Learn Ballet At Home

Jacklyn Dougherty

Labanotation. This is a system of dance notation invented by the Hungarian-born teacher Rudolf von Laban. This system has been developed and perfected by the Dance Notation Bureau, which was founded in New York in 1940 and introduced the term in 1953. Many ballets have been notated by the Bureau, which has compiled a library of works in Labanotation, including the previous edition of the present book (notated by Allan Miles).

Lassu [LAH-shoo]. The slow movement of the csardas

Le^on [luh- SAWN]. Lesson. The daily class taken by dancers throughout their career to continue learning and to maintain technical proficiency. It consists of exercices a la barre (side practice) followed by exercices au milieu (centre practice), port de bras, pirouette practice and petit and grand allegro. See these terms.

Leotard. A tightly fitting practice or stage costume for dancers, covering the body from neck to thighs or to the ankles. There are many varieties, such as short-sleeve and sleeveless versions. The version worn by its inventor, the French acrobat Jules Leotard, in the middle of the nineteenth century had long sleeves and covered the body from neck to ankles.

Leve, temps [ tahn luh-VAY ]. Time raised or raising movement. See Temps leve.

Lie, temps [ tahn lyay]. Time linked or linking movement. SeeTemps lie.

Lift. The lifting of the danseuse by her male partner. SeeEnlevement; Porte.

Ligne [ LEEN-yuh ]. Line. The outline presented by a dancer while executing steps and poses. A dancer is said to have a good or bad sense of line according to the arrangement of head, body, legs and arms in a pose or movement. A good line is absolutely indispensable to the classical dancer.

Limbering. Before leaving the bar, dancers often do stretching exercises, of which there is a great variety, to further loosen and extend their muscles.

Lyre, en [ ahn leer]. Like a lyre. A term of the French School. SeeBras en lyre.

Lyrical dancing. A poetic style of dancing with a lovely, flowing quality.

Maillot [ mah-YOH ]. The French term for tights. A tightly fitting garment covering the dancer’s body up to the waist or armpits.

Mains [men]. Hands. See Positions of the hand (Cecchetti method).

Maitre or maitresse de ballet [ MEH-truh (or) meh-TRESS duh ba- LAY ]. Ballet master or mistress. The person responsible for the training of the dancers in a company. The maitre or maitresse de ballet also conducts company rehearsals.

Manege, en [ ahn ma-NEZEf]. As at a riding school or in a circus ring. A term of the French School. Indicates that the dancer is to travel around the room in a circle while performing a combination of steps or turns. See Salle, autour de la.

Mazurka or mazurek. A Polish folk dance in 3/4 time which has been introduced into a number of ballets as a character dance.

Methods (French: Methodes [ may-TAWD ]). Academic ballet as we know it today came into being in the year 1661, when King Louis XIV of France founded the Academie Royale de Musique et de Danse. Although individual Milanese dancing-masters had been renowned since the fifteenth century, the permanent Imperial Dancing Academy connected with La Scala Theatre was not opened until 1812. The Academy at Milan influenced Paris and especially Russia through the rules of education drawn up by Carlo Blasis, who became director of the Academy in 1837 and rapidly made it the centre of ballet activity.

By the middle of the nineteenth century the ballet centres of the world had shifted from Paris and Milan to St. Petersburg and Moscow. The Russian School first derived its technique from France but by the middle of the nineteenth century it had acquired an international aspect through the influence of international artists. From the beginning of the second half of the nineteenth century Russian ballet was dominated by Marius Petipa, a Frenchman, and Christian Johannsen, a Swede. Then in 1874 Enrico Cecchetti, the last great exponent of the Italian School, arrived in Russia.

These three men working on generations of Russian dancers developed Russian ballet, making it as much a system as Italian or French ballet. Actually the French method is in the greatest proportion in the Russian School.

Milieu, au [oh mee-LYUH ]. In the middle or centre. See Centre practice; Exercices au milieu.

Mime. The art of using the face and body to express emotion and dramatic action.

Mimer [ mee-MAY ]. To mime or mimic. To express dramatic action or emotion or to convey a story by means of gesture and facial expression.

Minuet. A dignified dance in 3/4 time introduced during the reign of Louis XIV.

Modifications. All the steps, poses and movements are subject to certain terms which indicate to the dancer in what direction or in what manner any given step or position is to be executed. These terms are known as modifications. Examples are: devant, en l’air, battu, en croix, ferme, and so on. See the illustrations on pages 125, 129, i34and 136, and the articles to which they refer.

Movements in dancing. There are seven movements in dancing: elancer, to dart; etendre, to stretch; glisser, to glide or slide; plier, to bend; relever, to raise; sauter, to jump; tourner, to turn round.

Opposition. The term refers to the “law” by which the arm position is in opposition to the leg that is in front, whether that leg is the supporting or the working leg. For example, if the dancer’s R leg is in the front, the arms are placed in opposition by raising the L arm in the front, either curved or extended, and extending the R arm to the side or back.

Ouvert, ouverte [ oo-VEHR , oo-VEHRT ]. Open, opened. The positions the second and fourth positions of the feet are positions ouvertes, limbs, directions, or certain exercises or steps. In the French School the term is used to indicate a position or direction of the body similar to efface, that is, a la quatrieme devant ouvert or efface devant en Fair.

Ouvert en arriere [ oo-VEHR ah na-RYEHR]. Open backward. A term of the French School. Used to indicate that a step beginning with the R foot is executed in a diagonal direction backward toward the right back corner of the room. Similarly, a step beginning with the L foot will be executed toward the left back corner of the room. Example, chasse ouvert en arriere. Same as efface en arriere.

