Choreographic terms for classics. The jump in ballet is one of the most difficult dance figures
I am gradually beginning to understand that dancing is becoming a big and important part of my life, along with music and vocals. Of course, work is to blame for this. And also the movie "Step Up". It’s so cool to be able to dance, to combine ballet and street dance. So far I have not been given either one or the other, but I am already beginning to understand the classic machine. Thanks to “Rhythms” - Yulia Vladimirovna explains everything very clearly to the guys, and I also listen and remember.
When throwing a leg forward or backward, the head looks to the side (center of the class), and when throwing a leg to the side, the head looks straight.
With battement tendu, the leg is brought forward with the heel. In general, where the heel is pointed is very important. Because if you direct it in the wrong direction, there will be no sense in the movement. I tried it myself last night.
When jumping, it is important to jump as high as possible and stay in the air for as long as possible. Only then can you have time to change position in the air from 5 to 2, from 5 to 5, etc.
Preparation for jumping (plie) must be very active so that the fragile, heavy and loose body is pushed upward.
According to the rules of classical graphics, you need to end the movement in the same position in which you started. With rare exceptions, which must be specified.
Demi plie(demi plie)- half squats (Fig. 8). It is important to achieve maximum bending of the legs at the knee joints without separating the heels from the floor. The weight of the body is evenly distributed on both feet without “blocking” the big toe. The knees and feet remain in an inverted position at all times, without violating the correct positions. The back is kept straight. The exercise is performed in I, II, III positions, less often and only at the support - in V, IV positions.
Grand plie. When performing the exercise (Fig. 9), you should keep your heels on the floor for as long as possible - the movement is performed through a demi plie. When straightening your legs, you need to place your heels on the floor as early as possible. You must rise onto your toes and place your heels on the floor with both legs at the same time. Throughout the entire exercise, maximum eversion of the hips and feet is maintained. The weight of the body is evenly distributed on both legs, without “blocking” on the big toes.
Batman(battement)- abduction of the working leg in any direction and returning it to the supporting leg. Each type of batman has its own shape and independent name.
Batman tandue sample(battement tendu simple) - placing the leg forward, to the side, back on the toe. The exercise promotes the development of leg lifting and strengthening of the ankle joint, and is preparatory for mastering a number of subsequent movements of this classification group. When performing batman tandu, the eversion leg is moved with a sliding movement from positions I, III, V forward, to the side, back on the toe and returns to i. n. The movement should be performed in a straight line from the heel of the supporting leg to the toe of the abducted leg and back (Fig. 10). Sliding the leg is performed first with the entire foot with a gradual lifting of the heel from the floor to the position of the extremely extended toe without emphasis on the toe in the final position. With a similar sliding movement, the leg returns to i. n. The support is straightened at the knee. The center of gravity is on the supporting leg. The working leg maintains an everted position.
Batman tandu demi plie(battement tendu demi plie) - a combination of abduction of the leg followed by adduction and a half-squat on two legs (Fig. 11). When performing the exercise, it is necessary to achieve complete fusion of the two movements. To do this, bending the legs at the knees begins slightly earlier than the working leg returns to position 1 or 3. The torso is held straight, the weight of the body during demi plie is evenly distributed on both feet.
Batman tandu pimp(battement tendu soutenu) - is an exercise of combining simultaneously performed abductions and adductions of the leg with a half squat on the supporting leg. In this case, the torso deviates slightly in the direction opposite to the working leg. After performing the exercise with your face, sideways to the support, the form of this movement becomes more complicated: i. p. - right in front on the toe (IV position) through I position to the right position back on the toe. In the future, it is possible to complicate the exercise with various hand movements, lifting onto half-fingers, and changing the direction of movement.
Batman tandu zhete(battement tendu jete) - this exercise is profiling for all swing movements. Unlike Batman, tandu is performed with the toe lifted off the floor when abducted from i. n. In fact, it is a swing to a height of about 25° (Fig. 12). The movement should be clear, united, and energetic. The legs maintain an everted position, the center of gravity is on the supporting leg. Hands in 2nd position.
Batman tandu jete pointe (battement tendu jete pointe). In principle, this movement is no different from batman tandyu zhete, however, after abduction, the leg is not closed into position, but is placed with the toe on the floor. The exercise can be performed 2-3 times in a row, then the leg is closed in position III (Fig. 13). As the movement becomes more complex, the leg is moved in a low arc from the right (left) position in front, behind on the toe (IV position) to the side on the toe and back, or in a “cross”.
