Terms

Pronounce

Description

Adage, Adagio

a-DAHZH

Adage is a French word derived from the Italian ad agio, meaning at ease or leisure. English ballet teachers use "adage," the French adaptation, while Americans prefer the original Italian. In dancing it has two meanings: (1) A series of exercises following the centre practice, consisting of a succession of slow and graceful movements which may be simple or of the most complex character, performed with fluidity and apparent ease. These exercises develop a sustaining power, sense of line, balance and the beautiful poise which enables the dancer to perform with majesty and grace. The principal steps of adagio are pliés, développés, grand fouetté en tournant, dégagés, grand rond de jambe, rond de jambe en l'air, coupés, battements tendus, attitudes, arabesques, preparations for pirouettes and all types of pirouettes. (2) The opening section of the classical pas de deux, in which the ballerina assisted by her male partner, performs the slow movements and enlèvements in which the danseur lifts, supports or carries the danseuse. The danseuse thus supported exhibits her grace, line and perfect balance while executing développés, pirouettes, arabesques and so on, and achieves combinations of steps and poses which would be impossible without the aid of her partner.

Air, en l'

ahn lehr

n the air. Indicates: (1) that a movement is to be made in the air; for example, rond de jambe en l'air; (2) that the working leg, after being opened to the second or fourth position à terre, is to be raised to a horizontal position with the toe on the level of the hip.

Allégro

a-lay-GROH

Brisk, lively. A term applied to all bright and brisk movements. All steps of elevation such as the entrechat, cabriole, assemblé, jeté and so on, come under this classification. The majority of dances, both solo and group, are built on allegro. The most important qualities to aim at in allégro are lightness, smoothness and ballon.

Arabesque

a-ra-BESK

One of the basic poses in ballet, arabesque takes its name from a form of Moorish ornament. In ballet it is a position of the body, in profile, supported on one leg, which can be straight or demi-plié, with the other leg extended behind and at right angles to it, and the arms held in various harmonious positions creating the longest possible line from the fingertips to the toes. The shoulders must be held square to the line of direction. The forms of arabesque are varied to infinity. The Cecchetti method uses five principal arabesques; the Russian School (Vaganova), four; and the French School, two. Arabesques are generally used to conclude a phrase of steps, both in the slow movements of adagio and the brisk, gay movements of allégro.

Arrière, en

ah na-RYEHR

Backward. Used to indicate that a step is executed moving away from the audience. As, for example, in glissade en arrière.

Assemblé

a-sahn-BLAY

Assembled or joined together. A step in which the working foot slides well along the ground before being swept into the air. As the foot goes into the air the dancer pushes off the floor with the supporting leg, extending the toes. Both legs come to the ground simultaneously in the fifth position. If an assemblé is porté it requires a preparatory step such as a glissade to precede it. If an assemblé is en tournant it must be preceded by a preparatory step. Assemblés are done petit or grand according to the height of the battement and are executed dessus, dessous, devant, derrière, en avant, en arrière and en tournant. They may be done en face, croisé, effacé or écarté. Assemblé may also be done with a beat for greater brilliance. In the Cecchetti assemblé both knees are bent and drawn up after the battement so that the flat of the toes of both feet meet while the body is in the air.

Assemblé en tournant, grand

grahn ta-sahn-BLAY ahn toor-NAHN

Big assemblé, turning. This assemblé is done in the same manner as grand assemblé. It is taken only dessus or derrière. It is traveled directly to the side, on a diagonal traveling upstage, in a circle, etc. It is usually preceded by a pas couru or a chassé. The battement at 90 degrees to the second position is taken facing upstage, then the dancer completes the turn en dedans and finishes the assemblé facing the audience.

Attitude

a-tee-TEWD

A particular pose in dancing derived by Carlo Blasis from the statue of Mercury by Giovanni da Bologna. It is a position on one leg with the other lifted in back, the knee bent at an angle of 90 degrees and well turned out so that the knee is higher than the foot. The supporting foot may be à terre, sur la pointe or sur la demi-pointe. The arm on the side of the raised leg is held over the head in a curved position while the other arm is extended to the side. There are a number of attitudes according to the position of the body in relation to the audience.