Ouvert en avant [ oo-VEHR ah na-VAHN ]. Open forward. A term of the French School. Used to indicate that a step beginning with the R foot is executed in a diagonal direction forward toward the right front corner of the room. Similarly, a step beginning with the L foot will be executed toward the left front corner of the room. Example: Chasse ouvert en avant. See floor plan diagram,

Ouverture de jambe [ oo-vehr-TEWR duh zhahnb ]. Opening of the leg. The ouverture de jambe is a term of the French School; the step resembles the grand rond de jambe en Fair, but whereas the latter is taken slowly and preceded by a developpe, the ouverture de jambe is taken from grande quatrieme devant or derriere and is done in one quick movement or stroke, either en dedans or en dehors

Passe [ pa-SAY ]. Passed. This is an auxiliary movement in which the foot of the working leg passes the knee of the supporting leg from one position to another (as, for example, in developpe passe en avant) or one leg passes the other in the air (as in jete passe en avant) or one foot is picked up and passes in back or in front of the supporting leg (as in chasse passe).

Passe par terre [pa-SAY par tehr ]. Passed on the ground. This is an auxiliary movement in which the foot of the working leg is passed from the position pointe tendue in fourth devant to the position pointe tendue in fourth derriere, or vice versa.

Passe-pied [pahss-PYAY]. This is a term of the French School for a sort of petits jetes finished piques a terre. Passe-pied is done devant, derriere and de cote on the point or demi-pointe. Fifth position R foot front; demi-plie and ump into the air, at the same time executing a degage with the R foot a la demi-hauteur to the fourth position front. Come to the ground on the L foot in demi-plie, pointing the R foot on the ground in the fourth position front. In this position jump into the air, degage the L foot to the fourth position front and land on the R foot in demi-plie. The movement is repeated with alternate feet as many times as desired.

Passer la jambe [ pa-SAY lah zhahnb ]. Pass the leg. The pointed foot of the extended leg is brought in to pass the side of the supporting knee and is then opened in a developpe in the opposite direction or to the second position en Pair.

Pas seul [ pah suhl ]. Solo dance.

Pas sissonne [ pah see-SAWN]. Sissonne step. See Sissonne.

Pas tombe [ pah tawn-BAY]. Falling step. Pas tombe is used as a preparatory step. It is a movement falling forward or backward on one foot in a demi-plie, transferring the weight of the body. It is used with such steps as developpe, ballonne and so on. See Sissonne tombee.

Penche, penchee [pahn-SHAY]. Leaning, inclining. As, for example, in arabesque penchee (q.u.).

Petit, petite [ puh-TEE , puh-TEET ]. Little, small. As, for example, in petit battement. (To find terms starting with “petit,” look up the second word of the term.)

Pietiner [pyay-tee-NAY]. To stamp the feet. A term of the French School applied to accented movements sur les pointes.

Place [ pla-SAY ]. Placed. A term to describe the correct placing of the dancer’s body, arms, legs and head in any of the dancing positions either a terre or en Pair.

Place, sur [sewr plahss]. In place. Term used to indicate that the dancer, in executing a step, stays in one spot— in other words, does not travel in any direction.

Placement, placing. A dancer is said to be well-placed when he or she has learned to hold body, head, arms and legs in their proper alignment to each other, has acquired the turn-out of the legs, a well-poised head, level hips and a stright spine in all steps and poses.

Plane [ pla-NAY ]. Soaring. As, for example, in temps plane. This term applies to such steps as the temps de poisson, in which the dancer tries to remain stationary in mid-air for a moment.

Plie [ plee-AY ]. Bent, bending. A bending of the knee or knees. This is an exercise to render the joints and muscles soft and pliable and the tendons flexible and elastic, and to develop a sense of balance. There are two principal plies: grand plie or full bending of the knees (the knees should be bent until the thighs are horizontal) and demi-plie or half-bending of the knees. Plies are done at the bar and in the centre in all five positions of the feet. The third position is usually omitted. When a grand plie is executed in either the first, third or fourth position croise (feet in the fifth position but separated by the space of one foot) or the fifth position, the heels always rise off the ground and are lowered again as the knees straighten. The bending movement should be gradual and free from jerks, and the knees should be at least half-bent before he heels are allowed to rise. The body should rise at the same speed at which it descended, pressing the heels into the floor. In the grand plie in the second position or the fourth position ouverte (feet in the first position but separated by the space of one foot) the heels do not rise off the ground. All demi-plies are done without lifting the heels from the ground. In all plies the legs must be well turned out from the hips, the knees open and well over the toes, and the weight of the body evenly distributed on both feet, with the whole foot grasping the floor.

Pointes, sur les [ sewr lay pwent]. On the points. The raising of the body on the tips of the toes. Also used in the singular, “sur la pointe.” First introduced in the late 1820s or early 1830s at the time of Taglioni. There are three ways of reaching the points, by pique, releve or saute.

Pointes, temps de [ tahn duh pwent]. See Temps de pointes.

Pointe shoes. The satin ballet shoes used by dancers when dancing sur les pointes. The ballet shoes of Marie Taglioni, the first major ballerina to dance on her points, were not blocked but were padded with cotton wool.

Later (about 1862) the toes of the ballet slippers were stiffened (blocked) with glue and darned to give the dancer additional support. Today the toes of pointe shoes are reinforced with a box constructed of several layers of strong glue in between layers of material. Professional dancers usually darn the tip of the pointe shoe to obtain a better grip of the shoe on the floor and thus prevent slipping.

Pointe tendue [pwent tahn-DEW]. Point stretched. When the leg is extended with the heel raised and the instep forced outward so that only the tip of the toes rests on the floor, the position is said to be pointe tendue. See Degage; Pique a terre.

Poisson [ pwa-SAWN ]. Fish. A position of the body in which the legs are crossed in the fifth position and held tightly together with the back arched. This pose is taken while jumping into the air or in double work when the danseuse is supported in a poisson position by her partner. See Fish dive; Temps de poisson.

Polka. A dance in 2/4 time which was first danced in Bohemia in the 1830s. It later spread from Prague throughout Europe and over into America. It became the national dance of the Czechs.

Polka-mazurka. A Polish dance in 3/4 time derived from the polka and from the mazurka.

Polonaise. A processional dance in 3/4 time with which the court ballets of the seventeenth century were opened. It may be seen today in such ballets as The Sleeping Beauty and Swan Lake. The polonaise is a march in which two steps are taken forward on the demi-pointes and then the third step is aken flat with the supporting knee bent in fondu and the other leg raised in front.

