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发信人: wuzhe (无言········), 信区: Art
标 题: 100个芭蕾术语
发信站: 荔园晨风BBS站 (Sun Feb 23 21:53:19 2003), 站内信件
100 (more or less) Common Ballet Terms Defined
This release Aug. 19, 1999.
Notes:
1. This dictionary is introductory only and doesn't pretend to be the
last word in scholarly accuracy (although that's what I've tried for).
Don't use it to win prizes or to pass examinations. If you need
authoritative definitions, two of the standard references for ballet
terms are (a) Kersley and Sinclair and especially (b) Grant. These are
both excellent. If you're a dancer, you should have Grant; if you're a
balletomane, you should have Kersley and Sinclair; if you're a maniac,
get both. Rhonda Ryman's dictionary is based on the practice of the
Royal Academy of Dancing. For Russian technique, Vaganova is very
useful. Warren provides photographs of dancers executing the steps. In
addition, there's now a CD ROM available that shows dancers executing
steps. The brief summaries that follow are no substitute for any of
these and are not intended to be. They're intended to provide quick
answers, not detailed instructions for executing steps. This list is
also not intended to be exhaustive. (Grant has more than a thousand
entries.)
In that case, why this list? People seem to have a craving for looking
things up on the Web that they could find more easily in a book--and I'm
satisfying that craving.
2. Most steps take many different forms; the definition given here is
for the most elementary form of the step. I have made no distinctions
between various schools (e.g., Cecchetti, Vaganova) except where
unavoidable; again, this list is intended to provide quick answers only.
I've tried to keep the number of "see" references to a minimum; the
ones I haven't been able to avoid are implemented as links.
3. Foreign characters: Ballet terminology is, with few exceptions, in
French. (Each French entry is followed by an approximate translation
in [brackets].) I have used the HTML codes for accented characters: é
for acute e, and so on. But with some browsers, notably lynx, these
codes are not supported. If you use such a browser, strange
spellings--like plii for plie'--may result from the interaction
between the browser and your system.
This FAQ is provided as is without any express or implied warranties.
While every effort has been taken to ensure the accuracy of the
information contained in this article, the author assumes no
responsibility for errors or omissions, or for damages resulting from
the use of the information contained herein.
Copyright ? 1996, 1997, 1998, 1999 by Thomas Parsons; all rights
reserved. May be posted to any USENET newsgroup, on-line service, BBS,
or Web page, provided it is posted in its entirety, including this
copyright statement. May not be distributed in part or in full for
financial gain. No portion may be included in commercial collections
or compilations without express permission from the author.
Acknowledgements: I am greatly indebted to Miki Casalino, Sandi Kurtz,
and Kim Nutter for many helpful suggestions and corrections.
Other ballet dictionaries on the Web: (Each of these dictionaries
contains a few terms not listed in this one.)
· "Ballet Terms" (letter A only).
· "Ballet Central, Ballet Vocabulary."
· American Ballet Theatre Online Dictionary. Very comprehensive.
Alphabetical links: =A= =B= =C= =D= =E= =F= =G= =H= =I= =J= =K= =L=
=M= =N= =O= =P= =Q= =R= =S= =T= =U= =V= =W= =X= =Y= =Z=
==A==
adage [Italian ad agio: "at ease"; the musical direction, adagio,
means "slow."]. The second part of a ballet class: slow work with
emphasis on sustained positions and on balance.
allegro [Italian: "happy"; in music, "fast"]. The third part of a ballet
class: fast work, jumps, turns. Usually divided into petit ["little"]
allegro and grand ["big"] allegro.
allongé ["elongated"]. With the arms stretched out as far as possible.
arabesque ["Arabic"]. A pose with one leg stretched straight out to
the back and one arm usually stretched out to the front. The back leg
may be on the floor or at 45, 90, or 135 degrees. (These angles are
measured from the vertical; 90 degrees means parallel to the floor.)
arms, positions of. These are numbered, as are the port de bras, the
arms pass through the gateway on the way to a higher position. The
position with the arms to the side is universally known as second
position. In this position, they are curved forward of the body, as if
embracing a large cylinder perhaps 8 feet (2.5 m) in diameter. Arms
overhead are sometimes called en couronne ("like a crown"). In this
position, they should be far enough forward that you can just make out
the little fingers (by peripheral vision) when looking straight ahead.
