MAHN eh-fa-SAY ]. Shouldering efface. The dancer stands in the fifth position L foot front, facing the left front corner of the room with the head turned to the right shoulder. If the dancer faces the right front corner of the room, the R foot will be in front and the head will turn over the left shoulder.
