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ballet Ballet () is a type of performance dance that originated during the Italian Renaissance in the fifteenth century and later developed into a concert dance form in France and Russia. It has since become a widespread and highly technical form ...
became formalized in France, a significant part of ballet terminology is in the
French language French ( or ) is a Romance language of the Indo-European family. It descended from the Vulgar Latin of the Roman Empire, as did all Romance languages. French evolved from Gallo-Romance, the Latin spoken in Gaul, and more specifically in N ...
.


A


À la seconde

() (Literally "to second") If a step is done "à la seconde," it is done to the side. 'Second position'. It can also be a balance extending one foot off the ground in ‘Second Position’.


À la quatrième

() One of the directions of body, facing the audience (''en face''), arms in second position, with one leg extended either to fourth position in front (''quatrième devant'') or fourth position behind (''quatrième derrière'').


À terre

() Touching the floor; on the floor.


Adagio

Italian, or French ''adage'', meaning 'slowly, at ease.' # Slow movements performed with fluidity and grace. # One of the typical exercises of a traditional ballet class, done both at barre and in center, featuring slow, controlled movements. # The section of a '' grand pas'' (e.g., '' grand pas de deux''), often referred to as ''grand adage'', that features dance partnering.


Allegro

(; meaning 'happy') # Brisk, lively motion. An attribute of many movements, including those in which a dancer is airborne (e.g., ''assemblé'', ''changement'', ''entrechat'', ''sauté'', ''sissonne'', ''soubresaut''). # Used in ballet to refer to all jumps, regardless of tempo. # A category of exercises found in a traditional ballet class, e.g. petit allegro (small, generally fast jumps) and grand allegro (large, generally slower jumps).


Allongé

(; meaning 'elongated.') Refers to a foot and leg position when the toes and knees are extended and elongated, rather than forming the usual soft curve.


Aplomb In classical ballet, aplomb () refers to an unwavering stability maintained during a vertical pose or movement. The word is of French origin, coming from ''à plomb'', "according to the plummet".Arabesque The arabesque is a form of artistic decoration consisting of "surface decorations based on rhythmic linear patterns of scrolling and interlacing foliage, tendrils" or plain lines, often combined with other elements. Another definition is "Foli ...

In dance (particularly ballet), arabesque (French: ʁabɛsk literally, "in Arabic fashion") is a body position in which a dancer stands on one leg (the supporting leg) with the other leg (the working leg) extended, straight, behind the body. The arm positions can vary and are generally allongé. The foot of the supporting leg may be flat on the floor, on the ball of the foot (demi-pointe/relevé), or on the tips of the toes (en pointe).


Arrondi

(; meaning 'rounded') A position of the hand. Rounded, in contrast with ''allongé'' ('stretched out', as in arabesque).


Assemblé

(; literally 'assembled') Sometimes also ''pas assemblé''. A jump that takes off from one foot and lands on two feet. When initiated with two feet on the ground (e.g. from fifth position) the working leg performs a ''battement glissé''/''dégagé'', brushing out. The dancer launches into a jump, with the second foot then meeting the first foot before landing. A petit assemblé is when a dancer is standing on one foot with the other extended. The dancer then does a small jump to meet the first foot.


Attitude

() A position in which a dancer stands on one leg (the ''supporting'' leg) while the other leg (''working'' leg) is raised and turned out with knee bent to form an angle of approximately 90° between the thigh and the lower leg. The height of the knee versus the foot and the angle of the knee flexion will vary depending on the techniques. The working leg can be held behind (''derrière''), in front (''devant''), or to the side (''à la seconde'') of the body. The alignment of the thigh compared to the midline in Attitude derrière will vary depending on the techniques. The foot of the supporting leg may be flat on the floor, en demi-pointe (ball of the foot), or en pointe (tips of the toes). The standing leg can be straight or bent ("fondu").


Avant, en

(; meaning 'forwards') A movement towards the front, as opposed to ''en arrière'', which is conversely a movement towards the back. For example, a step travelling ''en avant'' moves forwards towards the audience, as in '' sissonne en avant''.


Arrière, en

(; meaning 'backwards') A movement towards the back, as opposed to ''en avant.''


B


Balancé

(; "balanced") A rocking sequence of three steps—''fondu'', ''relevé'', ''fondu'' (down, up, down)—executed in three counts. Before the first count, one foot extends in a ''dégagé'' to second position (''balancé de côté'') or to the front (''balancé en avant'') or rear (''balancé en arrière''). The second foot in the sequence (in any direction) assembles behind the first to relevé in fifth or fourth position.


Balançoire

(; "swing hildren's toy) Swinging the working leg between front (devant) and back (derrière) through
first position ''First Position'' is a 2011 American documentary film. It follows six young dancers preparing for the Youth America Grand Prix in New York City, an annual competition for dancers ages 9–19 to earn a place at an elite ballet company or school. D ...
, usually in conjunction with ''grands battements'' or ''attitudes'' and involving seesaw like shifting of the upper body in opposition to the legs. Similar to en cloche.


Ballerina

(Italian) A principal female ballet dancer in a ballet company. Ballerinas get more lead roles, which are referred to as principal roles as they are generally danced by principal dancers. Soloists also often dance in principal roles, but most of the time not in the first cast of the show (i.e. the cast that performs the most shows)


Ballerino

An informal term for male dancers in a ballet company in Italy.


Ballet Ballet () is a type of performance dance that originated during the Italian Renaissance in the fifteenth century and later developed into a concert dance form in France and Russia. It has since become a widespread and highly technical form ...

French word meaning dance.


Ballet technique Ballet technique is the foundational principles of body movement and form used in ballet. It is an important aspect of ballet performance because ballet (especially classical ballet) puts great emphasis on the method and execution of movement., pp ...

The foundational principles of body movement and form used in ballet.


Balletomane

A ballet fan or enthusiast. The word is of Russian origin c. 1930, with the suffix ''-mane'' coming from ''maniya'' (
mania Mania, also known as manic syndrome, is a mental and behavioral disorder defined as a state of abnormally elevated arousal, affect, and energy level, or "a state of heightened overall activation with enhanced affective expression together wi ...
).


Ballon Ballon may refer to: Places *Ballon, County Carlow (''Balana'' in Irish), a village in Ireland *Grand Ballon The Grand Ballon () or Great Belchen is the highest mountain of the Vosges, located northwest of Mulhouse, France. It is also the hig ...

Showing lightness of movement in leaps and jumps. A dancer exhibiting ''ballon'' will appear to spring effortlessly, float in mid-air, and land softly like a balloon.


Ballonné

In classical ballet, the term ballonné is a step where the leg is extended (can be front, side, or back) at 45 degrees. The knee is then bent and the foot brought to a sur le cou-de-pied position. This can also be done as a relevé or jump.