Avant, en

ah na-VAHN

Forward. A direction for the execution of a step. Used to indicate that a given step is executed moving forward, toward the audience. As, for example, in glissade en avant.

Balancé

ba-lahn-SAY

Rocking step. This step is very much like a pas de valse and is an alternation of balance, shifting the weight from one foot to the other. Balancé may be done crossing the foot either front or back. Fifth position R foot front. Demi-plié, dégagé the R foot to the second position and jump on it lightly in demi-plié, crossing the L foot behind the R ankle and inclining the head and body to the right. Step on the L demi-pointe behind the R foot, slightly lifting the R foot off the ground; then fall on the R foot again in demi-plié with the L foot raised sur le cou-de-pied derrière. The next balancé will be to the left side. Balancé may also be done en avant or en arrière facing croisé or effacé and en tournant.

Ballerina

bahl-lay-REE-rlah

A principal female dancer in a ballet company. In the days of the Russian Imperial Theatres the title was given to the outstanding soloists who danced the chief classical roles. At the Maryinski Theatre in St. Petersburg the ballet company consisted of ballerinas, premiers danseurs, first and second soloists, coryphees and corps de ballet.

Ballet master, ballet mistress

The person in a ballet company whose duty is to give the daily company class and to rehearse the ballets in the company repertoire.

Balletomane

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

Ballon

ba-LAWN

Bounce. Ballon is the light, elastic quality in jumping in which the dancer bounds up from the floor, pauses a moment in the air and descends lightly and softly, only to rebound in the air like the smooth bouncing of a ball.

Ballonné, pas

pah ba-law-NAY

Ball-like or bouncing step. A step in which the dancer springs into the air extending one leg to the front, side or back and lands with the extended leg either sur le cou-de-pied or retiré. There are two kinds of ballonné: ballonné simple, which may be performed petit or grand; and ballonné compose, which is a compound step consisting of three movements. Ballonné may be executed in all the directions of the body.

Ballotté

ba-law-TAY

Tossed. This step consists of coupé dessous and coupé dessus performed in a series with a rocking, swinging movement. The step may be performed with straight knees at 45 degrees or with développés at 90 degrees. The direction of the body is effacé with the body inclining backward or forward with each change of weight. In the Russian School, ballotté is performed traveling forward on ballotté en avant and backward on ballotté en arrière to the place from which the first jump began. In the French School and the Cecchetti method, ballotté is performed on one spot.

Barre

bar

The horizontal wooden bar fastened to the walls of the ballet classroom or rehearsal hall which the dancer holds for support. Every ballet class begins with exercises at the bar. See Exercices à la barre.

Battement

bat-MAHN

Beating. A beating action of the extended or bent leg. There are two types of battements, grands battements and petits battements. The petis battements are: Battements tendus, dégagés, frappés and tendus relevés: stretched, disengaged, struck and stretched-and- lifted .

Battement dégagé

bat-MAHN day-ga-ZHAY

Disengaged battement. A term of the Cecchetti method. The battement dégagé is similar to the battement tendu but is done at twice the speed and the working foot rises about four inches from the floor with a well-pointed toe, then slides back into the the first or fifth position. Battements dégagés strengthen the toes, develop the instep and improve the flexibility of the ankle joint. Same as battement tendu jeté (Russian School), battement glissé (French School).

Battement en cloche, grand

grahn bat-MAHN ahn klawsh

Large battement like a bell. A term of the French School and the Cecchetti method. Grands battements en cloche are continuous grands battements executed from the fourth position front or back en l'air to the fourth position back or front en l'air, passing through the first position. Same as grand battement jeté balancé, but the body remains upright as the leg swings.

Battement fondu développé

bat-MAHN fawn-DEW dayv-law-PAY

Battement, sinking down, developed. This is an exercise in which the supporting leg is slowly bent in fondu with the working foot pointing on the ankle. As the supporting leg is straightened, the working leg unfolds and is extended to point on the floor or in the air. The movement is done devant, derrière and à la seconde. In fondu forward, the conditional position sur le cou-de-pied devant is used. In fondu back, the basic position sur le cou-de-pied derrière is used.