Double Batman tandu(double battement tendu) is a variety of batman tandyu. Performed with the heel lowered to the floor in position II: with one, two, or three or more lowerings (Fig. 14). When the heel is lowered to the floor, the center of gravity remains on the supporting leg. The emphasis of the movement coincides with lowering the heel to the floor.
Batman frappe(battement frappe)- flexion and extension of the lower leg at an angle of 45° (Fig. 15). Before starting to study the movement, the position of the leg is mastered. sur le cou de pied(sur le coup-de-pied) (Fig. 16) . In gymnastics, the position in front (conditional) is used - the leg is bent at the knee, the toe is in front of the ankle of the supporting leg, the thigh is turned backward - the toe is pressed behind the ankle of the supporting leg. Batman frappe consists of quickly bending the shin from and. p. right (left) to the side in the position sur le cou de pie in front or behind with a light blow to the supporting leg, followed by extension forward, to the side, back. The exercise is performed with a sharp, strong movement. At the same time, the hip and knee maintain an everted position. Since the exercise begins from i.p. leg to the side, then before the start the leg from positions I, III through the batman tandu opens to the side, while the hand rises from the preparatory position through position I to II.
There is a more complicated version Batman double frappe(battement double frappe) , characterized by a double “kick” of the working leg at the supporting ankle.
Batman fondue(battement fondu)- a combination of a half-squat on the supporting leg with simultaneous bending of the free leg on the sur le cou de pied in front (behind), followed by extension of the working leg and straightening of the supporting leg (Fig. 17).
Performed forward, to the side, backward, with the toe on the floor, with the leg raised to 45, 90°. When bending the leg into the sur le cou de pie position, the thigh should not be lowered immediately; the knee is first bent, and the thigh is held motionless at a height of 45°, then gradually lowered together with the lower leg to the final position. When batman frappe is performed at 90°, the leg first lowers to 45°, then bends as described above. Musical time signature is 2/4 or 4/4.
Double Batman fondue(double battement fondu) . The movement begins with a demi-plie on the supporting leg, then a half-toe lift is performed, but the free leg does not open in the given direction, but lingers in a position bent at the ankle; then the half-squat on the supporting leg is repeated again with simultaneous straightening of the free leg by 45 or 90°; at the moment of final straightening of the free leg, straightening of the supporting leg is also performed, ending with lifting onto the half-toes.
Grand Batman Jete(grand battement jete) - swing your legs forward, to the side, back (Fig. 18). The movement is performed through the tandu batman until the toe touches the floor, then the leg rises to the maximum height and through the tandu batman returns to the I.P. (I or III position).
Grand Batman Jete Balance(grand battement jete balance) - swings forward and backward by 90° and higher through the first position (Fig. 19). The movement can be performed to the side: in i.p. facing the support or in the middle of the hall, alternately with one and the other leg. A combination with torso bending, half-toe lifting, and half-squats is possible.
Grand Batman Jete Pointe(grand battement jete pointe) performed like a Grand Batman Jete, but before the toe touches the floor (Fig. 20).
Grand Batman Jete Passe(grand battement jete passe) performed according to the rules of Grand Batman Jete, but with the transfer of the leg from one direction to another using a technique passe(Fig. 21): leg bent, hip turned out, knee to the side, toe at the supporting knee, without touching it. Performed forward and backward. Musical size 2/4.
Batman Devloppe(battement developpe) performed forward, to the side, back 90° and higher (Fig. 22). From the third position, the working leg, bending and sliding with an extended toe, rises to the knee of the supporting leg, after which it straightens in any direction and lowers into the standing position. Throughout the entire movement, the thigh maintains maximum eversion; when straightening the leg, the knee does not drop. When performing movements forward and to the side, the torso remains straight, when moving backwards, it bends slightly forward. Musical time signature: 2/4, 4/4.
Batman developpe passe (battement developpe passe). The working leg rises, then bends, the toe goes under the supporting knee without touching it (passé position), after which the leg rises again in any direction.
Batman devloppe with leg abduction 1/4 of the circle. The working leg is brought forward, then moved to the side and lowered into the i. n. The same is done in the opposite direction. Then the leg is raised to the side and moved forward or backward.