Ballotté

A ballotté is a jumping step in classical ballet that consists of coupé dessous and small developpés performed with a rocking and swinging movement. The step can be performed with the leg extensions at 45 or 90 degrees.


Barre

A sturdy horizontal bar, approximately waist height, used during ballet warm-up exercises and training. Fixed barres are typically mounted on -covered walls; portable barres can be relocated as needed. Used for balance, not support. A barre is a tool, not a necessary item to dance.


Battement In ballet Ballet () is a type of performance dance that originated during the Italian Renaissance in the fifteenth century and later developed into a concert dance form in France and Russia. It has since become a widespread and highly tech ...

An alternating side-to-side movement of the working (non-supporting) leg. Typically performed in multiples, quickly and in rapid succession so that the working foot appears to be fluttering or vibrating.


Batterie

() A general term for jumps in which the legs open slightly sideways and close (crossed in fifth position) multiple times, alternating feet. (See "Battu.)


Battu

(; meaning 'beaten') A movement with an extra beating of the feet included, as in ''jeté battu''.


Brisé

(; literally 'broken') A jump consisting of an ''assemblé'' traveling either forward (en avant) or backward (en arrière), with an extra beat that "breaks" the jump in its travel. To execute a brisé en avant, the dancer demi-pliés in fifth position and brushes the back leg (through first position) to the front, then springs into the air and brings the second foot to meet it in the back before switching to the front to land, creating a beating action with the legs. In a brisé en arrière, the process is reversed, with the front leg brushing to the back and beating to land in front.


Bras croisé

(; literally 'crossed arms') Arm placement in which one arm is extended in second position away from the audience while the other is curved in first position (Cecchetti fourth position ''en avant'' or RAD/French third position).


Bravura

() A flashy, showy and elaborate style of dance that involves a lot of elaborate steps and style to similar music. Usually during a key solo.


Bourree

Quick movement of the feet, can be performed on pointe or on demi-pointe. The dancer straightens one leg (the leg in back) and bends a leg and picks it up(the leg in front). Then the bent leg is straighted on the floor and the straight leg is picked off the floor and bent. These steps are repeated over and over again. The dancer looks as if he or she is flying across the floor.


C


Cabriole

(; meaning '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, and so on.


Cambré

(; literally 'arched.') A bending at the waist in any direction, forward, backward, or to the side.


Chaînés In dance and gymnastics, a turn is a rotation of the body about the vertical axis. It is usually a complete rotation of the body, although quarter (90°) and half (180°) turns are possible for some types of turns. Multiple, consecutive turns are ...

(; 'chained', plural.) Also known as "chaînés turns," a common abbreviation for ''tours chaînés déboulés'', a series of quick, 360 degree turns that alternate the feet while traveling along a straight line or in a circular path. Each foot performs a half turn, with feet held in a tight
first position ''First Position'' is a 2011 American documentary film. It follows six young dancers preparing for the Youth America Grand Prix in New York City, an annual competition for dancers ages 9–19 to earn a place at an elite ballet company or school. D ...
en pointe or demi-pointe.


Changement de pied

(; literally 'change, changing.') A jump in which the feet change positions in the air. For example, beginning in fifth position with the right foot front, ''plié'', jump switching the right leg to the back, and land in fifth position with the left foot front. In the Vaganova vocabulary, ''petit changement de pieds'' indicates a ''changement'' where the feet barely leave the floor.


Chassé The ''chassé'' (, French for 'to chase'; sometimes anglicized to chasse ) is a dance step used in many dances in many variations. All variations are triple-step patterns of gliding character in a "step-together-step" pattern. The word came fro ...

(Literally 'chased.') # A sliding movement forward, backward, or sideways with both legs bent, then springing into the air with legs straight and together. It can be done either in a gallop or by pushing the leading foot along the floor in a ''plié'' to cause an upward spring. It is typically performed in a series or as part of a combination of other movements. # A sliding movement as described above, but without the jump aspect. Instead, the leading foot is pushed along the floor in plié as described above, as a transition into another movement or position.


Cloche, en

(; meaning 'like a bell.') Refers to brushing through first position from fourth devant or fourth derrière to the opposite fourth with the upper body held upright. Can be done continuously, as is often done with grands battements and attitudes. Similar to Balançoire, which additionally allows seesaw like upper-body shifting in counterpoint to the legs. The Vaganova system may refer to ''en cloche'' as "passé la jambe" or "battement passé la jambe".


Coda

(); literally 'tail.') The concluding segment of a performance or suite of dances comprising a '' grand pas'' (e.g., grand pas de deux). A particularly large or complex coda may be called a ''grand coda''. If a large group of dancers participate, the terms ''coda générale'' or ''grand coda générale'' may be used.


Corps de ballet In ballet, the ''corps de ballet'' (; French for "body of the ballet") is the group of dancers who are not principal dancers or soloists. They are a permanent part of the ballet company and often work as a backdrop for the principal dancers. ...

The ensemble of a ballet company, especially the ensemble apart from the featured dancers. Being a part of the corps means one is neither a soloist nor a principal dancer.


Coryphée

() In some systems, a dancer of higher rank than a member of the corps de ballet, performing in small ensembles and small solo roles but not ranked as a soloist.


Côté, de

(; 'sideways.') A movement traveling to the side.


Cou-de-pied

(; 'neck of the foot.') Position of the arched working foot raised to, and resting on, the ankle. This could be in front ( conditional"''devant''), behind (''derrière''), or wrapped (''sur le cou-de-pied'': arch of the foot wrapped around the ankle with the heel in front of the ankle and the toes behind, often interchangeable with the devant/conditional position), depending on the activity and the school/method of ballet.


Coupé

(; meaning 'cut.') Coupé is both a step and action. It is commonly executed from ''cou-de-pied'' front to ''cou-de-pied'' back or vice versa. It may also be done from an extended leg position into ''fondu'' or directly through fifth position (as in concluding a ''jeté''). Coupé can only be performed through a closed leg position. The Vaganova School rarely uses the term ''coupé'' except as the preparation for specific allegros. Rather, "tombé through fifth position" is more commonly used. In the United States, "coupé" may be used to denote the position ''cou-de-pied,'' not unlike "passé" is used to denote the position ''retiré'' in addition to the action of passing through retiré.


Couru

(; 'run,' past participle, as in 'making small quick steps.') In most cases, this holds the calves together and the feet in a tight fifth position en pointe or demi-pointe and travels forward, backward, or to either side. E.g. ''
pas de bourrée Because ballet became formalized in France, a significant part of ballet terminology is in the French language. A À la seconde () (Literally "to second") If a step is done "à la seconde," it is done to the side. 'Second position'. It can also ...
couru'' (also called
bourrée The bourrée ( oc, borrèia; also in England, borry or bore) is a dance of French origin and the words and music that accompany it. The bourrée resembles the gavotte in that it is in double time and often has a dactylic rhythm. However, it is ...
for short).