Numbering: (a) (arms down) is bras au repos according to the French
school, "preparatory position" according to the Russian school, and
first position according to Cecchetti. (b) (arms to the side) is
universally known as second position. (c) (arms in front) is first
position according to the French and Russians and fifth position en
avant ["in front"] according to Cecchetti. (d) (arms overhead) is
fifth position for the French, third position for the Russians, and
fifth position en haut ["up high"] for Cecchetti.
assemblé ["assembled"]. A jump: plié, brushing working leg out. Jump.
Bring both legs together ("assemble" them) into fifth position while in
midair; land on both feet. The brush can be to the front, the side,
or the back.
attitude ["attitude"]. A pose. As with the arabesque, the working leg is
raised. But unlike the arabesque, it is bent, not straight, and, also
unlike the arabesque, it can be done to the front, the side, or the
back. In attitude to the front or the back, if the angle is 90 degrees,
the calf should be as nearly horizontal as possible.
==B==
balancé ["rocking"]. A waltz step. For a balancé to the right, start
in fifth position. On count of 1-2-3, right foot goes out to the side
and the weight is transferred to it (1). Immediately bring left foot
behind right and and transfer the weight to the ball of the left foot
while rising up on it (2). Put your weight back on the right foot flat
on the floor (not raised up) (3). A balancé to one side is almost
always followed by a balancé to the other side. Balancés can also be
done to the front and back or turning.
balan?oire. Short for battements en balan?oire, ["battements like a
seesaw"]. The dancer swings the working leg vigorously back and forth
between fourth position front and fourth back, through first position.
Unlike grand battements en cloche, balan?oires do not require that the
body be held straight.
ballon ["balloon"]. The appearance of weightlessness and of being
airborne. A dancer is said to have ballon if (s)he seems to be in the
air constantly with only momentary contact with the floor.
ballonné ["ball-like"]. A jump. From 5th position, right foot front,
demi-plié while the right foot glides to 2nd position at 45 degrees.
Jump with left while travelling in the air towards the right foot.
Land on left foot with the right having come in to the position sur le
cou-de-pied front. Repeat by throwing the right foot out to the side
again from the position sur le cou-de-pied. Can be done in many
different directions.
ballotté ["tossed"]. A jump. Begin in 5th, right leg front. Spring
straight upward with both legs held tightly together, as the body begins
to tilt slightly backward at the apex of the jump. The body lands on
the left foot while the right is thrown open to the front. Repeat
backwards, with a slight tilt to the front at the apex of the jump.
Can also be done with bent knees, as the working leg goes through ré
tiré position front (to go forward). In this case the repeat may
start by the left leg jumping up while the right comes back in to join
it; the left leg then bending to bring the foot through rétiré back
before thrusting backwards as the body lands on the right leg.
barre ["bar"]. 1. The railing, about waist high, along the wall of a
studio. Used by dancers as for steadying themselves in the first part of
a class. 2. The first part of ballet class, consisting of exercises
done with the aid of the barre.
battement ["beating"]. A generic term for various movements in which the
leg is extended and then returned. See grand battement and petit
battement. This is also one of those words (like pas and temps) that are
frequently omitted and understood; thus, for example, frappé is
short for battement frappé, etc. In this list, look under the second
word (e.g.,, under frappé, not under battement frappé. The only
exception to this is battement tendu.
battement tendu ["stretched beat"]. ("Tendu" for short.) Slide the
working foot out until only the toes are touching the floor; then
slide it back. An important exercise for learning to move the foot
quickly and gracefully while maintaining placement. Balanchine
considered it the most important exercise in all of ballet.