Batman devloppe with leg abduction 1/4 of the circle. The leg from the third position is raised forward by 90° and higher, the extended leg is pulled back across the side and lowered to the third position. The leg is performed in the opposite direction in the same way.
Batman developpe passe. The leg rises forward, to the side, back, then with a short movement it lowers slightly and immediately sharply returns to its previous height. Musical time signature is 2/4 and 4/4.
Ron de jambe. This type of exercise includes moving the leg in an arc along the floor and in the air. Movement of the leg in an arc back, to the side, forward, that is, directed towards the supporting leg, is called en dedan (en dedans). Movement of the foot in an arc forward, to the side, back, that is, directed from the supporting leg, is called en deor (en dehors). Exercises in this group contribute to the development of mobility of the hip joints and eversion of the legs.
Rond de jambe par terre- movement of the extended leg in an arc, touching the floor with the toe (Fig. 23). The exercise is performed by uniformly moving the outstretched leg in an arc, separating the toes from the floor. The hip is in an everted position, the weight of the body is on the supporting leg.
Ron de jambes en lair(rond de jambe en l'air) - circular movements of the shin in the air (Fig. 24). From i.p. right (left) to the side at a height of 45°, circular movements with the shin, while simultaneously bending the knee inward (an deor), outward (an dedan) until the toe touches the calf muscle. The hip is in an everted position.
Grand Rhône de Jambes Jété (grand rond de jambe jete) - large leg swing in a 90° arc in the direction of an deor and an dedan.
Gymnastics all-around: Women's events. Ed. G 48 2nd, revised Floor exercise. T.S. Lisitskaya, V.E. Zaglada / edited by Gaverdovsky Yu.K. - M.: Physical culture and sport, 1986. - 336 pp., illus.”
Pas
(pa
) - step; movement or combination of movements; used as equivalent to the concept of “dance”.
Pas d'actions
(pas de action
) is an effective dance.
Pas de deux
(pas de deux
) - a dance of two performers, usually a dancer and a dancer.
Pas de trois
(pas de trois
) - a dance of three performers, usually two dancers and one male dancer.
Pas de quatre
(pas de carte
) - dance of four performers.
Adagio
(adagio
) - slow, slow part of the dance.
Allegro
(allegro
) - fast, jumping.
Allongee
(together
) - from Ch. lengthen, prolong, extend; a movement from the adagio, meaning an extended position of the leg and a hidden hand.
Aplomb
(aplomb
) - stability.
Croisee
(croisé
) - a pose in which the legs are crossed, one leg covers the other.
Degage
(dégagé
) - release, take away.
Demi
(demi
) - medium, small.
Ecartee
(ekarte
) - retract, move apart; a pose in which the entire figure is turned diagonally.
Effect
(efase
) - deployed position of the body and legs.
En dedans
(en dedan
) - inside, in a circle.
En dehors
(en deor
) - out, from the circle.
En face
(en face
) - directly; straight position of the body, head and legs.
En tournant
(en tournan
) - from Ch. "rotate"; turning the body while moving.
Grand
(grandee
) - big.
Petit
(petit
) - small.
Port de bras
(port de bras
) - exercise for arms, body, head; tilts of the body and head.
Preparation
(preparation
) - cooking, preparation.
Arabesque
(arabesque
) - a pose whose name comes from the style of Arabic frescoes.
Attitude
(attitude
) - posture, body position; the raised leg is half bent.
Passe
(passe
) - from Ch. “to conduct, pass”; connecting movement, holding or moving the leg.
Sur le cou-de-pied
(sur le cou de pied
) - the position of one leg on the ankle of the other, supporting one.
Tire bounch
(shooting range bouchon
) - “twist, curl”; the raised leg is in a half-bent forward position.
Balance
(balance sheet
) - “to swing, sway”; swaying movement.
Balancoire
(balance
) - “swing”, used in grand battement jete.
Battement
(Batman
) - swing, beat.
Battement developpe
(Batman Devloppe
) - swing, open, remove the leg 90* in the desired direction.
Battement double frappe
(batman double frappe
) - double strike movement.
Battement fondu
(Batman fondue
) - soft, smooth, “melting” movement.