Port de bras [pawr duh brah ]. Carriage of the arms. The term port de bras has two meanings: (l) A movement or series of movements made by passing the arm or arms through various positions. The passage of the arms from one position to another constitutes a port de bras. (2) A term for a group of exercises designed to make the arms move gracefully and harmoniously. In the Cecchetti method there are eight set exercises on port de bras.

In the execution of port de bras the arms should move from the shoulder and not from the elbow and the movement should be smooth and flowing. The arms should be softly rounded so that the points of the elbows are imperceptible and the hands must be simple, graceful and never flowery. The body and head should come into play and a suggestion of epaulement should be used. In raising the arms from one position to another the arms must pass through a position known in dancing as the gateway. This position corresponds to the fifth position en avant, Cecchetti method, or the first position, French and Russian Schools. In passing from a high position to a low one, the arms are generally lowered in a line with the sides. Exercises on port de bras can be varied to infinity by combining their basic elements according to the taste of the professor and the needs of the pupil.

Port de bras, grand [ grahn pawr duh brah]. Large port de bras. This is a circular movement of the arms combined with cambre. There are several varieties of grand port de bras, of which the following is an example: Stand on the R foot in attitude croisee a terre. Lower the L toe to demi-pointe and demi- plie on both legs, bending the body and head forward. The rounded L arm almost touches the floor and the R arm is carried downward to meet the L arm. Lower the L heel to the floor and transfer the weight to the L foot, then rise upward with a circular movement to the left. The torso, head and arms swing to the left, then the body bends back and the R arm is raised above the head and the L arm extended to the side, R foot pointed forward. The body is then straightened and the circular movement completed by moving the R arm to the second position and the L arm above the head, head and torso inclined to the right. The dancer then does a demi-plie in the fourth position, lowering the arms to the fifth position en bas. The knees are then straightened and the dancer stands on the R foot in attitude croisee a terre.

Porte, portee [ pawr-TAY ]. Carried. Refers either to a step which is traveled in the air from one spot to another (such as assemble dessus porte) or to the carrying of a danseuse by a danseur.

Porteur [ pawr-TUHR ]. Carrier. A term used during the latter half of the nineteenth century for a male ballet performer who did no dancing, but whose sole function was to support and lift the ballerina in various poses and leaps.

Pose [ pohz ]. Pose, posture. Any position held for any length of time such as an attitude or arabesque.

Pose [ poh-ZAY ]. Poised. A term of the Cecchetti method. This is a movement in which the dancer steps from one foot to the other with a petit developpe onto the demi-pointe or point in any desired position. It is preceded by a fondu on the supporting leg and may be performed en avant, en arriere and de cote, in arabesque, in attitude, etc. SeePique.

Pose en tournant [ poh-ZAY ahn toor-NAHN ]. Poised, turning. A term of the Cecchetti method. Same as pique tour.

Poser [poh-ZAY]. To place. To place the foot on the ground. May be done en avant, en arriere, de cote, devant and derriere.

Poser derriere [poh-ZAY deh-RYEHR]. To place behind. To bring one foot in back of the other in the third or fifth position a terre.

Poser devant [poh-ZAY duh-VAHN]. To place in front. To bring one foot in front of the other in the third or the fifth position a terre.

Position fermee [paw-zee-SYAWN fehr-MAY]. Closed position. A position in which the feet touch each other. The first, third and fifth positions of the feet are positions fermees. See Ferme.

Position ouverte [paw-zee-SYAWN oo-VEHRT ]. Open position. A position in which the feet are separated. The second and fourth positions of the feet are positions ouvertes. See Ouvert.

Positions of the arms. See Bras, positions des.

Positions of the body, basic, Cecchetti method (See illustrations, p. 134). There are eight positions of the body in the Cecchetti method. These positions are in themselves a study in line and perspective and their precepts should be applied to other movements in dancing: (1) Croise devant (crossed in front). (2) Ala quatrieme devant (to the fourth front). (3) Ecarte (thrown wide apart, separated). (4) Efface (shaded). (5) A la seconde (to the second).

(6) Epaule (shouldered). (7) Ala quatrieme derriere (to the fourth back). (8) Croise derriere (crossed in back).

Positions of the body, basic, Russian and French Schools(See

illustrations, p. 136). In the Russian and French Schools there are eleven basic positions of the body. All these positions may be taken a terre or en Fair. They are as follows:

(1) Croise devant. (2) Croise derriere.

(3) A la quatrieme devant. (4) A la quatrieme derriere.

(5) Ecarte devant. (6) Ecarte derriere.

(7) Efface devant. (8) Efface derriere.

(9) A la seconde.

(10) Epaule devant. (11) Epaule derriere.

Positions of the foot on the floor. There are five levels at which the foot may be placed on the floor. (1) Pied a terre, or foot on the ground. The entire sole of the foot rests on the ground. See Plat, a. (2) Pied a quart, or foot on the quarter-point. The heel is barely raised off the floor. (3) Pied a demi, or foot on the half-point. The dancer stands with the weight on the ball of the foot with the heel raised off the floor. (4) Pied a trois quarts, or foot on the three-quarter point. The dancer stands with the weight high on the ball of the foot and on the toes with the heel raised off the floor. (5) Sur la pointe, or on the full point. The dancer stands on the tips of the toes.

Positions of the feet. See Pieds, cinq positions des.

Positions of the hand (Cecchetti method). In the Cecchetti method there are three positions of the hand which are used during the exercises at the bar, the exercises in the centre and in arabesque.

(1) The position of the hand at the bar: The first and fourth fingers are somewhat curved while the second and third are held together and curved, so that the thumb rests on the first joint of the second finger and touches the inside first joint of the first finger. The wrist is curved inward and bent slightly downward to give a curved line of the arm from the shoulder to the fingertips. When this position is assumed during the initial exercises, the pupil learns to hold the fingers in a soft, natural manner and eliminates a common tendency of beginners to spread their fingers.

(2) The position of the hand during the exercises in the centre: The hand is held as above but with the second and third fingers less curved, so that all four fingers are open but not spread.

(3) The position of the hand in arabesque: The hand is held as in (2) but with the palm turned down and the wrist bent, so that the hand is turned in an outward direction from the wrist.