Battement frappé

bat-MAHN fra-PAY

Struck battement. An exercise in which the dancer forcefully extends the working leg from a cou-de-pied position to the front, side or back. This exercise strengthens the toes and insteps and develops the power of elevation. It is the basis of the allegro step, the jeté.

Battement sur le cou-de-pied, petit

puh-TEE bat-MAHN sewr luh koo-duh-PYAY

Small battement  on the ankle. This is an exercise at the bar in which the working foot is held sur le cou-de-pied and the lower part of the leg moves out and in, changing the foot from sur le cou-de-pied devant to sur le cou-de-pied derrière and vice versa. Petits battements are executed with the supporting foot à terre, sur la demi-pointe or sur la  pointe.

Battement tendu

bat-MAHN tahn-DEW

Battement stretched. A battement tendu is the commencing portion and ending portion of a grand battement and is an exercise to force the insteps well outward. The working foot slides from the first or fifth position to the second or fourth position without lifting the toe from the ground. Both knees must be kept straight. When the foot reaches the position pointe tendue, it then returns to the first or fifth position. Battements tendus may also be done with a demi-plié in the first or fifth position. They should be practiced en croix.

Battement, grand

grahn bat-MAHN

Large battement. An exercise in which the working leg is raised from the hip into the air and brought down again, the accent being on the downward movement, both knees straight. This must be done with apparent ease, the rest of the body remaining quiet. The function of grands battements is to loosen the hip joints and turn out the legs from the hips. Grands battements can be taken devant, derrière and à la seconde.

Battu

ba-TEW

Beaten. Any step embellished with a beat is called a pas battu. As, for example, in jeté battu.

Bras

brah

Arms.

Bras bas

brah bah

Arms low or down. This is the dancer's "attention." The arms form a circle with the palms facing each other and the back edge of the hands resting on the thighs. The arms should hang quite loosely but not allowing the elbows to touch the sides.

Bras, positions des

paw-zee-SYAWN day brah

Positions of the arms. Although the positions of the feet are standard in all methods, the positions of the arms are not, each method having its own set of arm positions. The Cecchetti method has five standard positions with a derivative of the fourth position and two derivatives of the fifth position. The French School has a preparatory position and five standard positions. These positions are used in some Russian schools. The Russian School (Vaganova) has a preparatory position and three standard positions of the arms.

Brisé

bree-ZAY

Broken, breaking. A small beating step in which the movement is broken. Brisés are commenced on one or two feet and end on one or two feet. They are done dessus, dessous, en avant and en arrière. Fundamentally a brisé is an assemblé beaten and traveled. The working leg brushes from the fifth position to the second position so that the point of the foot is a few inches off the ground, and beats in front of or behind the other leg, which has come to meet it; then both feet return to the ground simultaneously in demi-plié in the fifth position.

Brisé volé

bree-ZAY vaw-LAY

Flying brisé. In this brisé the dancer finishes on one foot after the beat, the other leg crossed either front or back. The foundation of this step is a fouetté movement with a jeté battu. In the Russian and French Schools the raised leg finishes sur le cou-de-pied devant or derrière and the brisé volé is done like a jeté battu. In the Cecchetti method, the working foot passes through the first position to the fourth position, the calves are beaten together and on alighting the free leg is extended forward or back with a straight knee.

Cabriole

ka-bree-AWL

Caper. An allegro step in which the extended legs are beaten in the air. Cabrioles are divided into two categories: petite, which are executed at 45 degrees, and grande, which are executed at 90 degrees. The working leg is thrust into the air, the underneath leg follows and beats against the first leg, sending it higher. The landing is then made on the underneath leg. Cabriole may be done devant, derrière and à la seconde in any given position of the body such as croisé, effacé, écarté, etc.

Cabriole, double

DOO-bluh ka-bree-AWL

Double cabriole. This is a cabriole in which one leg strikes the other in the air two or more times before landing.

Cavalier

The male partner of the ballerina

Cecchetti method

Enrico Cecchetti, one of the world's outstanding teachers of ballet, established a system of passing on the tradition of ballet to future generations of dancers. This system, the Cecchetti method, was codified and recorded by Cyril Beaumont, Stanislas Idzikowski, Margaret Craske and Derra de Moroda. The method has a definite program of strict routine and includes a table of principal set daily exercises for each day of the week. The Cecchetti Society was formed in London in 1922 to perpetuate his method of teaching. In 1924 the Society was incorporated into the Imperial Society of Teachers of Dancing. Entrance to the Society is by examination and students must pass through a carefully graded system which has done much to raise the standard of dancing and teaching throughout the British Empire.