,

(; meaning 'crossed.') One of the positions of the body or ''épaulement''. Facing one of the corners of the stage, the body presents at an oblique angle to the audience, such that the audience can see still both shoulders and hips. The working leg may be crossed to the front (devant) or to the back (derrière). ''Croisé'' is used in the third, fourth, and fifth positions of the legs. A dancer is in ''croisé devant'' if at a 45 angle to the audience, the downstage leg (closest to the audience) is working to the front and the arms are open in third or fourth with the downstage arm being the one in second. A dancer is in ''croisé derrière'' if at a 45 degree angle to the audience, the upstage leg (farthest from the audience) is working to the back and the arms are open in third, fourth, or allongé in
arabesque The arabesque is a form of artistic decoration consisting of "surface decorations based on rhythmic linear patterns of scrolling and interlacing foliage, tendrils" or plain lines, often combined with other elements. Another definition is "Foli ...
with the upstage arm being the one out towards second, e.g. ''arabesque croisée'' or Russian fourth arabesque. ''Croisé derrière'' in the Russian school alternatively has the upstage leg working to the back, but the downstage arm out to second. Examples of ''croisé'': the front leg is the right leg and the dancer is facing the front-left corner of the stage; or the front leg is the left, and the dancer is facing his/her front-right corner.


Croix, en

(; meaning 'in the shape of a cross.') Term often used during barre exercises to indicate that a step is done to the front, to the side, to the back, and then again to the side (as in the shape of a cross), finishing closed in either first or fifth position.


D


Danseur

() A male
ballet dancer A ballet dancer ( it, ballerina fem.; ''ballerino'' masc.) is a person who practices the art of classical ballet. Both females and males can practice ballet; however, dancers have a strict hierarchy and strict gender roles. They rely on ye ...
.


Danseur noble

() A male ballet dancer who excels in refined classical roles, often playing the prince or other royalty in a classical ballet.


Danseuse

() A female ballet dancer.


Déboulés

(); literally 'hurtled,' as in 'with great speed.') Another name denoting the same move as a chaîné (i.e. ''les tours chaînés déboulés''). Small, very quick half-turns performed by stepping onto one leg, and completing the turn by stepping onto the other, performed on the balls of the feet or high on the toes, with the legs held very close together.


Dedans, en

(; 'inwards.') Inside movement. # Circular movement where a leg that starts at the back or the side moves towards the front. For the right leg, this is a counter-clockwise circle. For the left leg, this is a clockwise circle. For example, in a ''rond de jambe en dedans'', starting from
first position ''First Position'' is a 2011 American documentary film. It follows six young dancers preparing for the Youth America Grand Prix in New York City, an annual competition for dancers ages 9–19 to earn a place at an elite ballet company or school. D ...
, the foot first extends to ''tendu'' back, then moves to ''tendu'' to the side, and then ''tendu'' front, and back in again to first position. # Turning motion in the direction of the supporting leg. In a ''pirouette en dedans'', the dancer would turn to their right if their left leg was lifted, or vice versa. Opposite of ''
en dehors Because ballet became formalized in France, a significant part of ballet terminology is in the French language. A À la seconde () (Literally "to second") If a step is done "à la seconde," it is done to the side. 'Second position'. It can als ...
''.


Dégagé

(; 'disengaged.') Common abbreviation for ''battement dégagé,'' the foot of the working leg sharply brushes through the floor through tendu pointed in the air 45 degrees or lower. Dégagé is part of the (initiating) execution of jumps such as jeté, assemblé, brisé, and glissade. Primarily a Cecchetti/RAD term, this is known as ''battement tendu jeté'' in the Russian School or ''battement glissé'' in the French School.


Dehors, en

(; 'outwards.') Circular movement where a leg that starts at the front or the side moves towards the back. For a right working leg, this is a clockwise circle. For example, in a ''rond de jambe en dehors'', starting from
first position ''First Position'' is a 2011 American documentary film. It follows six young dancers preparing for the Youth America Grand Prix in New York City, an annual competition for dancers ages 9–19 to earn a place at an elite ballet company or school. D ...
, the foot (either left or right) would first extend ''tendu'' front, move to ''tendu'' to the side, and then ''tendu'' back, and back in again to first position. In a ''pirouette en dehors'', the body turns in the direction of the working leg (the leg raised in ''retiré passé''). Opposite of ''
en dedans Because ballet became formalized in France, a significant part of ballet terminology is in the French language. A À la seconde () (Literally "to second") If a step is done "à la seconde," it is done to the side. 'Second position'. It can als ...
''.


Demi

(; meaning 'half.') Applied to ''plié'', ''pointe'', and other movements or positions to indicate a smaller or lesser version.


Demi-détourné

() A pivoted half turn executed on both feet. For example, if starting right foot front in fifth position, demi-plié and relevé onto demi-pointe while pivoting a half turn inwards/''en dedans'' towards the direction of the back foot (here left). The feet will have now changed position with the left foot in front in fifth position.


Demi-pointe

() Supporting one's body weight on the balls of one or both feet, heels raised off the floor.


Derrière

(; literally 'behind.') At or to the back. For example, a ''battement tendu derrière'' is a ''battement tendu'' to the rear.


Dessous

(; literally 'under.') Used to indicate that the front leg should be brought to close behind the other leg during a step. For example, ''assemblé'', ''pas de bourrée'', and ''glissade'' can be designated as ''under'' or ''dessous''.


Dessus

(; literally 'over.') Used to indicate that the back leg should be brought to close in front of the other leg during a step. For example, ''assemblé'', ''pas de bourrée'', and ''glissade'' can be designated as ''over'' or ''dessus''.


Devant

(; literally 'front.') Facing or moving to the front, as in '' tendu devant'' or ''
attitude Attitude may refer to: Philosophy and psychology * Attitude (psychology), an individual's predisposed state of mind regarding a value * Metaphysics of presence * Propositional attitude, a relational mental state connecting a person to a propo ...
devant''.


Développé

() Common abbreviation for ''temps développé''. A movement in which the leg is lifted to cou-de-pied or
retiré Because ballet became formalized in France, a significant part of ballet terminology is in the French language. A À la seconde () (Literally "to second") If a step is done "à la seconde," it is done to the side. 'Second position'. It can also ...
and then fully extended outward, passing through ''attitude''. It can be done to the front (''devant''), to the side (''à la seconde''), or to the back (''derrière'').


Double

(; 'double.') Making two of a movement, such as in ''double rond de jambe en l'air''.