Positions of the head (Cecchetti method). In the Cecchetti method there are five principal positions of the head: (1) Head erect. (2) Head inclined to one side; this can be done to either side. (3) Head turned to one side; this can be either side. (4) Head raised. (5) Head lowered.

Positions of the leg in the air. See Angle of the leg in the air; Positions soulevees.

Positions soulevees [ paw-zee-SYAWN sool-VAY ]. Raised positions. This is a term of the French School and refers to the positions of the feet: pointe tendue and en Pair. The positions soulevees are as follows: From second position: pique a terre, a la demi-hauteur, a la hauteur. From the fourth position: devant or derriere, pique a terre, a la demi-hauteur, a la hauteur. These positions are taken en face, croise or ouvert (efface). See Pieds, positions des, en Pair; Pieds, positions des, pointe tendue.

Premier, premiere [pruh-MYAY, pruh-MYEHR]. First.

Premiere, en [ahn pruh-MYEHR]. In or through the first position.

Preparation [pray-pay-ra-SYAWN]. Preparation. The movement with which the dancer prepares for the execution of a step or turn.

Promenade, en [ahn prawm-NAD ] . In a walk.

Promenade, tour de [ toor duh prawm-NAD]. Turn in a walk. A term of the French School used to indicate that the dancer turns slowly in place on one foot by a series of slight movements of the heel to the required side while maintaining a definite pose such as an arabesque or attitude. The turn may be performed either en dedans or en dehors. In a pas de deux, the ballerina on point holds her pose and is slowly turned by her partner who walks around her holding her hand. See Tour lent.

Quadrille [ ka-DREE-yuh ]. (l) A French square dance of the early nineteenth century performed by two or four couples. (2) A division in the ranks of dancers in the Paris Opera ballet (two of the lowest ranks being the premiers quadrilles and the seconds quadrilles). See Cadre; Defile.

Quarre (carre), en [ahn ka-RAY]. In the shape of a square. Steps or exercises executed in a square formation, delineating three or four sides of a square.

Quart [ kar ]. Quarter, fourth part. As, for example, in un quart de tour.

Quatre [ KA-truh ]. Four.

Raccourci [ ra-koor-SEE ]. Shortened. A term of the French School, (l) A position in which the thigh is raised to the second position en Fair, with the knee bent so that the pointed toe rests against the knee of the supporting leg. See Retire. (2) A sharp bending movement of the knee, as in battement raccourci.

Raccourci devant [ ra-koor-SEE duh-VAHN]. Shortened in front. A term of the French School. The pointed toe of the working foot is placed in front of the supporting knee. See Retire devant.

Ramasse, ramassee [ ra-ma-SAY ]. Picked up. As, for example, in entrechat cinq ramasse.

Rat [ra]. This is a slang term for a child dance student at the Paris Opera. The term, coined early in the nineteenth century, was derived from the children’s appearance: always in movement, with lean faces, and incessantly nibbling at food. The “petits rats” are the lowest rank of dancers in the cadre of the Paris Opera ballet. SeeDefile.

Rebours, a [a ruh-BOOR ]. In reverse. Indicates that the direction of a step is to be reversed.

Reculant, en [ ahn ruh-kew-LAHN] . Drawing back. A term of the French School implying that the working leg passes from front to back. As, for example, in assemble en reculant.

Remontant, en [ahn ruh-mawn-TAHN]. Going up. A term of the French School, generally applied to a traveling step. The working foot passes from front to back so that the dancer moves upstage. The opposite of en remontant is en descendant (q.u).

Renverse, renversee [rahn-vehr-SAY]. Upset, reversed. Of Spanish origin, this is the bending of the body during a turn in which the normal

balance is upset but not the equilibrium. It applies to only three steps: a pirouette, a pas de bourree en tournant and a detourne. The body bends from the waist, sideways and backward, the head following the movement of the body. Renverse may be performed en dehors and en dedans with either a releve or a temps leve on the supporting foot. There are several varieties of renverse when performed en dehors. For renverse en dedans, see Pirouette renversee; Renverse en ecarte.

Renverse en dehors [ rahn-vehr-SAY ahn duh-AWR]. Renverse turning outward. This step consists of a grand rond de jambe en dehors ending in attitude croisee, then a pas de bourree dessous en tournant with a renverse movement of the body. Fifth position croise, R foot front. Step R croise en avant into a demi-plie on R, raising the L foot sur le cou-de-pied derriere, bending the torso and head to the right (L arm second position, R arm curved in front of body). Immediately coupe dessous L (L arm curved in front of body, R arm second); releve L, executing a grand rond de jambe en dehors, finishing in attitude croisee derriere (arms open to second position, then the R arm moves above the head and the L arm is curved in front of the body); fondu L, bending the torso to the left and back, forcing the legs to execute a pas de bourree dessous en tournant (R arm moves downward to meet the L in the fifth position en bas) ending on the R foot with the torso and head bent to the right. The first two movements are done slowly with the pose in attitude held a moment, then a quick back-bend in pas de bourree. Renverse en dehors may be performed saute instead of releve. There are various other preparatory steps, such as failli or coupe dessus, which may lead into renverse.

Renverse en ecarte [ rahn-vehr-SAY ah nay-kar-TAY ]. Renverse thrown wide apart. Stand on the L leg in fourth Russian arabesque. Demi-plie and releve on the L foot, bringing the R foot en tire-bouchon. At the same time the upper body bends forcefully to the right toward the raised knee. The body turns en dedans, then bends back. At the completion of the turn the L heel is placed firmly on the floor while the R leg immediately opens in the pose ecarte derriere. SeePirouette renversee.

Retire saute [ ruh-tee-RAY soh-TAY ]. Retire jumped. A drawing-up movement of one leg to pass behind or in front of the supporting leg while the supporting leg executes a temps leve.

Retire saute en arriere [ ruh-tee-RAY soh-TAY ah na-RYEHR]. Retire jumped backward. Fifth position R foot front. Draw the R foot up to the retire position, at the same time executing a temps leve on the L foot. Come to the ground on the L foot in demi-plie and close the R foot in the fifth position back. The movement is then repeated on alternate feet.