==C==
cambré ["bent"]. A bend from the waist in any direction, but especially
forward or back.
cha?né turns. Short for tours cha?nées déboulés, "chained, rolling
turns." Fast turns on half or full point with the legs in a tight
first position, rotating a half turn on one foot and the other half on
the other foot. Done one after the other so they're "chained" together.
changement (short for changement de pieds ["change of the feet"]). A
jump, straight up, starting from fifth position with one foot in front
and landing in fifth position with the other foot in front.
chassé ["chased"]. A gliding step. The working leg slides out; put
weight on working leg and draw other leg along floor to it. (In American
folk dancing, this word was mispronounced, giving rise to the term
"sashay.")
ciseaux ["scissors"]. Opening the legs, like the blades of a pair of
scissors, to a wide second position; may be jumped. Not to be confused
with sissonne.
class (in French, also le?on ["lesson"]). A ballet class is a
carefully graded sequence of exercises lasting, typically, an hour and a
half. The work falls into three parts. The first part consists of
stretching and warming-up exercises done with the support of the barre.
You may spend anywhere from forty minutes to an hour at the barre. Then
you move to the center of the studio to work without support. The
second part of class, called adage, consists of slow work in which the
emphasis is on sustaining positions and on balance. The final part of
class, allegro, consists of fast work, mostly combinations (sequences of
steps) with the big jumps and turns that make ballet such an impressive
and dazzling sight.
combination. A series of steps linked together, usually as an exercise
in class.
cou-de-pied ["neck of the foot"]. The thinnest part of the calf, just
above the ankle.
cou-de-pied, sur le ["on the neck of the foot"]. A position. A foot is
sur le cou-de-pied if it is placed on the the calf just above the ankle.
In the Russian school, the foot is actually wrapped around the ankle,
with the heel forward and the toes back. It may be placed on the front
of the calf in this position, at the side, or in back. The back position
is sometimes called, incorrectly, coupé.
coupé ["cut"]. A linking step in which the working foot displaces the
supporting foot (cuts it away). Sometimes used, incorrectly, for the
position sur le cou-de-pied in back or, less often, in front.
croisé ["crossed"]. A position on stage in which the dancer faces one
of the front corners with the legs crossed. In croisé devant, the
downstage leg is in fourth position to the front; in croisé derrière,
the upstage leg is in fourth position to the back.
croix, en ["in (the form of) a cross"]. Usually applied to exercises
at the barre: the exercise is done first with the working leg moving
to the front, then to the side, then to the back, and then to the (same)
side again.
==D==
dedans, en ["inward"]. Used to describe motion toward the front of the
body. In a pirouette en dedans, the dancer turns so the raised leg
rotates toward the front. In a rond de jambe en dedans, the working
leg moves in a half-circle from the back toward the front.
dégagé ["disengaged"]. A movement or position in which the working leg
is lifted off the floor.
dehors, en ["outward"]. Used to describe motion away from the front of
the body. In a pirouette en dehors, the dancer turns so the raised leg
rotates away from the front. In a rond de jambe en dehors, the working
leg moves in a half-circle away from the front toward the back.
derrière ["behind"]. Directed behind the body. à la quatrième derriè
re is with the leg pointing back from the body.
dessous ["under"]. Describes motion of the working foot under (i.e.,
behind) the supporting foot. English speakers have trouble with the
difference between the French -ou- and -u-, so they tend to use
"under" and "over" in preference to dessous and dessus.
dessus ["over"]. Describes motion of the working foot over (i.e., in
front of) the supporting foot. English speakers have trouble with the
difference between the French -ou- and -u-, so they tend to use
"under" and "over" in preference to dessous and dessus.
détourné ["turned aside"]. A smooth turn made by pivoting on the
toes in relevé.
devant ["ahead"]. Directed in front of the body. à la quatrième devant
is with the leg pointing ahead of the body.
developpé ["developed"]. 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).