E


Écarté

(; literally 'spread,' as in 'separated.') One of the basic positions of the body facing the audience at an oblique angle and with the downstage leg open to the side of the body, along the other diagonal, either touching the floor or ''en l'air''. The arm on the same side as the working leg (i.e. the downstage arm) is raised ''en haut'' and the other arm is in second position. The gaze is directed to the raised arm along the same diagonal In schools that recognize an ''écarté derrière'', such as the French school, ''écarté devant'' is described above, and ''écarté derrière'' differs in having the working leg in second being on the same side as the corner the body is facing, i.e. the upstage leg is the working leg; the upstage arm is ''en haut,'' and the gaze is directed down the length of the arm in second.


Échappé

(; literally 'escaped.') A movement done from a closed (first or fifth) position to an open (second or fourth) position. There are two kinds of ''échappés'': ''échappé sauté'' and ''échappé sur les pointes'' or ''demi-pointes''. In an ''échappé sauté'', a dancer takes a deep ''plié'' followed by a jump in which the legs "escape" into either second (usually when initiating from
first position ''First Position'' is a 2011 American documentary film. It follows six young dancers preparing for the Youth America Grand Prix in New York City, an annual competition for dancers ages 9–19 to earn a place at an elite ballet company or school. D ...
) or fourth position (usually when initiating from fifth position) landing in ''demi-plié''. In ''échappé sur le pointes/demi-pointes'' a dancer begins with a deep ''plié'', springs onto ''les pointes'' or ''demi-pointes'', ending in either second position (when starting from first position) or fourth (when starting from fifth) with knees straight. The dancer may or may not return to the initial position, depending on the choreography.


Élevé

(; 'raised, lifted.') Rising to ''pointe'' or ''demi-pointe'' from straight legs and flat feet. This term is used in some schools in contrast with relevé (in effect, 'relifted'), which is taken to indicate a rise from plié (bent knees). In other schools (French, Russian, textbook Cecchetti), ''relevé'' covers both these concepts.


Emboîté

() # A small traveling step (en avant or en arrière) where each leg is alternately brought to cou-de-pied, passing the previous standing leg in doing so. Both legs shoot straight downward in the air, and land on one foot in cou-de-pied. This step is often done turning ("en tournant"), where each jump rotates 1/2 turn. # A traveling series of jumps where each leg is alternately brought to attitude devant in the air, each foot passing the previous one in alternating. # A series of small walks done on pointe or demi-pointe, traveling either forward (''en avant'') or backward (''en arrière''); the dancer stands in sous-sus and brushes one leg to the side, then closes it in the opposite position (front or back) of where it started, and repeats this motion several times in succession, alternating legs. # A variation on the typical tour piqué/piqué turn, where the dancer does 1/2 piqué turn as usual, then, without coming off relevé, steps onto the previously working leg and lifts the previously supporting leg to retiré to finish the turn. This can be done several times in succession. (See "Piqué turn.")


En

(; meaning 'in.') A preposition used in description of a dancer's position (e.g., ''en plié'', ''en relevé'', ''en pointe'') or holding the meaning 'towards' when describing direction of a movement (''en avant'', ''en arrière'', ''en dedans'', ''en dehors'' = 'to the front,' 'to the back', 'to the inside,' 'to the outside').


En avant

See Avant


En arrière

See Arrière


En cloche

See Cloche


En croix

See Croix Front side back side ( in the shape of a cross )


En dedans

See Dedans Movement of the leg in an inwards rotation direction


En dehors

See Dehors


En face

See
Face The face is the front of an animal's head that features the eyes, nose and mouth, and through which animals express many of their emotions. The face is crucial for human identity, and damage such as scarring or developmental deformities may aff ...


En pointe

See Pointe


Entrechat

(; from Italian ''intrecciata'', 'intertwined.') "A step of beating in which the dancer jumps into the air and rapidly crosses the legs before and behind." In an ''entrechat quatre'' ('four'), starting from fifth position, right foot front, a dancer will jump up with legs crossed, execute a changement beating the right thigh at the back of the left thigh, then bring the right leg in front again beating the front of the left thigh, and land in the same position as started. In an ''entrechat six'' ('six'), three changes of the feet are made in the air, ultimately changing which foot is in front. Even-numbered entrechats indicate the number of times the legs cross in and out in the air: a regular changement is two (one out, one in), entrechat quatre is two outs, two ins; six is three and three; huit is four and four. Odd-numbered entrechats refer to the previous number, but done landing on one foot with the other in cou-de-pied: for example, an ''entrechat cinq'' (five) is the same as an entrechat-quatre, but done landing on one leg.


Entrée

() # The initial part of a '' grand pas'', which serves as an introduction for the suite of dances comprising the grand pas. # The initial appearance of a lead character or characters of a ballet on stage.


Entrée de ballet

An autonomous scene of
ballet de cour ''Ballet de cour'' ("court ballet") is the name given to ballets performed in the 16th and 17th centuries at courts. The court ballet was a gathering of noblemen and women, as the cast and audience were largely supplied by the ruling class. The f ...
,
divertissement ''Divertissement'' (from the French 'diversion' or 'amusement') is used, in a similar sense to the Italian ' divertimento', for a light piece of music for a small group of players, however the French term has additional meanings. During the 17th an ...
, comédie-ballet, opéra-ballet, even
tragédie lyrique This is a glossary list of opera genres, giving alternative names. "Opera" is an Italian word (short for "opera in musica"); it was not at first ''commonly'' used in Italy (or in other countries) to refer to the genre of particular works. Most c ...
, which brings together several dancers in and out of the scenario.


Épaulé

(; 'shouldered.') One of the positions of the body or ''épaulement'' where the body is at an oblique angle to the audience, the downstage arm is ''allongé'' in front and the downstage shoulder appears prominent to the audience as the downstage leg works to the back (e.g. second arabesque).


Épaulement

(; 'shouldering.') Rotation of the shoulders and head relative to the hips in a pose or a step. This term relates only to the movement of the body from the waist up. The head generally looks over shoulder that is forward (downstage).


F


Face, en

(; 'facing, in front of.') ''En face'' indicates facing something directly, generally the audience.


Failli

( 'given way', past participle.) A slide or brush-through transition step following a preceding jump or position. ''Failli'' is often used as shorthand for a ''sissonne (ouverte +pas) failli,'' indicating a jump from two feet landing on one (''sissonne'') with the back foot then sliding through to the front (''chassé passé''), and this is often done in conjunction with an assemblé: ''(sissonne) failli assemblé''. E.g. From croisé, the upstage leg opens behind on the sissonne as the body changes direction in the air to land ouverte effacé; the back leg which is now downstage slides through in a chassé passé to fourth in front, ending the dancer croisé the corner opposite the original. This chassé passé is the (pas) failli. An assemblé (dessus/over) to the opposite corner would reorient the body back to its original position. ''Failli'' phrased with ''
arabesque The arabesque is a form of artistic decoration consisting of "surface decorations based on rhythmic linear patterns of scrolling and interlacing foliage, tendrils" or plain lines, often combined with other elements. Another definition is "Foli ...
'' indicates the brushed follow-through of an arabesqued leg from elevated behind to fourth in front as lead-in to a following step.


