- 1.1 Adagio
- 1.2 Allegro
- 1.3 Arabesque
- 1.4 Assemblé
- 1.5 Attitude
- 1.6 Balance
- 1.7 BalanÇoire
- 1.8 Ballon
- 1.9 Ballon Pas
- 1.10 Ballotte
- 1.11 Battement
- 1.12 Battu
- 1.13 Brissé
- 1.14 Brisé Volé
- 1.15 Cambré
- 1.16 Chaines-Deboulés
- 1.17 Changement
- 1.18 Chassé
- 1.19 Cou-De-Pied
- 1.20 Coupé
- 1.21 Couru
- 1.22 In Croix
- 1.23 Degagé
- 1.24 Demi-Plié
- 1.25 Detourn
- 1.26 Devant
- 1.27 Developpé
- 1.28 Ecarté
- 1.29 Echappés
- 1.30 Effacé
- 1.31 Elancé
- 1.32 In Cloche
- 1.33 On Dedans
- 1.34 In Dehors
- 1.35 Entrechat
- 1.36 Epaulment
- 1.37 Fondu
- 1.38 Fouetté
- 1.39 Glissade
- 1.40 Jeté
- 1.41 Grand Jeté
- 1.42 Pas De Basque
- 1.43 Pas De Bourrée
- 1.44 Pas De Deux and Grand Pas De Deux
- 1.45 Plié
- 1.46 Pique
- 1.47 Port De Bras
- 1.48 Pirouette
- 1.49 Raccourci
- 1.50 Retiré
- 1.51 Reverence
- 1.52 Rond De Jambe
- 1.53 Sissonne
- 1.54 Temps de Fléche
- 1.55 Temps Lié
- 1.56 Temps Lié Simple En Avant
- 1.57 Tour En L’Air
Next we will name them ballet steps and how each of them is executed.
A series of exercises consisting of a succession of slow and elegant movements that are performed alone or accompanied. These exercises serve to develop a sustained strength, sense of line, balance and elegance that allow the dancer to dance with majesty and grace. Culmination in the pas de deux, where the dancer is helped by the dancer to achieve delicate and elevated movements.
A term that applies to all bright and fast movements. The most important qualities that are expected to be achieved with the allegro are: lightness, softness and the feeling of being suspended in the air ballon .
One of the basic positions in classical ballet. The body profile, supported by a leg extended backwards and hands placed in several harmonic positions, to create the longest possible lines from the tip of the fingers to the toes. The school Cecchetti has five preferential Arabesques, the Vaganova four.
A step in which the working foot slides over the ground before being thrown into the air. As the foot rises into the air, the dancer lifts the leg support, extending the toes. The two legs return to the ground simultaneously in the fifth position. The Assemblés can be made Petit or Grand according to the height of the batterment and made devant, derrire, en avant, en arrire, en tournant and Battu.
Ballet position developed by Carlo Blasis, inspired by the Mercury stature of Giovanni de Bologna. It is a position on one leg with the other elevated behind, with the knee bent at an angle of 90. The foot that supports can be on land, at half tip or at tip. The arms are balanced and held in a long, stylised line. Shoulders straight and aligned. It is also used in the placement of the arms.
Swinging step, measured alternating the balance by the swaying of weight from one foot to the other.
Rhythmic rocking on the saw blade, a two a two.
In the quality of jumping in which the dancer rises from the floor, pauses in the air and descends lightly and softly to immediately bounce softly.
Suspended visual effect jump where the dancer makes a movement of the leg in the air, similar to the hit of a ball.
Double, beaten or highlighted. This is a demonstration of the Grand Battement. An exercise in which the working leg is raised, from the hip, in the air and lowered, the accent is given in the downward movement, both knees straight. This movement should be done for apparent ease, the rest of the body remains still.
The moment a step includes a foot shake, this qualifier is applied.
They can be vols, dessous, en avant and en arrire. The leg takes off from the fifth position to the second so that, in suspension, it hits in front or behind the other leg that has moved to find itself. At this moment, both feet move to the ground simultaneously from the dem-pli to the fifth position.
Termination of the brisé with the leg beaten from behind. The foot that takes off passes through the first position to the fourth. The ankles come together at the moment of the stroke.
From the Italian Capriola
All lifting steps start and end with a plis. The Capriole can also be done in fourth behind.
Graceful arching of the body.
Chained turns across the stage, which can be performed in various steps, diagonals or manges.
Steps of change in the air, simple or beaten, which rest on the fifth with the changed foot in front.
One foot chases the other in series and to the beat
In the Cecchetti method, Sur Le Cou-De-Pied devant is the working position of the foot placed with the part outside the heel, in front of the foot support just above the ankle bone, with the five toes resting on the ground at midpoint. South Le Cou-De-Pied-Derriere is the same position with the inner part of the ankle placed behind the supporting foot just above the ankle bone.
Intermediate step that, in general, prepares a pas de bourré.
Step by step, for example: pas de bourré couru.
In the shape of a cross.
Loose, free, impulse taking in speed. In battement.
Measured or small bending of the knees.
Turn back on one foot.
The development of a movement in tempo, by slowly lifting a leg to the height of the knee of the supporting leg, then opening it suspended in the air until it is held in a controlled position of elegance. The hips must be kept level and without twisting.