Retire saute en avant [ ruh-tee-RAY soh-TAY ah na-VAHN]. Retire jumped forward. Fifth position R foot back. Draw the R foot up to the retire position, at the same time executing a temps leve on the L foot. Come to the ground on the L foot in demi-plie, then close the R foot in the fifth position front. The movement may then be repeated on alternate feet.

Retombe, retombee [ruh-tawn-BAY]. Falling back. A term of the French School and the Cecchetti method. To fall back again to the original position.

Reverence, grande [ grahnd ray-vay-RAHNSS]. Big reverence or curtsey. The elaborate curtsey performed by the female dancer to acknowledge the applause of the audience. It is also done at the end of a ballet class to show the respectful admiration of the pupils for their teacher. There are several types of reverence. Fifth position R foot back. Step to the right on the R foot, raising the L foot pointe tendue in second position and the arms to the second position; slide the L foot into a demi-plie in the fourth position derriere; transfer the weight to the L foot, straightening the knees as the R foot is stretched pointe tendue in the fourth position devant. As the L foot slides to the fourth position back into a demi-plie on both feet, the dancer bends forward and the arms drop to bras bas with the head lowered. When the weight is transferred to the back foot and the head and body straighten, the arms reopen to the second position. The R foot is then closed to the fifth position devant and the reverence may be repeated to the other side. The reverence may also be embellished with a petit battement sur le cou-de-pied

beating devant and derriere) before stepping on the L foot into the demi-plie in the fourth position derriere.

Rise. This is a smooth releve from a position a terre through all the levels of the foot (quarter-point, half-point and three-quarter point). The toes do not move from the spot at which the rise began. See Releve (French School).

Rolling. Dancers who do not have a good turn-out should not force their legs to turn out too much at first, as this usually results in rolling ankles. If the weight is on the inside of the feet, dancers call this rolling in; if the weight is on the outside of the feet, it is called rolling out. The toes and heels should be flat on the floor and the turn-out must come from the hip joints.

Romantic ballet. A style of ballet produced during the early nineteenth century in which the accent was on the conveyance of a mood to tell a story. Example of romantic ballets are La Sylphide andGzseZZe.

Rond de bras [rawn duh brah ]. Ronds de bras are circles of the arms.

Rond de jambe [rawn duh zhahnb ]. Round of the leg, that is, a circular movement of the leg. Ronds de jambe are used as an exercise at the bar, in the centre and in the adage, and are done a terre or en Fair. When used as a step, ronds de jambe are done en Fair and may be saute or releve. All are done clockwise (en dehors) and counterclockwise (en dedans).

Rond de jambe a terre [rawn duh zhahnb a tehr ]. Rond de jambe on the ground. An exercise at the bar or in the centre in which one leg is made to describe a series of circular movements on the ground. Both legs must be kept perfectly straight and all movement must come from the hip, along with the arching and relaxing of the instep. The toe of the working foot does not rise off the ground and does not pass beyond the fourth position front (fourth position ouvert) or the fourth position back. This is an exercise to turn the legs out from the hips, to loosen the hips and to keep the toe well back and heel forward. There are two kinds of ronds de jambe a terre: those done en dedans (inward) and those done en dehors (outward).

The exercise at the bar is usually preceded by a preparation from the first or fifth position which is done on two introductory chords. Fifth position R foot front (L hand on bar, R arm in second position). Chord 1: demi-plie (lowering the R arm to the first position) and slide the R foot forward to the ourth position, pointe tendue (raising the R arm to the first position and inclining the head toward the bar). Chord 2: slide the R toe along the floor, describing an arc and finishing in the second position as the L knee straightens (the R arm opens to the second position and the head turns to the right). On the “upbeat” the R foot is drawn in an arc to the fourth position back (the head turns forward) and the dancer begins a series of ronds de jambe a terre en dehors. For ronds de jambe a terre en dedans, reverse the movements.

Rond de jambe a terre, demi- [ duh-mee-RAWN duh zhahnb a tehr ]. Half-rond de jambe on the ground. It may be executed either en dedans or en dehors. For en dehors, degage the working foot to the fourth position front and describe an arc on the floor finishing in the second position. For en dedans, reverse the movement.

Rond de jambe a terre, demi-grand [duh-mee-GRAHN rawn duh zhahnb a tehr]. Half-large rond de jambe on the ground. This is executed the same way as demi-rond de jambe a terre, except that it is performed with the supporting leg in fondu.

Rond de jambe a terre en dedans [rawn duh zhahnb a tehr ahn duh- DAHN]. Rond de jambe on the ground, inward. First position; slide the R foot backward, gradually raising the heel, to the fourth position (ouvert) back, pointe tendue. With an inward sweep carry the foot along the ground through the second position, pointe tendue, to the fourth position (ouvert) front, pointe tendue. The foot is then brought backward to the first position, gradually lowering the heel. The complete half-circle traced by the inward sweep of the foot on the ground is termed rond de jambe a terre en dedans. In a series of ronds de jambe a terre, the strong accent occurs as the foot passes through the first position.

Rond de jambe a terre en dedans, grand [ grahn rawn duh zhahnb a tehr ahn duh-DAHN]. Large rond de jambe on the ground, inward. Fifth position R foot back. Demi-plie and slide the R foot— straightening the knee— to the fourth position (ouvert) back, pointe tendue. With the L leg remaining in demi-plie, carry the R foot from the fourth position back, pointe tendue, to the second position, pointe tendue, to the fourth position (ouvert) front, pointe tendue. Close the R foot to the fifth position front, straightening the L knee.

Rond de jambe a terre en dehors [rawn duh zhahnb a tehr ahn duh- AWR], Rond de jambe on the ground, outward. First position; slide the R foot forward, gradually raising the heel, to the fourth position (ouvert) front, pointe tendue. With an outward sweep carry the foot along the ground through the second position, pointe tendue, to the fourth position (ouvert) back, pointe tendue. The foot is then brought forward to the first position, gradually lowering the heel. The complete half-circle traced by the outward

sweep of the foot on the ground is termed rond de jambe a terre en dehors. In a series of ronds de jambe a terre the strong accent occurs as the foot passes through the first position.