First position (feet)

Turned out legs with the feet pointing in opposite directions, heels touching.


Fermé, fermée

(; 'closed.') Converse of ouvert(e) ('open'). Fermé may refer to positions (the first, fifth, and third positions of the feet are positions fermées), limbs, directions, or certain exercises or steps. Example: a ''sissonne fermée'' ends with closed legs, as opposed to a ''sissonne ouverte,'' which lands on one leg with the other (generally) extended.


Fish dive

A partnering dance lift, often performed as part of a
pas de deux In ballet, a pas de deux (French, literally "step of two") is a dance duet in which two dancers, typically a male and a female, perform ballet steps together. The pas de deux is characteristic of classical ballet and can be found in many well- ...
, in which the male dancer supports the female in a poisson position.


Flic flac

() Familiar French term for battement fouetté à terre. A step where the foot of the working leg sweeps flexed across the floor from pointed à la seconde (en l'air, as in dégagé) to pointed at cou-de-pied devant or derrière.


Fondu

(; literally 'melted.') # Abbreviation for ''battement fondu'', a lowering of the body made by bending the knee of the supporting leg, the working leg extending out à terre or in the air. Saint-Léon wrote, "Fondu is on one leg what a plié is on two." ''Fondu'' at the barre often refers to battement fondu développé, where the supporting leg begins fondu with the foot of the working leg at cou-de-pied; the working leg extends out through a petit développé as the supporting leg straightens. # A term used to modify any one-legged position in order to indicate a bent supporting leg (e.g. arabesque fondu).


Fouetté In dance and gymnastics, a turn is a rotation of the body about the vertical axis. It is usually a complete rotation of the body, although quarter (90°) and half (180°) turns are possible for some types of turns. Multiple, consecutive turns are ...

(; literally 'whipped.') ''Fouetté'' itself refers to a move where a quick pivot on the supporting leg changes the orientation of the body and the working leg. E.g. A 180-degree or 90-degree fouetté could involve a working leg beginning extended elevated in front; the supporting leg rising onto demi-pointe or pointe quickly executing a "half" turn inside/en dedans, leading to the working leg ending in arabesque and the body now facing the opposite direction or stage direction. (This brand of action can be seen in both tour jetés and waltz turns (''pas de valse en tournant'').) A fouetté could also change the leg/body orientation from, for example, en face à la seconde to épaulé (second) arabesque/croisé first arabesque or effacé devant, if outside/en dehors, via a 45-degree turn. ''Fouetté'' is also common shorthand for fouetté rond de jambe en tournant (pictured here ''en dehors''). A fouetté turn is a turn that begins with the supporting leg in plié. As the supporting foot transitions to ''demi-pointe'' or ''pointe'', in an en dehors turn, the working leg extends forward and then whips around to the side as the working foot is retracted to the supporting knee in retiré, creating the impetus to rotate one turn. The working leg returns out of retiré nearing the end of a single rotation to restart the entire leg motion for successive rotations.


Fouetté jeté

() A leap that begins with a ''fouetté''.


Frappé

(; 'struck.') Abbreviation of ''battement frappé.'' Action of extending the working foot out from cou-de-pied. In Cecchetti, RAD, and American ballet, on flat, this action involves brushing a flexed (or non-pointed relaxed) foot from cou-de-pied through the floor, the ball of the foot (lightly) striking as extending out pointed through dégagé. In the Russian school, a pointed foot at cou-de-pied extends directly out to dégagé height without brushing through the floor. On demi-pointe, Cecchetti employs the Russian style of non-brushed pointed foot directly out. Other schools may use a flexed foot without the strike or a non-brushed pointed foot on demi-pointe. Frappés are commonly done in singles, doubles, or triples. Double and triple frappés involve tapping the foot (flexed or pointed) at both cou-de-pied devant (or wrapped) and derrière before extending out. (E.g. Double frappé front would be cou-de-pied back, cou-de-pied front, dégagé front. Double frappé back would be front, back, égagéback. Triple frappé front would be front, back, front, égagéfront.)


Fifth position

A posture in which the feet are turned outward. With one foot in the front and one in the back, you will make fifth position. The front foot is usually facing horizontal while the back foot is diagonal. It does not matter which foot is in the front or back, as long as they are turned out. You can do pirouettes,
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s, frappés, plies, and much more with fifth position.


G


Gargouillade

A complicated jump involving a pas de chat with a double rond de jambe.


Glissade

(; literally 'glide.') A traveling step starting in fifth position from ''demi-plié''. The leading foot brushes out to dégagé as weight bears on the trailing leg, weight is shifted to the leading leg via a jump and the trailing foot extends out of plié into degagé. The leading foot lands tombé and the trailing foot slides in to meet the leading foot in fifth position demi-plié. A ''glissade'' can be done ''en avant'', ''en arrière'', ''dessous'' (leading front foot ends back), ''dessus'' (leading back foot ends front), or without a
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of feet.


Glissade précipitée

(; "precipitated glide".) A quick ''glissade'' generally done leading into a following step, such as with ''glissade jeté'' or ''glissade assemblé''.


Grand écart

(; literally "big gap".) Opening the legs to 180°, front or sideways. Known as 'spagat' in German or 'the splits' or 'jump splits' in English.


Grand plié

() A full ''plié'' or bending of the knees. Throughout the movement, the pelvis should be kept neutral, the back straight and aligned with the heels, the legs turned out, and the knees over the feet. From standing to bent this should be fluid. A purpose of the grand plié is to warm up the ankles and stretch the calves. In a grande plié your heels come off the ground in first, fourth, and fifth position.


Grand jeté

() A long horizontal jump, starting from one leg and landing on the other. Known as a split in the air. It is most often done forward and usually involves doing full leg splits in mid-air. It consists basically of a ''grand écart'' with a moving jump. The front leg brushes straight into the air in a ''grand battement'', as opposed to from ''développé'' (or an unfolding motion). The back leg follows making the splits in the air. It can be performed ''en avant'' (forward), ''à la seconde'' (to the side), ''en arrière'' (backward), and ''en tournant'' (turning en dedans). The dancer must remember to hit the fullest split at the height of the jump, with weight pushed slightly forward, giving the dancer a gliding appearance.