Cecchetti, Enrico

en-REE-koh cheh-KET-tee

This Italian dancer and ballet master (1850-1928) was born in Rome, son of Cesare Cecchetti and Serafina Casagli. He studied with Giovanni Lepri, who was a pupil of the great Carlo Blasis, and made his debut at La Scala, Milan, in 1870. He toured Europe as a premier danseur and made his debut at the Maryinski Theatre, St. Petersburg, in 1887. He accepted the position of second ballet master at the Maryinski Theatre in 1890 and two years later became instructor at the Imperial School. His pupils included Pavlova, Nijinsky, Karsavina, Fokine, Preobrajenska, Kchessinska and Egorova. In 1902 he left for Warsaw, where he became director of the Imperial School, and in 1905 returned to Italy. Returning to Russia, he opened a-private school and later became the private tutor of Anna Pavlova, touring the world with her. From 1909 to 1918 he was the official instructor to the Diaghilev Ballet Company. From 1918 until 1923 he had a private school in London. He then returned to Italy and became ballet master at La Scala in 1925. He devoted the rest of his life to teaching and perfecting his teaching methods.

Centre practice

Centre practice, or exercices au milieu, is the name given to a group of exercises similar to those à la barre but performed in the centre of the room without the support of the bar. These exercises are usually performed with alternate feet and are invaluable for obtaining good balance and control.

Chaînés

sheh-NAY

Chains, links. This is an abbreviation of the term "tours chaînés déboulés": a series of rapid turns on the points or demi-pointes done in a straight line or in a circle.

Changement de pieds

shahnzh-MAHN duh pyay

Change of feet. The term is usually abbreviated to changement. Changements are springing steps in the fifth position, the dancer changing feet in the air and alighting in the fifth position with the opposite foot in the front. They are done petit and grand.

Chassé

sha-SAY

Chased. A step in which one foot literally chases the other foot out of its position; done in a series.

Choreographer, choregrapher

This is the term applied to one who composes or invents ballets or dances.

Choreography, choregraphy

This is a term used to describe the actual steps, groupings and patterns of a ballet or dance composition.

Cinq

senk

Five. As, for example, in entrechat cinq.

Cinquième

sen-KYEM

Fifth. As in cinquième arabesque.

Classical ballet

(1) The traditional style of ballet, which stresses the academic technique developed through the centuries of the existence of ballet.

(2) A ballet in which the style and structure adhere to the definite framework established in the nineteenth century. Examples of classical ballets are Coppélia, The Sleeping Beauty, The Nutcracker and Swan Lake.

Cloche, en

ahn klawsh

Like a bell. Refers to grands battements executed continuously devant and derrière through the first position. See Battement en cloche, grand.

Coda

(1) The finale of a classical ballet in which all the principal dancers appear separately or with their partners.

(2) The final dance of the classic pas de deux, pas de trois or pas de quatre.

Corps

kawr

Body.

Corps de ballet

kawr duh ba-LAY

The dancers in a ballet who do not appear as soloists.

Côté, de

duh koh-TAY

Sideways. Used to indicate that a step is to be made to the side, either to the right or to the left.

Cou-de-pied, sur le

sewr luh koo-duh-PYAY

On the "Neck" of the foot. The working foot is placed on the part of the leg between the base of the calf and the beginning of the ankle.

Coupé jeté en tournant

koo-PAY zhuh-TAY ahn toor-NAHN

A compound step consisting of a coupé dessous making a three-quarter turn and a grand jeté en avant to complete the turn. The step is usually done in a series either en manège or en diagonale.

Couru

koo-REW

Running. As, for example, in pas de bourrée couru.

Croisé, croisée

kmJah-ZAY

Crossed. One of the directions of épaulement. The crossing of the legs with the body placed at an oblique angle to the audience. The disengaged leg may be crossed in the front or in the back.