==E==
écarté ["separated"]. A position on stage in which the dancer faces
one of the front corners with the working leg in second position, either
on or off the floor. The body is tilted slightly away from the
working leg. The arm on the side of the working leg is raised; the arm
on the side of the supporting leg is in second. If the working leg and
raised arm are downstage (toward the audience), this is écarté devant;
if they are upstage, this is écarté derrière.
échappé ["escaped"]. A movement in which the legs move from fifth
position out to second position or, occasionally, to fourth position.
effacé ["effaced"]. A position on stage in which the dancer faces one
of the downstage corners with the legs crossed, upstage leg forward. The
downstage arm is usually raised in this position, so that the face is
shaded, or effaced; hence the name.
élancer ["to dart"]. One of Noverre's seven movements (see movements.
elevation. The ability to jump high in the air. A step of elevation is a
jump.
emboité ["boxed"]. A jump. Start in 5th; assume the right leg is in
front. Jump up, bend the right leg to 45 degrees. Land on the right foot
with the left leg slightly bent and the left foot in front of the right
ankle. The feet fit closely together, like a lid on a box; hence the
name. Usually repeated to the other side: jump off right foot onto the
left and land with right foot in front of the left ankle. This
movement is often done while turning and travelling.
en face ["facing"]. A position on stage facing directly forward,
toward the audience.
en l'air ["in the air"]. Used to describe movements in which the working
leg is raised a considerable distance off the ground. Antonym: terre-à
-terre.
encha?nement ["chaining"]. A series of steps linked (chained) together.
entrechat ["braided, interwoven"]. A jump in which the dancer's legs
cross each other--from fifth in front to fifth in back--several times in
the air. The number of crossings is indicated by a number after the
word, and each crossing is counted twice (once for going out from
fifth and once for returning to fifth). In even-numbered entrechats, the
dancer lands on both feet, in fifth. In odd- numbered ones, the
dancer lands with one foot sur le cou-de-pied. For example, in entrechat
quatre the dancer starts in fifth position. If the right foot is in
front, he jumps, changes his feet to left foot in front and back, and
lands with the right foot in front again. (I suppose you could call a
simple changement an entrechat deux, but I've never heard this.)
épaulement ["shouldering"]. Rotation of the shoulders and head
(relative to the hips) to add beauty or expressiveness to a pose, step,
or movement.
étendre ["to stretch"]. One of Noverre's seven movements (see
movements).
extension. The ability to raise the working leg high in the air. Good
extension comes from a combination of inborn flexibility and training.
==F==
failli ["giving way"]. 5th position, right foot front. Demi-plié,
jump up vertically, feet together. Turn the body efface in the air.
The body is lowered into demi-plié on the right foot, while the left
leg, fully extended, is opened to 45 degrees in effacé back. Without
hesitation, the left foot glides through first position and ends in
croisé in demi-plié.
feet, positions of. There are five basic positions of the feet in
ballet. 1: feet in line with heels together; 2. feet in line, heels
apart (separated by about the length of one's foot); 3. feet touching,
one foot in front of the other and overlapping by about half the
length of the foot; 4. feet apart, separated about the length of a foot,
one foot in front of the other; 5. feet touching, one foot in front,
heel to toe and toe to heel. In a Cecchetti fifth, the feet do not
overlap completely; in a Russian fifth, they do. Fourth position is
sometimes qualified as an open fourth (like first position except for
the separation of the feet) and a closed fourth (like fifth position
except for the separation of the feet). In the following sketches, o----
represents the foot and o is the heel:
1. ----oo---- 2. ----o o----
3. o---- o----
----o 4. (open)
----o
o----
4. (closed) 5. o----
----o ----o
fondu ["melted"]. Any movement that lowers the body by bending one leg.
In a plié, both legs support the body; in a fondu, only one leg
supports the body.
fouetté ["whipped"]. Typically, a movement in which the working leg
is brushed vigorously either forward or backward. You then use the
inertia of the leg to turn the body around, so that the body turns 180
degrees away from the leg, which remains where it was.
fouetté en tournant ["turning fouetté"]. A turn in which a whipping
motion of the working leg makes the body go round. Usually but not
always done en dehors, which is the description that follows. The
working leg opens to 2nd position at 45 degrees. The working leg whips
in behind the calf of the supporting leg, while the arms come in, the
body turns en dehors, and the supporting leg rises to releve. Quickly,
the working foot is brought to the front of the calf and is opened to
2nd at 45 degrees while the working foot is lowered into demi-plié.