Grand pas

A suite of individual dances that serves as a showpiece for lead dancers, demi-soloists, and in some cases the ''
corps de ballet In ballet, the ''corps de ballet'' (; French for "body of the ballet") is the group of dancers who are not principal dancers or soloists. They are a permanent part of the ballet company and often work as a backdrop for the principal dancers. ...
''. Often regarded as the
pièce de résistance {{Short pages monitor (; literally 'bent.') A smooth and continuous bending of the knees outward with the upper body held upright. In demi-plié, (in a first, second, fourth, and fifth position) a dancer bends the knees while maintaining turnout. While in a demi-plie position one must remember to have proper alignment. Head over shoulders, shoulders over hips over knees and knees over feet. When initiating a demi-plie one must pull up and resist against going down. Lengthening from the center and back of the head and pressing down through the floor through the balls of the feet. As you are bending your knees you have to maintain the proper alignment and make sure that the knees are going over the big toe. Creating proper turn out by rotating the inner thighs forward and you go down. Making sure to keep the pelvis in line as you go down and up so that you do not release your seat and stick your chest forward. at the same time engaging your core,(stomach) by pressing your naval towards your spine. The knees bending directly above the line of the toes without releasing the heels from the floor. As soon as the bottom of the bend is reached, the bend is reversed and the legs are straightened. In grand plié, (in first, second, fourth, and fifth position) While doing a grand-plie position one must remember to have proper alignment. Head over shoulders, shoulders over hips over knees and knees over feet. When initiating a grand-plie one must pull up and resist against going down. Lengthening from the center and back of the head and pressing down through the floor through the balls of the feet. As you are bending your knees you have to maintain the proper alignment and make sure that the knees are going over the big toe. Heels come off the ground past demi-plié with the feet ending in a demi-pointe at the bottom of the bend. Making sure to create proper turn out by rotating the inner thighs forward and you go down. Making sure to keep the pelvis in line as you go down and up so that you do not release your seat and stick your chest forward, and at the same time engaging your core,(stomach) by pressing your navel towards your spine. As soon as the bottom of the bend is reached, the bend is reversed and the legs are straightened. *Note: Heels do not come up off the floor in a second position.


Pointe, en

() Supporting one's body weight on the tips of the toes, usually while wearing structurally reinforced pointe shoes.


Pointe technique

The part of classical
ballet technique Ballet technique is the foundational principles of body movement and form used in ballet. It is an important aspect of ballet performance because ballet (especially classical ballet) puts great emphasis on the method and execution of movement., pp ...
that concerns pointe work (dancing on the tips of the toes).


Pointe work

Performing steps while on the tips of the toes, with feet fully extended and wearing pointe shoes, a structurally reinforced type of shoe designed specifically for this purpose. Most often performed by women.


Poisson

(; literally 'fish.') A body position in which the back is arched and legs are crossed in fifth position or the working leg is held retiré. This position may be assumed while jumping or in partnering lifts, as in a fish dive.


Port de bras

(; 'carriage of the arms.') An exercise for the movement of the arms (and in some schools, the upper body) to different positions. For example, a basic ''port de bras'' exercise could move from fifth ''en bas'' ('low') (i.e. ''bras bas'' or ''preparatory position'') to first arm position, to second arm position, back down to fifth en bas. A full ''port de bras'' could move from ''en bas'' to ''en haut'' ('high', i.e. overhead) and back down. Port de bras movements vary by school and by action. The phrase ''port de bras'' is used in some schools and parts of the world to indicate a bending forward, backward, or circularly of the body at the waist, generally to be followed by bringing the upper body back to center/upright again, e.g. "port de bras forward," "port de bras back," "circular port de bras/grand port de bras." Bending at the waist is otherwise known as cambré.


Posé

; A term of the Cecchetti school and RAD. From a ''fondu'', a dancer steps with a straight leg onto an ''en pointe'' or ''demi-pointe'' foot, then brings the working leg to ''cou-de-pied'', so that if the step is repeated, the working leg will execute a ''petit développé''. This can be done in any direction or turning (the later also known as tour piqué).


Positions of the arms

There are two basic positions of the arms. In one, the dancer keeps the fingers of both arms almost touching to form an oval/round shape, either near the hips, at navel level, or raised above the dancer's head. In the other, the arms are extended to the sides with the elbows slightly bent. These positions may be combined to give other positions. Different schools, such as Vaganova, French, and Cecchetti, Russian often use different names for similar arm positions. The Russian school names three arm positions while the other schools name five. * Bras bas ('arms low') (RAD)/bras au repos ('at rest') (French), preparatory position (Rus.), or fifth en bas (Cecc.) holds the arms low and slightly rounded near the hip. * First position holds the arms round or oval in front of the body somewhere between the naval and breastbone (depending on the school and movement), the fingertips of the hands approaching each other. In Cecchetti, the hands stay a little lower at tutu height. * Second position in all schools holds the arms extended out to the side, the inner part of the upper arm parallel to the ground with the forearms and palms facing the audience. The roundness and shoulder height of the arms varies by school. * Third position in the French/RAD schools holds one arm in second with the other arm in first. The Russian equivalent of this may be ''petit bras''. ** Third position in Cecchetti holds one arm in a Cecchetti first and the other arm in ''demi-seconde''. ** Third position in the Russian school holds both arms slightly rounded overhead. This is equivalent to fifth position (en haut) in other schools. * Fourth position or fourth ''ouvert'' ('open') consists of one arm ''en haut'' ('high,' i.e. raised overhead) and the other open to second position. This is called ''fourth en haut'' in Cecchetti. The Russian school does not designate a fourth position; the Russian equivalent may be ''grand bras''. ** Fourth position ''croisé'' ('crossed') or ''Spanish fourth'' in Cecchetti consists of one arm ''en haut'' and the other held in first position/Cecchetti ''fifth en avant''. * Fifth position in the French/RAD schools and ''fifth en haut'' in Cecchetti holds the arms ''en haut'' slightly rounded, fingertips approaching each other. This is called third position in the Russian school, which does not designate a fifth (or fourth) position. Cecchetti also recognizes a ''fifth en bas'', the preparatory/bras bas position in other schools, and a ''fifth en avant'', arms rounded between naval/chest height, known as first position in other schools. Additionally: * Demi-bras ('half arms') holds the arms between first and second position, outstretched with palms presented towards the audience. * Demi-seconde ('half second') holds the arms low out to the side as if grazing the tutu, palms generally down.


Positions of the body

There are eight to eleven positions of the body in ballet, eight in Cecchetti and RAD and ten or eleven in the Russian and French schools. The general positions are
croisé Because ballet became formalized in France, a significant part of ballet terminology is in the French language. A À la seconde () (Literally "to second") If a step is done "à la seconde," it is done to the side. 'Second position'. It can also ...
, à la quatrième, effacé, à la seconde,
écarté Écarté is an old French casino game for two players that is still played today. It is a trick-taking game, similar to whist, but with a special and eponymous discarding phase; the word ''écarté'' meaning "discarded". Écarté was popular in the ...
, and épaulé. Cecchetti and RAD's eight include ''croisé devant, à la quatrième devant, effacé (devant), à la seconde, croisé derrière, écarté, épaulé,'' and ''à la quatrième derrière''. The Russian school further divides ''effacé'' and ''épaulé'' into ''effacé devant, effacé derrière, épaulé devant'', and ''épaulé derrière'', and the Russian arm positions on ''croisé derrière'' are the converse of Cecchetti/RAD's. In addition, the French school further divides ''écarté'' into ''écarté devant'' and ''écarté derrière''.