Croix, en

ahn krwah

In the shape of a cross. Indicates that an exercise is to be executed to the fourth position front, to the second position and to the fourth position back, or vice versa. As, for example, in battements tendus en croix.

Danse

dahnss

Dance.

Danse de caractère

dahnss duh ka-rak-TEHR

Dance of character, character dance. Any national or folk dance, or a dance based on movements associated with a particular profession, trade, personality or mode of living. See Mazurka and Polonaise.

Dedans, en

ahn duh-DAHN

Inward. In steps and exercises the term en dedans indicates that the leg, in a position à terre or en l'air, moves in a circular direction, counterclockwise from back to front. As, for example, in rond de jambe à terre en dedans. In pirouettes the term indicates that a pirouette is made inward toward the supporting leg.

Dehors, en

ahn duh-AWR

Outward. In steps and exercises the term en dehors indicates that the leg, in a position à terre or en l'air, moves in a circular direction, clockwise. As, for example, in rond de jambe à terre en dehors. In pirouettes the term indicates that a pirouette is made outward toward the working leg.

Demi-plié

duh-MEE-plee-AY

Half-bend of the knees. All steps of elevation begin and end with a demi-plié. See Plié.

Demi-pointes, sur les

sewr lay duh-mee-PWENT

On the half-points. Indicates that the dancer is to stand high on the balls of the feet and under part of the toes. Also used in the singular, "sur la demi-pointe."

Derrière

Directed behind the body. À la quatrième derrière is with the leg pointing back from the body.

Dessous

duh-SOO

Under. Indicates that the working foot passes behind the supporting foot. As, for example, in pas de bourrée dessous.

Dessus

duh-SEW

Over. Indicates that the working foot passes in front of the supporting foot. As, for example, in pas de bourrée dessus.

Deux

duh

Two.

Deuxième

duh-ZYEM

Second.

Devant

duh-VAHN

In front. This term may refer to a step, movement or the placing of a limb in front of the body. In reference to a particular step the addition of the word "devant" implies that the working foot is closed in the front.

Développé

dayv-law-PAY

A movement in which the working leg is drawn up to the knee of the supporting leg and from there smoothly out to a position in the air, usually at 90 degrees (i.e., parallel to the floor).

Développé, temps

tahn dayv-law-PAY

Time developed, developing movement. Through common usage the term has become abridged to développé. A développé is a movement in which the working leg is drawn up to the knee of the supporting leg and slowly extended to an open position en l'air and held there with perfect control. The hips are kept level and square to the direction in which the dancer is facing.

Diagonale, en

ahn dya-gaw-NAL

In a diagonal. Indicates that a step is to be done traveling in a diagonal direction.

Divertissement

dee-vehr-tees-MAHNLAY

Diversion, enjoyment. A suite of numbers called "entrées," inserted into a classic ballet. These short dances are calculated to display the talents of individuals or groups of dancers.

Double

DOO-bluh

Double. As, for example, in pirouette double (a double pirouette).

Écarté

ay-har-TAY

Separated, thrown wide apart. Écarté is one of the eight directions of the body, Cecchetti method. In this position the dancer faces either one of the two front corners of the room. The leg nearer the audience is pointed in the second position à terre or raised to the second position en l'air. The torso is held perpendicular. The arms are held en attitude with the raised arm being on the same side as the extended leg.

Échappé

ay-sha-PAY

Escaping or slipping movement. An échappé is a level opening of both feet from a closed to an open position. There are two kinds of échappés: échappé sauté, which is done with a spring from the fifth position and finishes in a demi-plié in the open position, and échappé sur les pointes, or demi-pointes, which is done with a relevé and has straight knees when in the open position. In each case échappés are done to the second or fourth position, both feet traveling an equal distance from the original center of gravity.

Échappé sur les pointes

ay-sha-PAY sewr lay pwent

Échappé on the points or toes. Fifth position R foot front. Demi-plié and, with a little spring, open the feet to the second or fourth position sur les pointes. The feet should glide rapidly to the open position and both feet must move evenly. On reaching the open position both knees must be held taut. With a little spring return to the fifth position in demi-plié. If the échappé is done in the second position the R foot may be closed either front or back. In échappé to the fourth position facing en face, croisé or