Battement frappe
(batman frappe
) - movement with impact, or impact movement.
Battement soutenu
(batman hundred
) - withstand, support; movement with pulling the legs in the fifth position, continuous movement.
Battement tendu
(Batman tandu
) - abduction and adduction of an extended leg without lifting the toe off the floor.
Batterie
(batry
) - drumming; the leg in the sur le cou-de-pied position makes a series of small striking movements.
Demi-plie
(demi plie
) - small squat.
Dessus-dessous
(ten-desu
) - upper-lower part, above-under, view of the ras de bourree.
Grand battement
(grand batman
) - big batman.
Grand-plie
(grand plie
) - big squat.
Jete
(jete
) - a leg throw on the spot or in a jump.
Pas coururu
(I'm smoking
) - run through the sixth position.
Pas de bascue
(pas de basque
) - Basque step; This movement is characterized by a count of 3/4 or 6/8 (three-beat time signature), performed forward and backward.
Pas de bourree
(pas de bure
) - a chased dance step, stepping with a slight advance.
Petit battement
(petit batman
) - a small batman, on the ankle of the supporting leg.
Plie
(plie
) - squat.
Releve
(relevé
) - from Ch. “raise, elevate”; lifting onto fingers or half fingers.
Relevelent
(Relevelan
) - slow leg lift to 90*.
Soutenu
(a hundred
) - from Ch. “to withstand, to support, to draw in.”
Fouette
(fouetté
) - from the verb “to quilt, to flog”; type of dance turn, fast, sharp; During the turn, the open leg bends towards the supporting leg and opens again with a sharp movement.
Pirouette
(pirouette
) - “spinning top, spinner”; fast rotation on the floor.
Port de bras
(port de bras
) - tilts of the body, head.
Renverse
(ranverse
) - from Ch. “overturn, turn over”; overturning of the body in a strong bend and in a turn.
Rond
(ronde
) - “circle, round.”
Rond de jambe en l'air
(Ronde de Jambes en Leur
) - circle your foot in the air.
Rond de jambe par terre
(Ronde de jambes par terre
) - circular movement of the leg on the floor, circle with the toe on the floor.
Tour
(tour
) - turn.
Tour chain
(tour chenet
) - “linked, connected”; quick turns following one after another.
Tour en l`air
(tour en ler
) - tour in the air.
Assembly
(assembly
) - from Ch. connect, collect; jump with outstretched legs collected in the air; jump from two legs to two legs.
Brise
(breeze
) - to break, crush; movement from the section of jumping with skids.
Cabriole
(cabriole
) - jump in place with one leg kicking the other.
Changement de pieds
(Shazhman de pied
) - jump with a change of legs in the air (in the V position).
Coupe
(coupe
) - knocking; jerky movement, short push.
Echappe
(echappé
) - a jump with the legs opening to the second position and collecting from the second to the fifth.
Entrechat
(entrechat
) - jump with a skid.
Glissade
(glide path
) - “sliding”; a jump performed without lifting the toes off the floor.
Jete ferme
(jete ferme
) - closed jump
Jet passé
(jete passe
) - passing jump.
Pas ballonne
(pa balone
) - to inflate, to swell; advancement at the moment of the jump in various directions and poses, as well as legs strongly extended in the air until the moment of landing and bending one leg sur le cou-de-pied.
Pass ballot
(pa balotte
) - hesitate; a movement in which the legs are extended forward and backward at the moment of the jump, passing through a central point; the body leans forward and backward, as if oscillating.
Pass chasse
(on the chasse
) - a ground jump with advancement, during which one leg kicks the other.
Pas ciseaux
(pa pre-trial detention center
) - scissors; a jump with legs thrown forward in turn, stretched out in the air.
Pas de chat
(pas de sha
) - cat step; a sliding jump from one foot to another when one leg passes the other in the air.
Pas emboite
(in ambuate
) - from Ch. “put in, put in, put in”; a jump during which there is a change of half-bent legs in the air.
Saute
(sauté
) - jump in place by position.
Sissonne
(Sison
) - a type of jump, varied in shape and often used.
Sissonne fermee
(Sison Farm
) - closed jump.
Sissonne ouverte
(sison overt
) - jump with leg opening.
Sissonne simple
(Sison Simple
) - a simple jump from two legs to one.
