Adage, Adagio [French: a-DAHZH] Adage is a French word derived from the Italian ad agio, meaning at ease or leisure. English ballet teachers use "adage," the French adaptation, while Americans prefer the original Italian. In dancing it has two meanings: (1) A series of exercises following the centre practice, consisting of a succession of slow and graceful movements which may be simple or of the most complex character, performed with fluidity and apparent ease. These exercises develop a sustaining power, sense of line, balance and the beautiful poise which enables the dancer to perform with majesty and grace. The principal steps of adagio are pliés, développés, grand fouetté en tournant, dégagés, grand rond de jambe, rond de jambe en l'air, coupés, battements tendus, attitudes, arabesques, preparations for pirouettes and all types of pirouettes. (2) The opening section of the classical pas de deux, in which the ballerina assisted by her male partner, performs the slow movements and enlèvements in which the danseur lifts, supports or carries the danseuse. The danseuse thus supported exhibits her grace, line and perfect balance while executing développés, pirouettes, arabesques and so on, and achieves combinations of steps and poses which would be impossible without the aid of her partner.
Air, en l' [ahn lehr] In the air. Indicates: (1) that a movement is to be made in the air; for example, rond de jambe en l'air; (2) that the working leg, after being opened to the second or fourth position à terre, is to be raised to a horizontal position with the toe on the level of the hip.
Allégro [a-lay-GROH; Italian: al-LAY-groh] Brisk, lively. A term applied to all bright and brisk movements. All steps of elevation such as the entrechat, cabriole, assemblé, jeté and so on, come under this classification. The majority of dances, both solo and group, are built on allegro. The most important qualities to aim at in allégro are lightness, smoothness and ballon.
Arabesque [a-ra-BESK] One of the basic poses in ballet, arabesque takes its name from a form of Moorish ornament. In ballet it is a position of the body, in profile, supported on one leg, which can be straight or demi-plié, with the other leg extended behind and at right angles to it, and the arms held in various harmonious positions creating the longest possible line from the fingertips to the toes. The shoulders must be held square to the line of direction. The forms of arabesque are varied to infinity. The Cecchetti method uses five principal arabesques; the Russian School (Vaganova), four; and the French School, two. Arabesques are generally used to conclude a phrase of steps, both in the slow movements of adagio and the brisk, gay movements of allégro.
Arrière, en [ah na-RYEHR] Backward. Used to indicate that a step is executed moving away from the audience. As, for example, in glissade en arrière.
Assemblé [a-sahn-BLAY] Assembled or joined together. A step in which the working foot slides well along the ground before being swept into the air. As the foot goes into the air the dancer pushes off the floor with the supporting leg, extending the toes. Both legs come to the ground simultaneously in the fifth position. If an assemblé is porté it requires a preparatory step such as a glissade to precede it. If an assemblé is en tournant it must be preceded by a preparatory step. Assemblés are done petit or grand according to the height of the battement and are executed dessus, dessous, devant, derrière, en avant, en arrière and en tournant. They may be done en face, croisé, effacé or écarté. Assemblé may also be done with a beat for greater brilliance. In the Cecchetti assemblé both knees are bent and drawn up after the battement so that the flat of the toes of both feet meet while the body is in the air.
Assemblé en tournant, grand [grahn ta-sahn-BLAY ahn toor-NAHN] Big assemblé, turning. This assemblé is done in the same manner as grand assemblé. It is taken only dessus or derrière. It is traveled directly to the side, on a diagonal traveling upstage, in a circle, etc. It is usually preceded by a pas couru or a chassé. The battement at 90 degrees to the second position is taken facing upstage, then the dancer completes the turn en dedans and finishes the assemblé facing the audience.
Attitude [a-tee-TEWD] A particular pose in dancing derived by Carlo Blasis from the statue of Mercury by Giovanni da Bologna. It is a position on one leg with the other lifted in back, the knee bent at an angle of 90 degrees and well turned out so that the knee is higher than the foot. The supporting foot may be à terre, sur la pointe or sur la demi-pointe. The arm on the side of the raised leg is held over the head in a curved position while the other arm is extended to the side. There are a number of attitudes according to the position of the body in relation to the audience.