While in this position, the arms open to second in preparation for a
repeat of the movement. When you hear of "32 fouettés" in Swan Lake
or some other ballet, this is what they mean.
frappé ["struck"], in full, battement frappé, "struck beat". Working
foot rests lightly on the ankle of the supporting foot. Throw the
working leg forcefully out to a dégagé position so that it strikes the
floor 1/3 of the way out. Hold the leg out as long as possible,
returning it to its initial position at the last moment. (Russian frapp
és start in tendu, darting to the supporting leg and back out again.)
Can be done to the front, side, or back.
==G==
glissade ["glide"]. A connecting step. Start in plié; move the right
foot out to pointe tendu; then move onto that leg, closing the left foot
and landing in plié. Can be done in any direction.
glisser ["to glide"]. One of Noverre's seven movements (see movements).
grand battement ["big beat"]. A "kick" in which the working leg is
raised as high as possible while keeping the rest of the body still.
"Kick" is in quotes because the battement should be a controlled lift,
not a throwing of the leg into the air, and the leg must be controlled
while coming down. The kicks one associates with a chorus line are
grands battements. There's a terrific grand battement in W. C.
Fields's short, "The Fatal Glass of Beer"--not (unfortunately)
executed by Fields himself.
grand battement en cloche ["grand battement like a bell"]. Grand
battements in which the leg swings continually between fourth position
front and fourth position in back, the body being held erect.
grand jeté ["big thrown (step)"]. A long horizontal jump, usually
forward, starting from one leg and landing on the other. In the middle
of the jump, the dancer may be doing a split in midair. One of the
most memorable of all ballet jumps; the dancer seems to float in the
air, as a result of the shift of his center of gravity from the split.
==H==
==I==
==J==
jeté ["thrown"]. A jump from one foot to the other foot, throwing the
working leg out. See petit jete and grand jete.
jumps. Jumps have been classified as follows: (1) from both feet to both
feet (e.g. changements); (2) from both feet to one foot (e.g.
sissonnes); (3) from one foot to both feet (e.g., assemblés); (4)
from one foot to the same foot (e.g., temps levés); (5) from one foot
to the other foot (e.g., jetés).
==K==
==L==
==M==
movements (Noverre's seven). Noverre (1727-1810, a dancer and ballet
master whose writings revolutionized ballet) analyzed all balletic
movements into seven basic categories. These are: plier, to bend; é
tendre, to stretch; relever, to rise; sauter, to leap; élancer, to
dart; glisser, to glide; and tourner, to turn.
==N==
==O==
opposition. Movement (or position) of the arms in opposite direction
to movement (or position) of the legs--as we move our arms when we walk.
==P==
pas. A step. Many of the common names of steps in ballet are
adjectives (or participles) instead of nouns; these names have the
word "pas" understood: thus, for example, "coupé" (which everybody
says) is actually short for "pas coupé" ["cut step"] (which nobody
says). Also used to refer to a dance, as pas de deux, a dance for two;
pas de quatre, a dance for four.
pas de Basque ["Basque step"]. Starts in 5th position; assume right foot
front. On the upbeat, demi-plié; the right foot glides forward in
croisé and continues with a demi-rond de jambe en dehors to the side,
while the left foot remains in plié. A small jump occurs onto the right
foot in demi-plié. The left foot now glides through 1st position
into croisé forward. On the final count, the weight is transferred to
the left foot and a small jump is made to bring the feet together
where the left one was placed. The movement finishes in 5th croisé.
pas de bourrée ["bourrée step," the bourrée being an old folk dance].