Sissonne tombee
(Sison Tombe
) - jump with a fall.
For a long time there was an idea to create something like a dictionary of ballet terms. But, as they say, I couldn’t get around to it, and every time I had to put aside this, in my opinion, a very useful collection of basic ballet terms for young dancers.
And so basic ballet terms, which I will arrange in alphabetical order.
Adagio (from French - adagio).
Adagio is a part of a classical lesson consisting mainly of smooth movements and various poses that flow coherently from one to another. The adagio uses such elements as: d?veloppes, releves, grands ronds de jambe. In a ballet performance, the adagio is often a dance duet.
Allonge (from the French allonge - means: elongated, elongated).
Allonge is a classical dance pose: the leg raised back is straightened at the knee (arabesque), the corresponding arm is raised up, the other is laid to the side, in contrast to the rounded positions (arrondi), the elbows of the arms are straightened, the hands are turned outward, which gives the pose a “flying” character .
Amboate (from the French emboiter le pas - means: to follow).
Ambuate is a sequence of transitions from foot to foot on half toes or on fingers. This is a jump with alternately throwing the legs bent at the knees forward or backward at 45 or 90 degrees.
En deor (from the French en dehors - means: out).
An deor is the direction of movement from the supporting leg, directed “towards the viewer”. Performed simultaneously with rotation of the body.
En dedan (from the French en dedans - means: inside).
An dedan is the direction of movement towards the supporting leg, it turns out as if inward, “from the viewer”. Performed simultaneously with rotation of the body.
Entrechat (from the Italian intrecciato - means: wicker, crossed).
Entrechat is a jump with a skid. During the jump, the legs cross each other in the air in the V position.
En tournant (from the French en tournant - means: in a turn).
An turnan is an indication that the movement is performed simultaneously with the rotation of the entire body. The rotation can be complete or incomplete.
An ler (from the French en l'air - means: in the air).
An ler is a term that indicates that the movement is performed through the air.
En face (from the French en face - means: straight).
From the front, everything seems to be clear here, this is the straight position of the body, head and legs.
Aplomb (from the French aplomb).
Aplomb is, on the one hand, the ability to maintain position and balance while performing a movement. On the other hand, a confident, free manner of performance.
Arabesque (from French arabesque).
Arabesque is the name of the pose when the dancer’s supporting leg stands either on a full foot, or on half toes, or on pointe shoes, and the working leg is raised with the knee extended at 30, 45, 90 or 120 degrees.
Attitude (from French attitudes).
The attitude is that the supporting leg is in the same position as in the arabesque, but the working leg is raised with a bent knee, and the dancer's body should be arched in the back.
Balance (from the French balancer - to swing, swing).
Balance is a movement in which you step from foot to foot, alternating with demi-pli? and lifting onto half-toes, are accompanied by tilts of the body, head and arms from side to side, which creates the impression of measured swaying. Can be performed from side to side, forward and backward.
(from French battements tendus).
Batman tendu is to pull, pull. Example: battement tendu.
Batman tendu jeté(from French battements tendus jet?).
Batman tendu jeté is a 45° leg throw. Example: battement tendu jet?.
Brize (from the French briser - to break; means a light, gusty sea wind).
Brize is a small jump, moving forward or backward behind the leg. The jump ends in V position. Variation: brise dessus (forward) - dessous (backward).
I will add to this list of ballet terms every day.
Just as a book is made of words, a house is made of bricks, any ballet is made of movements. Strict, once and for all established positions of arms and legs, poses, jumps, rotations, connecting movements are the basis of classical dance. By combining these movements and arranging them in a certain order, the choreographer creates a choreographic pattern for the ballet. The beauty and power of movements depend on whether they accurately express the character of the music, and on the meaning that the director - choreographer and performer - ballet dancer puts into them. And it turns out that the same movement can look different, it can be good and evil, brave and cowardly, beautiful and ugly, and this sometimes depends on the tilt of the head, sometimes on the position of the arms and body, on the strength and expressiveness of the jump, from the smoothness and speed of rotation. That’s why ballet performances are so different from each other.
There are basic movements and concepts in ballet that every lover of this art should know! The main 4 poses in ballet are called Arabesque, Ecarte, Alaskan and Attitude. These are poses in which the performer balances on one leg while holding the other in the air.
