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| a classic dance form with specific codified terminology, technique, and choreography, typically performed with the legs in a turned out position |
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| a theatrical presentation of a story or an abstract idea by means of dance or pantomimic action, usually accompanied by music |
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| first position-feet form one line, heels touching one another |
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| second position-the feet are on the same line with a distance of about one foot length between the heels |
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| third position-one foot is in front of the other, heels touching the middle of the other foot. |
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| fourth position-similar to fifth positoin, the feet being parallel and separated by the length of one foot. this is the modern classical fourth, or croise fouth. it may also be done with the feet as in first position but separated by the space of one foot (ouvert-open fourth) |
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| fifth position-the cecchetti method places the feet crossed so that the big toe joint shows beyond either heel. in the french and russian schools the feet are completely crossed so the heel of the front foot touches to the toe of the back foot and vice versa |
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| erect, raised, lowered, turned, inclined |
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| thrown wide apart, separated |
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| when moving from a low position to a high position, the arms usually pass through a gateway (rounded arms with hands in front of the sternum) when moving from a high position to a low position they usually pass through 2nd and demi 2nd. the arms hsould move gracefully and harmoniously |
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| theory of the head while turning |
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| spotting-the head has one movement. as the eyes focus on a fixed point in space, the head is the last to leave and the first to return to that fixed point. if the turns are traveling, the head spots following the line of direction. once the dancers become more advanced practice in changing the spotting focus will prepare them for more advanced choreography |
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| the ability of the dancer to turn his or her legs and feet out from the hip joints. this turn out is one of the essential principles of the classical dance, giving the dancer freedom of movement in every direction |
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| the ability of a dancer to attain height from the floor. maintaining correct posture, all jumps begin with a demi plie. the feet push away from the floor through the heel, ball, and toes, engaging the muscles of the legs and body to a fully stretched position. the landing must be through the feet (toes, ball, heel) finishing in a demi plie |
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2 feet to 2 feet--changement
2 feet to 1 foot--sissone
1 foot to 2 feet--assemble
1 foot to the other foot--grand jete
one foot to the same foot--saute arabesque |
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| refers to the relationship of the body segments to teach other. the spine must be held erect, hips placed directly over the feet, shoulders squarely over the hip with the head held straight over the top of the spine. the pelvis should be centered over the feet and held without tipping forward or back. the abdominal muscles must be toned and firm and in erect alignment of the spine. the feet must bear the weight of the body centered towards the balls of the feet. avoid pronation or supination (rocking the weight inward or outward on the feet) |
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| alignment reference points |
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-the head the heaviest body segment, rests on the neck
-the shoulder girdle, consisting of the clavicle in front and the scapula in back, is directly over the rib cage
-the rib cage floats above the pelvis and is connected in back to the spinal column
-the pelvis is the keystone to the skeleton
-the knee position, affected by the placement of the pelvis, should be directly in line with the toes. locking knees too far back (hyperextension) is a common error
-the feet are pedestals that provide the main base of support |
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| the carriage of weight. it is critical for efficient and effective movement |
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| is the position of the body. some examples are erect, supine, or leaning |
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| common faults of a ballet student |
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-poor body alignment
-poor placement, weight back on heels
-legs not turned out
-foot turned in at the ankle (sickling)
-rolling inward or outward on the feet (to pronate or supinate)
-not articulating through the foot (rolling through the ball of the foot before pointing)
-moving arms from the elbows
-arms held too high
-dropped elbow
-arms held too stiffly or too loosely
-bent knees when not appropriate
-lack of use of plie when appropriate
-feet not stretched
-poor musicality
-neck tension |
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| benefits gained from the study of ballet |
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-discipline of mind and body
-coordination
-grace and poise
-muscle toning
-alignment and posture
-understanding team concepts
-understanding and appreciating the art of dance
-learning to be a good audience member
-exposure to classical music
-love of dance |
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barre
center floor (au millieu)
adage
pirouette
petite allegro
grand allegro
cool down
reverence |
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plie
tendu
degage
rand de jambe
frappe
fondu
developpe
battement
stretch
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| qualifications for beginning pointe |
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-student must be at least 10 years of age
-student must have at least three years of consistent study and practice in basic exercises of ballet
-student is a healthy child in good physical condition
-students must have good turn out, proper balance, and body alignment with an understanding of their center
-student must have a strong abdomen and back with sufficient strength in their legs and feet
-teachers acquiesce to parent and/or family physician's discretion with an x-ray of the student's growth plate |
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releve-in all positions, pulling up through the foot and lowering through the foot (eleve)
releve-in all positions using the spring up method, replacing the ball of the foot with the platform of the box
echappe-first to second posotion, fifth position to second, fifth position to fourth
-bourree couru-in place and traveling
pas de bourree-devant, derriere, dessous, and dessus
pique-coupe, retire (passe)
sous-sus-drawing the feet into fifth position relevel
emboite sur les pointes-releve to fifth position. with a small step to the side step the back foot over to fifth continually moving forward. this step is called deboite if moving backward |
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| american, neo-classical contemporaneous style that is the antithesis of the romantic european schools. created by george balanchine for the school of american ballet, the new york city ballet's training ground. typified by strong, quick, elegant dancers, the use of the hands and the press to releve to pointe are signatures of this style. the term 'american' applies to teachers who glean what they consider to be the best from each method, add their own theories, and develop their own uniqueness to provide the highest quality of education for their students |
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| danish, created by auguste bournonville in the 1890s, an impressive reflection of the romantic era. the men exude strength, vigor, and display outstanding elevation and batterie, while the women radiate feminity, executing their steps with a light and airy quality. the use of mime and character dances is hallmark of this style. the royal danish ballet is a supreme example of this technique |
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| italian, developed from the teachings of the great ballet master enrico cecchetti, this is a carefully graded system with examinations for young children through the professional levels, with set exercises for each day of the week. the technique displays outstanding footwork and cultivates strength, aplomb, and dynamic turns. a notable emphasis in the cecchetti syllabus is the technique for arm flow from position to position. this method cultivates related studies in music, anatomy, history, and kinesiology |
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| paris opera ballet method |
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| french, with a history of over one hundred years, this method is characterized by light, soft, yet elegant style. emphasis is on the brilliance of the foot movements and strength of technique in performance. the teachings of enrico cecchetti strongly influenced the fundamentals of this method |
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| royal academy of dancing method |
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| english, in 1926 ninette de volois and marie rambert opened the academy of choreographic art, which after many years of development, became the royal ballet. this is a graded system beginning with syllabi for children, continuing through the major grades and into the professional level. dame margot fonteyn contributed a specialized children's syllabus in the late 1960's that emphasized the necessity of teaching children correct technique and musicality. the royal ballet school technique produces strong, yet lyrical dancers with an elegant carriage of the body |
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