Positions of the feet

The standard, basic placements of feet on the floor. Modern-day classical ballet employs five positions, known as the
first position ''First Position'' is a 2011 American documentary film. It follows six young dancers preparing for the Youth America Grand Prix in New York City, an annual competition for dancers ages 9–19 to earn a place at an elite ballet company or school. D ...
, second position,
third position The Third Position is a set of neo-fascist political ideologies that were first described in Western Europe following the Second World War. Developed in the context of the Cold War, it developed its name through the claim that it represented a ...
, fourth position, and fifth position.


Pulling Up

Pulling up is critical to the simple act of rising up on balance and involves the use of the entire body. The feeling of being simultaneously grounded and "pulled up" is necessary for many steps in ballet. To pull up, a dancer must lift the ribcage and sternum but keep the shoulders down, relaxed and centered over the hips, which requires use of the abdominal muscles. In addition, the dancer must stabilize the pelvis, maintaining a neutral position, and keep the back straight to avoid arching and going off balance.


Petit Battement

Petit
battement In ballet Ballet () is a type of performance dance that originated during the Italian Renaissance in the fifteenth century and later developed into a concert dance form in France and Russia. It has since become a widespread and highly tech ...
is when a ballet dancer swiftly moves his/her leg in front then behind their calf. This motion is normally done at the barre during warm-up. A more advanced dancer would only move their knee, to complete this action.


Q


Quatre

() Four of something, as in ''pas de quatre'' (a dance by four dancers).


Quatrième

() Meaning 'fourth'.


R


Renversé

() An attitude presented on a turn.


Relevé

(; 'raised, lifted.') Rising onto the balls (''demi-pointe'') or toes (''pointe'') of one or both feet. See also élevé.


Relevé lent

(; 'lifted slowly.') Abbreviation of ''battement relevé lent''. Term from the Russian school indicating raising the leg slowly from pointe tendue to 45 degrees or higher off the ground. Contrasts with ''(battement) tendu jeté'', aka '' dégagé'', in which the leg brushes out propulsively from a high position through tendu to elevated off the ground, and ''(temps) développé'', in which the leg passes through retiré (or petit retiré) to ''à la hauteur'' or ''demi-hauteur'', i.e. elevated off the ground.


Retiré

() A position of the working leg in which the leg is raised turned out and bent at the knee to the side so that the toe is located directly in front of (retiré devant) or behind (retiré derrière) the supporting knee. This is commonly used in pirouettes and as an intermediate position in other movements such as ''développé'' front.


Révérence

(; 'reverence, bow.') A bow, curtsy, or grand gesture of respect to acknowledge the teacher and the pianist after class or the audience and orchestra after a performance. After a classical ballet, a bow or choreographed révérence may be performed in character.


Revoltade

() A bravura jump in which one lands on the leg from which one pushes off after that leg travels around the other leg which is lifted to a level that is parallel with the floor. There are several variants, the passing leg may pass around the lifted leg in a passé position, or it may be extended and parallel to the lifted leg, or it may be extended and close to perpendicular to the lifted leg. This last variant is also known as a 540.


Rond de jambe

(; meaning 'leg circle.') Half-circle made by the pointed foot, from fourth front or back through second position to the opposite fourth and returning through
first position ''First Position'' is a 2011 American documentary film. It follows six young dancers preparing for the Youth America Grand Prix in New York City, an annual competition for dancers ages 9–19 to earn a place at an elite ballet company or school. D ...
again to repeat, in effect tracing out the letter "D". Starting front going back is called ''rond de jambe en dehors'' while starting back and going front is called ''rond de jambe en dedans''. *Rond de jambe à terre/par terre: ('on the ground.') The extended leg with pointed toe remains on the ground to sweep around in a semi-circle. *Rond de jambe attitude: the leg is swung around from front to side and into attitude position behind as the supporting foot goes en pointe. (See also
attitude Attitude may refer to: Philosophy and psychology * Attitude (psychology), an individual's predisposed state of mind regarding a value * Metaphysics of presence * Propositional attitude, a relational mental state connecting a person to a propo ...
.) *Rond de jambe en l'air: ('in the air.') The leg is lifted and sustained to the side (''à la seconde''), with movement being limited to below the knee. If the thigh is held at 90 degrees from the body, the toe draws a circle approximately between the knee of the supporting leg and second position in the air. If the thigh is held lower (e.g. 45 degrees), the circle is drawn to the calf of the supporting leg. This is commonly done in singles, doubles, and/or sauté. *Grand rond de jambe (en l'air): the leg is extended and sustained at ''grand battement'' height to draw a semi-circle in the air. *Demi-grand rond de jambe (en l'air): the leg is extended and sustained off the ground while moving from fourth devant or derrière to second or vice versa, thus drawing only half of the full semi-circle.


Royale

() Another name for ''changement battu.'' A
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with a beating of the legs preceding the foot change. Example: with the right foot in front in fifth position, plié, jump, beat the right thigh against the left (back thigh) and continue with a changement moving the right leg to behind the left, landing fifth position left foot front.


S


Sauté

(; literally 'jumped.') Used to indicate a step executed jumping, e.g. ''sauté arabesque'' is an ''arabesque'' performed while jumping on the supporting leg.


Saut de chat

() In RAD and American ballet, ''saut de chat'' refers to a jump similar to a grande jété differing in that the front leg extends through a développé instead of a grand battement. This is called a ''grande jété développé'' in other schools. In the French and Cecchetti schools, ''saut de chat'' refers to what RAD/ABT call a '' pas de chat''.


Scáfuri

A rise, from flat to demi-pointe (from the balls to the tips of both feet), usually done multiple times in quick succession where the legs are turned out in a grand pas position.


Second position (feet)

Legs turned out with feet pointing in opposite directions and heels at least shoulder-width apart.


Sickle

A term that refers to the reverse of a winging, indicating a foot where the heel is too far back so the toes are in front of the ankle and heel, breaking the line of the leg at the ankle. If a dancer sickles an ''en pointe'' or ''demi-pointe'' foot, the ankle could collapse to the outside, resulting in a sprain. A working foot should be straight to the side and mildly winged to the front or back.