ALASGON, ARABESQUE, ATTITUDE, EKARTE. The main poses, the “pillars” on which classical ballet rests. In all these poses, the performer stands on one leg and the other is raised high: to the side (alasgon), back (arabesque), back with a bent knee (attitude), diagonally forward or backward (ecarte).
ASSEMBLY. A jump during which one leg opens to the side, forward or backward, and at the end of the jump is pulled towards the other leg.
Adagio - A dance of two or more ballet characters, aimed at revealing the emotional state.
Pa (French pas - step) is a separate expressive movement performed in accordance with the rules of classical dance.
Glide path is a special movement, the main purpose of which is preparation before the jump.
Glissé (from glisser - to slide) is a step in which the toe slides along the floor from position V to position IV. Used as an approach to pirouettes, to jumps. Glisse r. in arabesque, repeated several times, is one of the most beautiful and expressive movements of classical dance.
Grand batman (from the French grands battements) - a leg throw to the maximum height.
Plie (plié - fold, gently bend) - demi plié - a small squat.
BURN. Jump from one leg to the other. Grand jetés are performed as a jump over an imaginary obstacle in all the main ballet poses - arabesque, attitude, alasgone.
CABRIOLE. A jump during which one leg kicks the other. The legs are strongly extended. This jump is performed in all directions: forward, sideways, backwards.
Balloon (from the French ballon, from balle - ball) is the dancer’s ability to maintain the pose and position taken on the ground while jumping (in the air) - the dancer seems to freeze in the air.
Batri (from the French batteries - to beat) - jumping movements decorated with skids, i.e. kicking one foot against the other in the air. During the impact, the legs are crossed in the V position (before the impact and after it, the legs are slightly spread apart).
Entre (from the French entree - introduction, entrance to the stage) - in ballet, the appearance of one or more performers on stage. Introductory movement to pas de deux, pas de trois.
PA DE DEUX. The main dance scene in a ballet or one of the acts of a ballet. The pas de deux reveals the relationships between the characters and shows the dancing skills of the performers. The pas de deux consists of an adagio, a dancer's variation and a ballerina's variation and a coda - short, technically difficult dance pieces between the dancer and the ballerina.
Coda (from French Coda) - fast, final part of the dance, following the variation
FIFTH POSITION. Basic leg position of classical dance. The legs are turned one hundred and eighty degrees. The heel of the right foot is pressed tightly to the toe of the left, and the heel of the left foot is pressed tightly to the toe of the right. The dance most often begins from this position, and this position most often ends.
PIROUETTE. Rotation around its axis on half toes or toes of one foot. Pirouettes are small when, during rotation, one leg is tightly pressed to the other in front or behind. Large pirouettes are performed in all basic poses.
Arondi (from the French arrondie - rounded) - rounded position of the hand.
SOTE. A jump during which the legs are strongly extended in the first, second or fifth positions.
TOURS. Rotation around its axis during a jump. Tours are made with one and two revolutions. A round with two turns is an element of male dance.
Brize (from the French brisé - to break; means a light, gusty sea wind) - a small jump, moving forward or backward behind the leg. The jump ends in V position. Variation: brise dessus (forward) - dessous (backward).
CHAZHMAN DE PIED. A jump during which the legs are in fifth position and change places.
Ronde de Jambe - literally translated from French - a circle with your foot. In fact, in this movement the leg describes a semicircle.
Shazhman de Pie is a special jump from the fifth position, in which the legs change places.
Fouette is the ballerina's most famous movement, or more precisely, her spin on the toes of one foot like a top. The ballerina rotates around her axis on the toes of one foot. After each turn she opens the other one to the side. Fouette is usually performed at a very fast tempo, sixteen or thirty-two times in a row.
Entrechat (entrechat - Italian intrecciato - braided, also defined for the type of jump as crossed) - a vertical jump with two legs, during which the legs are slightly spread in the air and connected in the V position again, without hitting each other, since they are in a reversible position from the hip.
VARIATION. Solo dance, dance monologue. A short dance for one or more dancers, usually more technically complex. There are variations for men and women, terre a terre and jumping. The first are built on small, technically complex movements, the second - on large jumping movements.
A la zgonde (from the French a la seconde) is a classical dance pose when the leg is raised to the second position to the side by 90° or higher.
Elevation (from the French elevation - elevation, elevation) - in classical dance means a high jump.