In each case the Echappés or repetitive jumping step are done in second and fourth position. Both feet traveling the same distance from the original center of gravity.
The dancer sits angularly from the scene so as not to highlight the movement. “Epaulement Effacé”: movement of the shoulder and head.
Take impulse with out.
Like a bell the large or small Battements carried out followed by front and back in first position.
Foot position inwards.
Outwards. Position of legs and feet turned to 45, from the center of the vertical of the spine. Supporting base of the five or six ballet starting positions.
Interlaced or braided. Step that consists of repeated jumps crossing the legs quickly in front and behind alternately.
Placement of shoulders and arms. Important for the elegance of the style.
Sink. Lower the body by bending the knee of the support leg.
Rotation that uses the force of the leg contrary to the one it supports as an impulse to rotate the head with respect to the arms synchronously to maintain balance.
Slip. A step of movement in fifth, used to join other steps that usually ends in Demi-Plié.
Step in jump from one foot to the other, where the leg that drives the jump is folded.
The legs are thrown until synchronized horizontality is achieved, while the body remains vertical. The jump is made from one foot to the other preceded by a slide with the leg support.
Pas De Basque
Step that is believed to originate from Basque folklore. It begins in demi-rond de jambe en dehors en relevé with the leg in front, which passes to the second fold while the other leg also counts in second. This movement is found, in various forms, in practically all the popular dances of the world.
Pas De Bourrée
It begins in the fifth position, the foot that this behind does a degagé in lair the seconde closing in front again in fifth.
Pas De Deux and Grand Pas De Deux
It is performed in five parts: entrance, adagio, variation of the dancer, variation of the dancer and the final coda in apotheosis.
Basic bar exercise to flex and strengthen muscles and tendons of the thighs, legs, knees, ankles, and feet, such as increasing the flexibility and strength of the Achilles tendon. The cutting action of the pali is essential for the jumping movements in its two principles, start and finish. There are two fundamental pliés, grand plié and demi-plié. The grand plié with total flexibility of the knees is generally executed in first, third, fourth and fifth position. In the demi-plié the heels are not lifted from the ground and it is usually executed in the five positions.
Exercise walking on toe or half toe with one foot, in any direction, usually from one pleat, and with the other foot raised.
Port De Bras
The term port de bras has two meanings:
-A movement or series of movements that is achieved by passing an arm, or both, through various positions. The passage of arms from one position to another constitutes a bra port.
-The second meaning of port de bras is understood for a series of exercises designed for the arms to move gracefully and harmoniously. In the Cecchetti method there are eight series of exercises for the port de bras.
In the execution of the port de bras, the arms must move from the shoulder and n from the elbow and the movement must be soft and light. When the arms are raised from one position to another, they must pass through a known position, in the dance, as an exit. This position corresponds to the fifth position in avant.
They require a perfect balance and each of them depends on the preparation that precedes it. The dancer must use all the toes of the foot that he supports, pressing them strongly against the floor to increase the support. The open arm gives the direction and the entering arm gives additional impetus. The head is the last thing to move when the body is turned against the viewer and the first to arrive when the body turns towards the viewer.
A position in which the thigh is lifted to the second position in the air, with the knee bent so that the shoe rests against the knee of the leg it supports.
Cardinal step of ballet where, the support leg is firm while the other rises to the second position in the air with the knee bent so that the tip of the foot rests on the front, back, or side of the leg that supports. Both the ascent and descent should be made by touching the base leg.
The elaborate bow made by the dancer to thank the applause of the audience. It is also done at the end of the class as proof of respectful admiration for the teacher.
Rond De Jambe
Circular movement of the leg without moving the hips and pelvis. The jambe ronds is used as an exercise in the bar, in the center and can be done on the ground or in the air. All that are done to the right are in dehors and to the left are in dedans.
The weight of the body slides on the support foot.
Temps de Fléche
Arrow movement. This step is so called because the first leg acts as a bow and the second leg as an arrow.
It consists of a series of steps and arm movements based on the fourth, fifth and second positions a very valuable exercise to achieve a soft demi-plié, teaches to control and maintain balance while transmitting the weight of the body from one position to another with a soft and rhythmic movement.
Temps Lié Simple En Avant
Simple movement connected traveling forward, fifth position croise right foot forward, and arms in bra bas. Demi-plié and slide the tip of the right fold to fourth position croise elevated arms to initiate movement. Demi-Plié in the fourth position, then shift the weight to the right foot, stretching the two knees and raising the left foot in croise behind and the arms in attirude, with the left arm up. Close the left foot to the fifth back in demi-plié, front body and lower the left arm in front of the waist. Slide the right toe to the second position, leaving the left foot in demi-plié: shift the weight to the right foot in demi-plié, stretch the knee by opening the left arm to the second position and turning the head to the left. With your toes, slide your left foot to the fifth croise in front and do demi-plié, lowering your arms to bras bas. Repeat the entire exercise to the other side.
Tour En L’Air
The dancer jumps from the demi-plié, makes a complete turn and goes down in the fifth position with his feet inverted. The lap can be single, double or triple second the capacity of the dancer. The arms assist and the head should move as in the pirouettes.