Rond de jambe a terre en dehors, grand [ grahn rawn duh zhahnb a tehr ahn duh-AWR]. Large rond de jambe on the ground, outward. Fifth position R foot front. Demi-plie and slide the R foot— straightening the knee— to the fourth position (ouvert) front, pointe tendue. With the L leg remaining in demi-plie, carry the R foot from the fourth position front pointe tendue to the second position pointe tendue to the fourth position (ouvert) back, pointe tendue. Close the R foot to the fifth position back, straightening the L knee.

Rond de jambe balance [rawn duh zhahnb ba-lahn-SAY ]. Rocking rond de jambe. A term of the Cecchetti method. When the leg executes, quickly and successively, one grand rond de jambe en Fair en dehors, then one grand rond de jambe en l’air en dedans, or vice versa, the movement is termed rond de jambe balance.

Rond de jambe double [rawn duh zhahnb DOO-bluh ]. This is a term of the Russian School for a gargouillade. In this method, both legs execute a rond de jambe en Fair almost simultaneously, while the body is in the air. En dehors: Fifth position croise R foot front. Demi-plie and spring upward and to the right, executing a double rond de jambe en Fair en dehors with the R leg; immediately execute a double rond de jambe en Fair en dehors with the L leg, beginning and ending it at the calf of the R leg. Land on the R leg in demi-plie and close the L leg to the fifth position front. En dedans: Fifth position R foot back. This is done in the same manner as en dehors, beginning with the back foot and executing both ronds de jambe en Fair en dedans. After the landing on the R leg, the L foot closes to the fifth position back.

Rond de jambe en l’air [rawn duh zhahnb ahn lehr]. Rond de jambe in the air. Ronds de jambe en Fair are done at the bar and in centre practice and may be single, or double, en dehors or en dedans. The toe of the working foot describes an oval, the extreme ends of which are the second position en Fair and the supporting leg. The thigh must be kept motionless and the hips well turned out, the whole movement being made by the leg below the knee. The thigh should also be held horizontal so that the pointed toe of the working foot passes at (approximately) the height of the supporting knee. Ronds de jambe en Fair may also be done with the leg extended to the second position en Fair (demi-position) and closed to the calf of the supporting leg. The accent of the movement comes when the foot is in the second position en Fair. The movement is done en dehors and en dedans.

Rond de jambe en Pair (Cecchetti method) [rawn duh zhahnb ahn lehr]. In the Cecchetti method, the path described by the pointed toe of the working leg resembles an isosceles triangle with an acute angle at its apex.

brought just in front of the supporting knee, then just behind it (or vice versa). It is then opened to the second position en l’air.

Rond de jambe en l’air, double [ DOO-bluh rawn duh zhahnb ahn lehr]. Double rond de jambe en l’air. This is a double rond de jambe performed either saute or releve. It consists of two quick circles of the leg. The leg is extended in full after the second circle at 45 or 90 degrees.

Rond de jambe en l’air en dedans [rawn duh zhahnb ahn lehr ahn duh-DAHN]. Rond de jambe in the air, inward. The working leg is opened from the fifth position back to the second position en l’air. From here the toe describes an oval beginning with its forward arc, passing the knee of the supporting leg, through the backward arc, and finishing in the second position en Fair. The leg is then lowered to the fifth position front, or the movement may be repeated as many times as desired before lowering the leg.

Rond de jambe en l’air en dedans, demi-grand [duh-mee-GRAHN rawn duh zhahnb ahn lehr ahn duh-DAHN] . Half-large rond de jambe in the air, inward. From the fourth position back en Fair the leg is carried to the second position en Fair. The movement may also be started in the second position en Fair, from which position the leg is carried to the fourth position front en Fair.

Rond de jambe en l’air en dedans, grand [ grahn rawn duh zhahnb ahn lehr ahn duh-DAHN]. Large rond de jambe in the air, inward. The movement is usually preceded by a developpe a la quatrieme derriere, from which position the leg is carried with a large movement through the second position en Fair to the fourth position front en Fair.

Rond de jambe en l’air en dehors [ rawn duh zhahnb ahn lehr ahn duh-AWR]. Rond de jambe in the air, outward. Ronds de jambe en Fair commence and end in the second position en Fair. To start the movement the working leg is opened from the fifth position front to the second position en Fair. From here the toe describes an oval beginning with its backward arc, passing the knee of the supporting leg, through the forward arc, and finishing in the second position en Fair. The leg may then be lowered into the fifth position back, or the movement may be repeated as many times as desired before lowering the leg.

Rond de jambe en l’air en dehors, demi-grand [ duh-mee-GRAHN rawn duh zhahnb ahn lehr ahn duh-AWR]. Half a large rond de jambe in the air, outward. From the fourth position front en Fair the leg is carried to the second position en Fair. The movement may also be started in the second position en Fair, from which position the leg is carried to the fourth position back en Fair.

Rond de jambe en l’air en dehors, grand [ grahn rawn duh zhahnb ahn lehr ahn duh-AWR], Large rond de jambe in the air, outward. This is a large movement of the entire leg from the hip, done in a semicircle from front

to back. It is usually preceded by a developpe a la quatrieme devant, from where the leg is carried with a sweeping movement through the second position en l’air to the fourth position back en l’air. This exercise is used at the bar and in the centre and is very useful for gaining balance and control.

Rond de jambe en l’air en tournant [rawn duh zhahnb ahn lehr ahn toor-NAHN ]. Rond de jambe in the air, turning. This is an exercise of adage. A series of ronds de jambe en l’air either en dedans or en dehors is executed while a slow pivot (promenade) is made on the supporting leg.

Rond de jambe en l’air releve [rawn duh zhahnb ahn lehr ruhl-VAY ]. Rond de jambe in the air, raised. This rond de jambe is executed on the point or demi-pointe, en dehors or en dedans, and may be single or double.