This term has at least two meanings. 1. One of the simplest
connecting steps, used to link other steps in a combination. The
commonest form is probably the pas de bourrée dessous. Assume your
right foot is in front: left foot on half pointe; step on it and put
your weight on it; move the right foot to the side, transfer your weight
to it (also in relevé); move the left foot to the front of the right
and put your weight on both feet in a plié. 2. (properly called pas
de bourrée couru, "running pas de bourrée" or pas de bourrée suivi,
"followed pas de bourrée"). A gliding movement by a dancer on pointe
consisting of many very small steps taken with the feet close together.
When a dancer uses bourrée as a verb ("Then you bourrée downstage"),
she usually means pas de bourrée couru.
pas de chat ["step of the cat"]. A jump. Leap off the left leg, starting
from a plié and raising the right leg into retiré. In midair, raise
the left leg into retiré, too, so your legs form a diamond shape in the
air. Land on the right leg with the left leg still in retiré; then
bring it down, landing in another plié. In the famous dance in Swan
Lake in which the four cygnets dance with interlaced arms, they do
sixteen pas de chat.
pas de cheval ["step of the horse"]. Starting with the working leg in
pointe tendu, draw it along the floor back to the supporting leg; then,
without pausing, move it up to cou-de-pied and back out to pointe tendu
in a small developpé. The step resembles the pawing of a horse.
passé ["passed"]. A movement in which the pointed foot of the working
leg is made to pass the knee of the supporting leg. Frequently
used--incorrectly--as a synonym for retiré.
penché ["leaning"]. A tilting of the body to achieve an exteme picture.
An example is when the dancer is in an arabesque at 90 degrees. She
then pushes her working leg upward and over, pushing the body down
towards the supporting leg to achieve a much greater angle between legs,
often resulting in a 180-degree split.
petit battement ["little beat"]. An exercise for speed and agility in
the lower leg. In the starting position, the working leg is sur le
cou-de-pied. It opens in the direction of 2nd position but only half
way, as the leg does not fully extend at the knee. The working leg
then closes to sur le cou-de-pied opposite of where it started (in
back if it started in front and vice versa). Done repeatedly, back and
front. The knee and thigh of the working leg stay in the same place
and do not move during the exercise.
petit jeté ["little jump"]. A jump: brush the working foot out, hop off
the supporting leg, and land on the working foot with the other foot
sur le cou-de-pied behind. Can be done to the front, the side, or the
back.
pirouette ["spin"]. A complete turn on one leg. The dancer usually
goes round more than once. The raised leg is most commonly held in ré
tiré, but pirouettes with the leg in other positions are not uncommon.
If the direction of the turn rotates the raised leg away from the front
of the body, the pirouette is en dehors; if it rotates the leg toward
the front, it is en dedans. The dancer spots (see "spotting") in order
to avoid becoming disoriented. Pirouettes are usually fast, but
supported pirouettes, in which a partner steadies the soloist, may be
done very slowly.
placement. Roughly, alignment of the body. Becoming properly placed
means learning to stand up straight, with hips level and even, shoulders
open but relaxed and centered over the hips, pelvis straight (neither
protruding nor tucked under), back straight, head up, weight centered
evenly between the feet. This posture is frequently described as "pulled
up," but it is also a relaxed posture; you aren't tensed up like a
soldier standing at attention. (A teacher once said you should imagine
that you are suspended by a thread attached to the top of your head.
This suggests both the "pulled-up" and relaxed aspects of good ballet
posture.) And as you dance, you seek to maintain this posture except
when the step requires something different, like épaulement, or like
the slight forward arch of the spine that accompanies an arabesque.
plier ["to bend"]. One of Noverre's seven movements (see movements).
plié ["bent"]. Knee bends, done with the legs turned out. Normally
the first exercise in a ballet class. Demi-plié ["half-bent"] is a
shallow bend (in all positions but second, as far down as you can go
without lifting the heels off the floor); grand plié ["big plié"] is a
deep bend, down to where the thighs are almost horizontal. In all
positions except second, the heels release from the floor in a grand
plié.