SUPPORT. An essential element of classical dance. During the dance, the dancer helps the ballerina, supports her, and lifts her up.
Eversion is the opening of the legs at the hip and ankle joints.
PACK. A ballerina costume consisting of many short starched tulle skirts. These fluffy and light skirts make the tutu airy and weightless.
POINTE SHOES. One of the main elements of female dance in classical ballet is dancing on the tips of outstretched fingers. For this you need ballet shoes with a hard toe.
LESSON. Ballet dancers never stop learning. Every day they come to the ballet class for a lesson. It lasts at least an hour. The lesson is divided into two halves: the smaller one - exercise (exercise) at the barre and the larger one - exercise in the middle of the hall. During the lesson, all the movements that a ballet dancer needs in dancing are improved and practiced.
CHOREOGRAPHER. A person who composes, or, as they say, choreographs a ballet. Sometimes a choreographer, or ballerina, is the name given to the performers of male parts in ballet. It is not right. A man in ballet is called a dancer.
Divertissement (from the French divertiss-ment - amusement, entertainment) - 1) Inserted (ballet or vocal) numbers performed between acts of a performance or at the end of it, often forming a single entertaining performance not related to the plot of the main one; 2) A structural form within a ballet performance, which is a suite of dance numbers (both concert solo and ensembles, and plot miniatures).
LIBRETTO. Literary script of the ballet, its content.
Corps de ballet (from the French corps de ballet, from corps - personnel and ballet - ballet) is a group of dancers performing group, mass dances and scenes. The corps de ballet can perform both independently and in mass dances.
Premier (from the French premier - first) - a ballet soloist who performs the main roles in the performances of a ballet troupe; dancer of the highest category. The first premier dancer in the history of ballet was Pierre Beauchamp, a soloist of the ballet of the Royal Academy of Music, created in 1669 by King Louis XIV (danced from 1673 to 1687).
Having studied these concepts, you will always understand what various experts are talking about during the intermission of another beautiful ballet.
Classical ballet. Every person has probably heard about him, and at least once saw him at least on TV. Ballet is very popular in the world and every day it finds more and more new fans who are attracted by its elegance, grace and beauty.
History of classical ballet
Ballet was first mentioned in the 15th century! Ballet was not originally a separate type of performance. Ballet inserts were used in operas and dramas in order to diversify the plot and prevent the audience from getting bored. The ballet became a separate performance two centuries later, when King Louis 14, who was very fond of dancing, decided to make the ballet a separate staged performance. It was thanks to him that the Royal Academy of Dance was created, the first ballet school in the whole world. But ballet also owes a lot to the Russian school of dance, thanks to which many modern canons of classical ballet emerged. It’s not for nothing that most famous ballet performers are Russian dancers.
Basic movements in ballet
There are a lot of movements in ballet. Each has its own name, and it is quite difficult to single out any main ones among them. Below are a few examples of movements:
- Pa - absolutely everyone has heard this word. This is a pronounced movement performed according to the canons of classical ballet;
- Pirouette is also a word familiar to everyone. When performing a pirouette, the dancer rotates in place on one leg, more precisely on its toes or half-toes;
- Curtsy - yes, yes, and this is also from ballet. With this gesture the dancers greet each other. Later replaced by Knixen;
- Tan leve - a dancer performing tan leve jumps on two legs at once in any position;
Types of ballet
Ballet is not just dance. It is based on a script, and, depending on the script, it is divided into three types:
- Epic;
- Lyrical;
- Dramatic;
However, very often you can see a mixed type of ballet. These are mainly lyrical-dramatic and lyrical-epic types. Another common case is when a literary genre is added to the name of the ballet. For example, the fairy tale ballet “Cinderella”.
When is the best time to start doing ballet?
The ability to dance ballet correctly only comes with age. All this is a consequence of the fact that every movement in ballet is of great importance, and it is necessary that it be performed according to all the rules. All world famous ballerinas and dancers began training in early childhood. And no wonder. To correctly perform any movement, high plasticity of the body is necessary, which develops over a long time and occurs most quickly in childhood. However, if you are in good shape, you can always learn the basic movements. Remember, the main thing is your desire! So go for it.