Rond de jambe en l’air releve, double [ DOO-bluh rawn duh zhahnb ahn lehr ruhl-VAY ]. Double rond de jambe in the air, raised. This consists of two circles in the air. The working leg is extended to the second position en l’air after the completion of the second circle.

Rond de jambe en l’air releve en dedans [rawn duh zhahnb ahn lehr ruhl-VAY ahn duh-DAHN]. Rond de jambe in the air inward, raised. Fifth position R foot back. Demi-plie and spring onto the point or demi-pointe of the L foot, opening the R leg to the second position en Fair, a la hauteur or a la demi-hauteur. Execute a rond de jambe en Fair en dedans. With a slight spring, lower both heels to the ground in demi-plie in the fifth position R foot front. A double rond de jambe en Fair may be executed instead of the single rond de jambe en Fair.

Rond de jambe en l’air releve en dehors [rawn duh zhahnb ahn lehr ruhl-VAY ahn duh-AWR]. Rond de jambe in the air outward, raised. Fifth position R foot front. Demi-plie and spring onto the point or demi-pointe of the L foot, opening the R leg to the second position en Fair, a la hauteur or a la demi-hauteur. Execute a rond de jambe en Fair en dehors. With a slight spring, lower both heels to the ground in demi-plie in the fifth position R foot back. A double rond de jambe en Fair may be executed instead of the single rond de jambe en Fair.

Rond de jambe en l’air saute [rawn duh zhahnb ahn lehr soh-TAY ]. Rond de jambe in the air, jumping. From a demi-plie the dancer jumps into the air, performs a rond de jambe en Fair with the working leg and lands on the supporting leg as the working leg extends a la seconde en Fair. The rond de jambe is done either en dedans or en dehors and may be single or double.

Rond de jambe en l’air saute, double [DOO-bluh rawn duh zhahnb ahn lehr soh-TAY ]. Double rond de jambe in the air, jumping. This step is performed exactly like rond de jambe en Fair saute, the only difference being that two ronds de jambe are performed in the air before the supporting leg descends to the floor.

Rond de jambe en l’air saute en dedans [ rawn duh zhahnb ahn lehr soh-TAY ahn duh-DAHN], Rond de jambe in the air inward, jumping. Fifth position R foot back. Demi-plie and spring into the air, thrusting the R leg to the second position en Fair and executing a rond de jambe en Fair en dedans. Land in demi-plie on the L leg, the R leg opening to the second position en Fair. This rond de jambe may also be done with a sissonne ouverte to the second position at 45 degrees before the jump (temps leve).

Rond de jambe en Pair saute en dehors [rawn duh zhahnb ahn lehr soh-TAY ahn duh-AWR]. Rond de jambe in the air outwardjumping. Fifth position R foot front. Demi-plie and spring into the air, thrusting the R leg to the second position en Fair and executing a rond de jambe en Fair en dehors. Land in demi-plie on the L leg, the R leg opening to the second position en Fair. This rond de jambe may also be done with a sissonne ouverte to the second position at 45 degrees before the jump (temps leve).

Rond de jambe en tournant, fouette [fweh-TAY rawn duh zhahnb ahn toor-NAHN]. Rond de jambe turning and whipped. SbeFouette rond de jambe en tournant.

Rond de jambe ferme [rawn duh zhahnb fehr -MAY] . Closed rond de jambe. If, after completing one or more ronds de jambe en Fair saute or releve, the working leg is closed to the fifth position with an assemble, the rond de jambe is said to be closed, or ferme.

Rond de jambe jete, grand [grahn rawn duh zhahnb zhuh-TAY ].

Large rond de jambe thrown. A term of the Russian School. This is an exercise for the hip joint performed at the bar. It is usually preceded by a rond de jambe a terre which gives the necessary impetus for the vigorous forward thrust of the leg. It may also be done consecutively as an exercise in itself. It is performed en dedans and en dehors.

Rond de jambe jete en dedans, grand [grahn rawn duh zhahnb zhuh-TAY ahn duh-DAHN], Large rond de jambe thrown inward. From the fourth position front, pointe tendue, the leg is forcefully thrown backward with a passe par terre through the first position and raised in back in a turned- out, half-bent position at 45 degrees. The leg immediately stretches out and describes a circle forward at 90 degrees, then is carefully lowered to the fourth position front, pointe tendue. The arms, shoulders and torso remain motionless.

Rond de jambe jete en dehors, grand [grahn rawn duh zhahnb zhuh-TAY ahn duh-AWR]. Large rond de jambe thrown outward. From the fourth position back, pointe tendue, the leg is forcefully thrown forward with a passe par terre through the first position and raised in front in a turned-out, half-bent position at 45 degrees. The leg immediately stretches out and describes a circle backward at the height of 90 degrees, then is carefully lowered to the fourth position back, pointe tendue.

Rond de jambe ouvert [ rawn duh zhahnb oo-VEHR ]. Open rond de jambe. If, after completing one or more ronds de jambe en l’air, the working leg is left in the second position en l’air while the other foot descends to the floor, the rond de jambe is said to be open, or ouvert.

Rond de jambe par terre [rawn duh zhahnb par tehr ]. Rond de jambe along the ground. Same as rond de jambe a terre.

Rond de jambe pique [rawn duh zhahnb pee-KAY\. Rond de jambe pricked. This is an exercise at the bar. Instead of sliding the foot along the floor in rond de jambe a terre, the foot is placed pointe tendue in the fourth position front, in the second position and in the fourth position back, or vice versa, with a tapping movement.

Rond de jambe releve, grand [grahn rawn duh zhahnb ruhl-VAY ]. Large rond de jambe raised. The working leg describes a semicircle in the air at 90 degrees, either en dedans or en dehors, while the supporting leg does a releve.

Rond de jambe retombe (Cecchetti method) [rawn duh zhahnb ruh-tawn-BAY ]. Rond de jambe, falling back. Fifth position R foot back. Demi-plie and releve on the L point, opening the R leg to the second position en Fair. Execute a rond de jambe en dedans en Fair and tombe on the R foot in the fifth position front. Immediately raise the L foot to a small attitude derriere with the body bending forward. The step may then be repeated with the other foot.