pointe ["point"] (demi ["half"], quarter, three-quarter, sur les pointes
["on the points"]). The point of the foot. Demi-pointe, etc., refer
to how far the heel is raised off the floor in a relevé. Definitions
vary, but this will do for starters: quarter point is with the heel just
off the floor; three-quarter point is a straight line from the knee
to the ball of the foot. Demi pointe is half way between. Sur les
pointes, or "on pointe," is on the tips of the toes--literally. Children
should not be allowed to go on pointe until the bones of their feet are
fully developed--typically about the age of 11 or 12.
pointe tendu ["stretched point (of the foot)"]. A position in which
the working leg is stretched straight out in any direction with only the
tip of the foot touching the floor.
port de bras ["carriage of the arms"]. 1. How a dancer uses his arms. 2.
Specific movements of the arms, as first port de bras, second port de
bras, etc. 3. Sometimes used instead of cambré. A grand port de bras is
a circular bend, either toward the barre, then down, then up away
from the barre, and then backward and back toward the barre: or the same
thing in the opposite direction.
positions: see feet, positions of and arms, positions of.
positions on stage. See: Croisé, effacé, en face, écarté.
promenade ["walk"]. A pivot turn in which the dancer moves slowly around
by shifting the heel of the supporting leg. The rest of the body may be
in arabesque or attitude. In a supported promenade, the partner turns
the soloist.
==Q==
quatrième ["fourth"]. Fourth position. (See feet, positions of and
arms, positions of.)
quatrième, à la ["in the fourth"]. à la quatrième devant is with the
working leg stretched out to the front; à la quatrième derrière is
with the working leg stretched to the back.
==R==
relever ["to rise"]. One of Noverre's seven movements (see movements).
relevé ["raised"]. A movement in which the heels are raised off the
floor. The rise may be smooth or aided by a slight spring, depending
on the school. A dancer in such a position is said to be "in relevé."
retiré ["withdrawn"]. A position in which the working foot is drawn
up to the knee of the supporting leg. Also frequently (and
incorrectly) called passé.
rond de jambe ["circular movement of the leg"]. A movement in which
the working leg is made to describe a letter D about the supporting leg.
May be done with the working foot on the floor or in the air. In a rond
de jambe en dehors ("outward") on the floor, the working leg moves from
first (or fifth) position to pointe tendu forward, makes a half
circle to pointe tendu in back, and then returns to first, if the rond
de jambe is to be repeated, and otherwise to first or fifth. A wonderful
exercise for turnout. In a rond de jambe en dedans ("inward"), the
direction of movement is reversed. In a demi rond de jambe, the
working leg goes only half-way around, stopping in second position. A
grand rond de jambe, is executed with the supporting leg in plié. A
rond de jambe en l'air ("in the air") is done with the working leg
raised off the floor, frequently at an angle of 90 degrees (parallel
to the floor).
==S==
sauter ["to leap"]. One of Noverre's seven movements (see movements).
seconde, à la ["in second"]. In second position, i.e., to the side.
(See feet, positions of and arms, positions of.)
sissonne [Named for its inventor]. A type of jump that has several
forms, among them: sissonne simple, sissonne ouverte, sissonne fermée,
sissonne fondue, and others. Not to be confused with ciseaux.
In sissonne simple, the most elementary form, the movement begins in 5th
position. Jump straight up, with the legs together and the feet
pointed. Land on one foot in demi-plié, with the other foot sur le
cou-de-pied either in front or back (corresponding to whether the foot
sur le cou-de-pied began in front or back--it does not change).
soubresaut ["sudden leap"]. A jump from both feet to both feet.