Ballet and choreography are considered one of the most elegant and captivating forms of art. The technology is admired by millions of people around the world. The English writer John Dryden called ballet “the poetry of feet.” The Russian poet and satirist Emil Krotky called the ballet “opera for the deaf.” And the American choreographer noted that “the body never lies.”
However, few people know what elements ballet consists of and what movements the dance is based on. In classical there are a huge number of elements: pas, divertissement, arabesque, corps de ballet, ferme, fouetté, aplomb and many others. Batman is one of the most important choreographic movements. Let's figure out what it is.
What is Batman?
Batman is a movement based on raising, abducting or bending the working leg. Comes from the French word Battements - “beating”. When performing batman, the dancer stands on the supporting leg on half toes, toes or on the entire foot. It must be remembered that batman is the basis of classical dance technique.
There are a large number of types of batman that require a special technique. Let's look at some of them.
Battement Tendu
The names of the element are “tense, tense.”
A type of batman based on moving the working leg forward, backward or to the side. First, the foot is moved along the floor, then extended to the main position. The abduction angle should be 30 degrees. When you move your leg forward or back, an angle of 90 degrees is formed between your torso and leg. When abducted to the side, the leg should be in line with the shoulder. At the moment of execution, the legs are stretched and as tense as possible. Often performed as a warm-up and training exercise. This batman is one of the first exercises ballet dancers learn.
In Russian it is pronounced as “batman zhete” (from the French Jeter - “throw, throw”).
An element very similar in execution technique to Battement Tendu. The only difference is the addition of a 45 degree leg lift. However, learning this movement begins with raising the leg 25 degrees. The leg lifts off the floor with a swing and stays in that position. Battement Tendu Jeté is also an excellent training element and is performed at the ballet barre. Develops accuracy, gracefulness of legs and muscle corset. Battement Tendu and Battement Tendu Jeté are performed from the first or fifth position.
Grand Battement Jeté ("Grand Batman")
Performed with a high leg swing. In this case, the angle of raising the leg is 90 degrees or more, however, when training, it is not recommended to raise the leg above 90 degrees. The dancer's torso leans back when lifting the leg forward or forward when swinging the leg back. When raising your leg to the side, a minimal deviation of the torso is allowed, but you must also maintain a single line between the leg and shoulder. When performing the Grand Battement Jeté, you can not bring your leg to the starting position and perform swings 3-4 times in a row. The starting point for this exercise is the third position. Grand Battement Jeté develops the muscular corset well, as well as accuracy and endurance.
Battement relevé lent ("Batman relevé lent")
The name comes from the French words: relever - “to raise”, lent - “leisurely”.
A type of batman performed by slowly raising the leg to a height of 90 degrees and holding it in that position. The element is quite difficult to perform, as it requires good training of the muscles of the legs and torso.
Battement frappé
The name comes from the French frapper - “to hit, hit”.
It is performed by sharply bending the working leg at an angle of 45 degrees and hitting it on the shin with the supporting leg. Along with Battement Tendu, it is the main type of Batman. When performing Battement frappé, the accuracy and clarity necessary for ballet dancers develops.
Battement Fondu
The element is named from the French word fondre - “to melt, melt.”
Quite a complex type of batman. Most often performed from fifth position. The supporting leg bends to the demi plie position, and the working leg moves to the le cou-de-pied position (lifting the leg). Then a gradual straightening of both legs is carried out, while the working leg is abducted or raised forward, backward or to the side. The exercise is performed at a ballet barre. Well develops leg muscles, plasticity and softness of movements.
Battement soutenu ("Battement hundred")
The verb soutenir is translated from French as “to support.”
A more complex type of batman, the basis of which is Battement Fondu. To perform it, you first need to rise onto your toes or half-toes. And then put your working leg in the le cou-de-pied position and move your working leg forward, backward or to the side. It is also possible to raise it by 25, 45 or 90 degrees; bending the supporting leg at the knee and deflecting the torso. The hand performs the movement nuance (“small nuance, shade”). After nuance, the hand moves to the position of the first and second positions. The arm movement is performed simultaneously with the leg movements. Thus, the hand moves into the first position when placing the working leg sur le cou-de-pied and opens into the second position when abducting or swinging the leg.
In this article we got acquainted with the main types of the most important element in classical dance. It became clear that batman is an element that requires the dancer’s accuracy, precision and utmost concentration to perform it.