Rond de jambe saute, grand [grahn rawn duh zhahnb soh-TAY ]. Large rond de jambe jumped. The working leg describes a semicircle in the air at 90 degrees, either en dedans or en dehors, while the supporting leg does a temps leve.

Rond de jambe souleve [rawn duh zhahnb sool-VAY]. Rond de jambe raised. A term of the French School. Fifth position R foot front. In one sweeping movement raise the R leg a la quatrieme devant a la demi-hauteur, open the leg to the second position a la demi-hauteur and close the leg to the first position. The R leg is raised again and the movement repeated. Rond de jambe souleve is done en dedans by reversing the movement.

Royale [ rwah-YAL ]. Royal. A changement in which the calves are beaten together before the feet change position. Also termed “changement battu.” Fifth position R foot front. Demi-plie in preparation for a small spring into the air, opening both legs slightly. Quickly close the legs and beat the calves of the legs together, open slightly to the side, and come to the ground in demi-plie in the fifth position R foot back.

Royale double [rwah-YAL DOO-bluh ]. Double royale. This is like an entrechat six finished or commenced in the second position.

Royale fermee [rwah-YAL fehr-MAY]. Closed royale. This is like an entrechat quatre commenced in the second position and finished in the fifth position. It is usually preceded by an echappe saute. From a demi-plie in the second position, spring into the air, beat the L leg in front, beat the R leg in front, then execute a changement and land in demi-plie in the fifth position. Also termed “entrechat cinq ferme.”

Royale ouverte [rwah-YAL oo-VEHRT ]. Open royale. This is like an entrechat quatre commenced in the fifth position and finished in the second position. Demi-plie in the fifth position R foot front; spring into the air, beat the L leg front, beat the R leg front, then open both legs and land in demi-plie in the second position. Also termed “entrechat cinq ouvert.”

Russian School. The Russian School was founded in St. Petersburg in 1738 by the French dancer Jean-Baptiste Lande. The French influence continued under such great teachers as Charles Le Picq, Charles Didelot, Christian Johanssen, Jules Perrot, Arthur Saint- Leon and Marius Petipa.

In 1885 Virginia Zucchi, a famous Italian ballerina, appeared in St. Petersburg and created a sensation with her forceful and brilliant Italian technique which differed from the soft, graceful elegance of the French technique prevalent in Russia until then. Other Italian dancers such as Enrico Cecchetti arrived in Russia and continued to astound the Russians with their amazing dexterity, brilliant pirouettes, tours and fouettes. The Russian dancers rapidly absorbed everything the Italians had to teach and incorporated it into the Russian system. Thus, the Russian School of Ballet is a development of the French and Italian Schools.

During the 1920s the Russian ballerina and teacher Agrippina Vaganova developed a planned instructional system which later became known to the whole world as the Vaganova system. This system has become the basic method of the entire Soviet choreographic school.

Salle, autour de la [ oh-TOOR duh lah sal]. Round the room. A term of the Cecchetti method. This term indicates that a series of turns or steps is to be performed in a circle around the stage. See Manege, en.

Saut [ soh ]. Jump. A jump off both feet, landing with the feet in the same position.

Saut de basque (French and Russian Schools) [ soh duh bask]. Basque jump. A traveling step in which the dancer turns in the air with one foot drawn up to the knee of the other leg. Fifth position R foot front. Demi- plie with R foot retire devant; step on the R foot in demi-plie to the second position, turning en dedans one half-turn and thrusting the L leg to the second position en Fair; push off the floor with the R foot and complete the turn, traveling to the side of the extended leg and landing on the L foot in fondu with the R leg bent in retire devant. Both legs should be fully turned out during the jump. Saut de basque may also be performed with a double turn in the air .See Jete en tournant en avant, grand (Cecchetti method).

Saut de basque battu [ soh duh bask ba-TEW], Saut de basque beaten. Saut de basque may be done with single, double or triple beats while the body is turning in the air. To execute a triple beat, thrust the L leg to the second position en Fair; the R follows to beat the L leg three times, the first beat being in front of the L leg, the second behind, and the third in front, where it stays on the L knee in raccourci devant for the landing.

Saut de fleche [ soh duh flesh]. Arrow jump. See Temps de fleche.

Sautille, sautillee [ soh-tee-YAY ]. Hopped, hopping. When this term is added to the name of a step, the movement is performed with hops. As, for example, grande pirouette sautillee

cene [sen]. Stage; scenery, scene.

Scene d’action [ sen dak-SYAWN]. Action scene. A mimed scene introduced in the ballet d’action in the nineteenth century.

Seconde, a la [ah la suh-GAWND]. To the second. A term to imply that the foot is to be placed in the second position, or that a movement is to be made to the second position en l’air. As, for example, in grand battement a la seconde. A la seconde is one of the eight directions of the body, Cecchetti method. See illustrations, p. 135.

Seconde, en [ahn suh-GAWND]. In second. In the second position.

Seconde, grande [grahnd suh-GAWND]. Large second. The second position en l’air.

Sept [set]. Seven.

Serre, serree [seh-RAY]. Tight, close. As, for example, in petits battements serres.

Serrer les reins [seh-RAY lay ren]. To tighten the loins. A term used in ballet teaching to indicate that the body should be erect and the torso well lifted, with the buttocks and abdominal muscles tightened.

Sickling. This term is used for a fault in which the dancer turns his or her foot in from the ankle, thereby breaking the straight line of the leg.

Side practice. Side practice, or bar exercises, is a series of exercises with which every ballet lesson begins. These exercises are essential for developing the muscles correctly, to turn out the legs from the hips and to gain control and suppleness of both muscles and joints. See Exercices a la barre.

Simple [SEN-pluh]. Simple, ordinary, single. As, for example, in sissonne simple.

Spotting. This is a term given to the movement of the head and focusing of the eyes in pirouettes, deboules, fouette ronds de jambe en tournant and so on. In these turns the dancer chooses a spot in front and as the turn is made away from the spot, the head is the last to leave and the first to arrive as the body completes the turn. This rapid movement or snap of the head gives the impression that the face is always turned forward and prevents the dancer from becoming dizzy.See Pirouette.