Beginning in 5th croisé, the feet push off the floor so that the body
flies forward with feet pointed and legs together. Before the jump,
the body inclines forward, and then during the jump bends forcefully
back, so that the legs remain at the back. The movement ends in 5th
croisé. The arms are free and depend only on the design of what is
being sought after; when studying, they usually begin in preparatory,
come up to first during the jump, and end in preparatory again.
sous-sus ["under-over"] (or sus-sous ["over-under"]). A relevé in a
tight fifth position with one foot almost on top of the other.
soutenu ["sustained"]. (a) Performed smoothly and slowly. (b) Also
used to indicate a smooth détourné. For (a), can be: where from 5th
position, the working leg is taken out to the front, 2nd position, or to
the back, while the supporting leg is lowers to demi-plié. Then the
supporting leg rises to demi or full pointe while the working leg is
drawn into it, ending in a tight sus-sous position.
spotting. A technique for for keeping oriented and avoiding dizziness
during turns. Pick a spot (some conspicuous object); keep looking at
it as you turn until you can't any longer; then quickly turn your head
so you are looking at it again.
sur le cou-de-pied. See cou-de-pied, sur le.
==T==
temps. Literally, "time," but perhaps "moment" would be better. A
movement that forms part of a step. Grant says a part in which there
is no transfer of weight, which raises some interesting questions
about temps lié.
temps levé ["raised movement"]. Temps levé is the very simplest jump
from one foot onto the same foot with the other foot raised.
temps lié ["joined movement"]. This is a term for a whole series of
conventionally connected movements executed in the center of the room,
often during an adagio. However, it is also the term for an
independent form of a step.
In the basic form of the temps lié, stand in 5th position croiseé,
arms in preparatory position. The working leg is drawn, without taking
the toe off the floor, into croisé devant, while the supporting leg
bends into demi-plié; simultaneously, the arms are raised into 1st
position with the head slightly inclining towards the shoulder
corresponding to the supporting leg. Then, the weight is transferred
through demi-plié to croisé derrière onto what was the working leg.
Here, both legs are completely stretched with the now working leg
stretched toe to the floor in back. At the moment of weight transfer,
the arm that corresponds to the now working leg is raised overhead,
while the other arm opens sideward; the head turns towards the
sideward arm. Finally, the working leg closes in 5th back; arms may
remain or stay.
tendu ["stretched"]. See: battement tendu and pointe tendu.
terre-à-terre ["ground to ground"]. Used to describe steps in which the
dancer's feet do not leave the floor. Antonym: movements).
travesti, en ["in disguise"]. Of a female dancer: dancing a male role in
a man's costume; of a male dancer: dancing a female role in a woman's
costume.
turnout. The balletic stance in which the legs are rotated outward so
that the legs (and feet) point in opposite directions. A dancer adopting
this position is said to be "turned out." Usage varies, but most people
seem to measure the degree of turnout by the angle between the foot and
the mid-saggital plane of the body. The ideal, with both feet in a
straight line, is thus 90 degrees of turnout. Turnout must begin at
the hip. Forcing the feet and letting everything else follow puts severe
strain on the joints, especially the knees, and defeats the purpose
of turnout, which is to rotate the thigh bone to permit greater
extension, especially to the side.
==U==
==V==
==W==
==X==
==Y==
==Z==
References
Kersley, Leo, and Janet Sinclair, A Dictionary of Ballet Terms. Da
Capo Press, 1979, ISBN 0-306-80094-2.
Grant, Gail. Technical Manual and Dictionary of Classical Ballet. New
York: Dover Books, 1982, ISBN 0-486-21843-0.
Mara, Thalia. The Language of Ballet: a Dictionary. Princeton: Dance
Horizons (Princeton Book Company), 1987, ISBN 87127-037-4.
Ryman, Rhonda. Dictionary of Classical Ballet Terminology. Hightstown,
N. J.: Princeton Book Company, 1997, ISBN 0-9524848-0-3.
Vaganova, Agrippina. Basic Principles of Classical Ballet. New York:
Dover Books, 1969, ISBN 0-486-22036-2.
Warren, Gretchen. Classical Ballet Technique. Tampa: University of South
Florida Press, 1989, ISBN 0-8130-0945-6.
Ballet CD-ROM
Performing Arts Video, Inc.
P. O. Box 193121
San Francisco, Calif. 94119-3121
(800) 600-6568
http://www.pav.org/ballet.htm
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