Sissonne

() Although commonly thought to mean a scissor step, sissonnes are in fact named after the originator of the step. There are many types of sissonne, but all push off the floor with two feet and land on one. A sissone simple/ ordinaire devant starts in fifth position, shows fifth position in the air and lands in cou-de-pied devant. A sissone fermée (close) has the dancer perform a medium to large jump from two feet, springing in any direction and leaving an extended leg behind, the ‘fermé’ is then a fast closing of the extended leg back into fifth position. A sissone ouvert (open) will finish in the extended position. Advanced dancers can often be seen splitting their legs in a sissone fermé and ouvert, this has perhaps led to some believing sissone to be a ‘scissor step’. For reference, ‘scissors’ in French is ‘Ciseaux’ ee-ZOH Pas de ciseaux ah duh see-ZOH- a scissor step, is in advanced step in which following a temps levé from the left leg with the right leg devant, the legs pass each other at the height of the jump and the left leg is then immediately thrust backwards to land on the right leg with the left leg in arabesque (en fondue).


Soubresaut

() A sudden spring or small jump from both feet, traveling forward in either first, third, or fifth position and landing on both feet in the same position as they started.


Sous-sous

(; literally 'under-under.') A relevé, or rise, into a tight fifth position, feet touching and ankles crossed, giving the appearance of one foot with two heels. A term from the Cecchetti school, sus-sous ('over-under') is the equivalent term in the French and Russian schools.Grant, Gail. ''Technical Manual and Dictionary of Classical Ballet,'' Third Revised Edition, Dover Publications, Inc., 1982, p. 113.


Soutenu en tournant

(; 'sustained.') Similar to ''tours chaînés (déboulés)'', a ''soutenu'' turn is a turn usually done in multiples in quick succession. The dancer first executes a ''demi-plié'' while extending the leading leg in ''tendu'', stepping onto that leg en pointe/demi-pointe (making it the standing leg), then bringing the other leg to fifth position in front of the standing leg and finally turning (effectively, an unwinding motion). At the end of the rotation, the originally crossed-over foot in front should now be in fifth position behind. Common abbreviation of ''assemblé soutenu en tournant'' (Cecc.). This is known as a ''glissade en tourant'' in the Russian school. When done at the barre en demi-pointe to switch sides, only half a turn is done instead of a full turn, and the foot does not extend out into tendu. Differs from a ''détourné'' in that there is a repositioning of the feet on finishing (and a crossing action, if not initiated in fifth) vs. just a pivot to half turn.


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A configuration of the legs in which the legs are extended in opposite directions, either to the side (''straddle'' split) or with one leg forward and the other back (''front'' split). This is employed in various movements, including grand jeté and arabesque penchée.


Sur le cou-de-pied

(; literally 'on the neck of the foot.') The arched working foot is placed wrapped at the part of the leg between the base of the calf and the beginning of the ankle. On the accent devant (front), the heel of the working foot is placed in front of the leg, while the toes point to the back, allowing the instep (''cou-de-pied'' in French) of the working foot to hug the lower leg. On the accent derrière (back), the heel of the working leg is placed behind the leg with the toes pointing to the back. The action of alternating between devant and derrière is seen in a petit battement.


T


Tendu

(; literally 'stretched.') Gradually extending the working leg to the front (''tendu devant''), side, or back, passing from flat to demi-pointe to point where only the toes are touching the floor (''tendu à terre''), or only the pointed toes are elevated (''en l'air''). A common abbreviation for ''battement tendu''.


Tights

Most ballet dancers wear tights in practices and performances unless in some contemporary and character dances or variations.


Temps levé

(; literally 'time raised.') A term from the Cecchetti school indicating a hop on one foot while the other is raised in any position. The instep is fully arched when leaving the ground and the spring must come from the pointing of the toe and the extension of the leg after the ''demi-plié''. In the Cecchetti method, the specifically indicates a spring from fifth position while raising one foot to ''sur le cou-de-pied''. In the Russian and French schools, this is known as ''sissonne simple''.


Temps levé sauté

(; literally 'time raised jumped.') A term from the Russian school. This can be executed with both feet from first, second, third, fourth, or fifth position starting with a ''demi-plié'', leading to a jump in the air that lands with the feet in the same position as they started. (Otherwise known as simply a ''saut'' or ''sauté''.) This can also be performed from one foot, while the other maintains the same position it had before starting the jump (i.e. the same as ''temps levé'').


Temps lié

(; 'time linked.') A term indicating the transfer of weight from one leg to another by shifting through to the position without any sort of gliding or sliding movement.


Tours en l'air

(; literally 'turn in the air.') A jump, typically done by males, with a full rotation in the air. The landing can be on both feet, on one leg with the other extended in ''attitude'' or ''arabesque'', or down on one knee as at the end of a variation. A single ''tour'' is a 360° rotation, a double is 720°. Vaslav Nijinsky was known to perform triple ''tours en l'air''.


Tombé

(; literally 'fallen.') The action of falling, typically used as a lead-in movement to a traveling step, e.g. ''pas de bourrée''. A ''tombé en avant'' begins with a ''coupé'' to the front moving to a dégagé to fourth position devant, the extended foot coming down to the floor with the leg en plié, shifting the weight of the body onto the front leg and lifting the back leg off the floor in dégagé (to fourth derrière). A ''tombé'' through second starts with a dégagé of the leading leg to second position, the leading foot coming to the floor with the leg in plié, and the trailing leg lifting off the floor in dégagé to (the opposite-side) second position. A ''tombé en avant'' can also be initiated with a small sliding hop instead of a coupé. In the Vaganova school, the full term is ''sissonne ouverte tombée''.


Triple Runs

One big step, followed by two little steps, that can be done in a circle.


Turnout

Rotation of the legs at the hips, resulting in knees and feet facing away from each other.


Tutu

A classic ballet skirt, typically flat at the waist or hip level, made of several layers of tulle or tarlatan. Tendu Passe


V


Variation

A dance typically done solo.


Virtuoso A virtuoso (from Italian ''virtuoso'' or , "virtuous", Late Latin ''virtuosus'', Latin ''virtus'', "virtue", "excellence" or "skill") is an individual who possesses outstanding talent and technical ability in a particular art or field such a ...

A dancer with great technical ability and skill.


W


Waltz

A sequence of steps performed in sync with
waltz music A waltz (German: ''Walzer''; French: ''Valse'', Italian: ''Valzer'', Spanish: ''Vals'', Polish: ''Walc''), probably deriving from German ''Ländler'', is dance music in triple meter, often written in time. A waltz typically sounds one chord ...
, as in ''pas de waltz en tournant''.


See also

* Dance basic topics * Glossary of dance moves


Citations


General sources


American Ballet Theatre's Online Ballet Dictionary
* * * * *


External links



at Esmeree
French Ballet terms pronunciation in video with illustrations
{{Ballet Articles containing video clips
Ballet Ballet () is a type of performance dance that originated during the Italian Renaissance in the fifteenth century and later developed into a concert dance form in France and Russia. It has since become a widespread and highly technical form ...
Human positions