Avant, en [ah na-VAHN] Forward. A direction for the execution of a step. Used to indicate that a given step is executed moving forward, toward the audience. As, for example, in glissade en avant.
Balancé [ba-lahn-SAY] Rocking step. This step is very much like a pas de valse and is an alternation of balance, shifting the weight from one foot to the other. Balancé may be done crossing the foot either front or back. Fifth position R foot front. Demi-plié, dégagé the R foot to the second position and jump on it lightly in demi-plié, crossing the L foot behind the R ankle and inclining the head and body to the right. Step on the L demi-pointe behind the R foot, slightly lifting the R foot off the ground; then fall on the R foot again in demi-plié with the L foot raised sur le cou-de-pied derrière. The next balancé will be to the left side. Balancé may also be done en avant or en arrière facing croisé or effacé and en tournant.
Ballerina [bahl-lay-REE-rlah (Italian)] A principal female dancer in a ballet company. In the days of the Russian Imperial Theatres the title was given to the outstanding soloists who danced the chief classical roles. At the Maryinski Theatre in St. Petersburg the ballet company consisted of ballerinas, premiers danseurs, first and second soloists, coryphees and corps de ballet.
Ballet master, ballet mistress The person in a ballet company whose duty is to give the daily company class and to rehearse the ballets in the company repertoire.
Balletomane A ballet fan or enthusiast. The word was invented in Russia in the early nineteenth century.
Cavalier The male partner of the ballerina
Choreographer, choregrapher This is the term applied to one who composes or invents ballets or dances.
Corps de ballet [kawr duh ba-LAY] The dancers in a ballet who do not appear as soloists.
Virtuoso A performer with great technical ability.
Ballon [ba-LAWN] Bounce. Ballon is the light, elastic quality in jumping in which the dancer bounds up from the floor, pauses a moment in the air and descends lightly and softly, only to rebound in the air like the smooth bouncing of a ball.
Barre [bar] The horizontal wooden bar fastened to the walls of the ballet classroom or rehearsal hall which the dancer holds for support. Every ballet class begins with exercises at the bar. See Exercices à la barre.
Battement [bat-MAHN] Beating. A beating action of the extended or bent leg. There are two types of battements, grands battements and petits battements. The petis battements are: Battements tendus, dégagés, frappés and tendus relevés: stretched, disengaged, struck and stretched-and- lifted .
Battement dégagé [bat-MAHN day-ga-ZHAY] Disengaged battement. A term of the Cecchetti method. The battement dégagé is similar to the battement tendu but is done at twice the speed and the working foot rises about four inches from the floor with a well-pointed toe, then slides back into the the first or fifth position. Battements dégagés strengthen the toes, develop the instep and improve the flexibility of the ankle joint. Same as battement tendu jeté (Russian School), battement glissé (French School).
Battement fondu développé [bat-MAHN fawn-DEW dayv-law-PAY] Battement, sinking down, developed. This is an exercise in which the supporting leg is slowly bent in fondu with the working foot pointing on the ankle. As the supporting leg is straightened, the working leg unfolds and is extended to point on the floor or in the air. The movement is done devant, derrière and à la seconde. In fondu forward, the conditional position sur le cou-de-pied devant is used. In fondu back, the basic position sur le cou-de-pied derrière is used.
Battement frappé [bat-MAHN fra-PAY] Struck battement. An exercise in which the dancer forcefully extends the working leg from a cou-de-pied position to the front, side or back. This exercise strengthens the toes and insteps and develops the power of elevation. It is the basis of the allegro step, the jeté.
Battement sur le cou-de-pied, petit [puh-TEE bat-MAHN sewr luh koo-duh-PYAY] Small battement on the ankle. This is an exercise at the bar in which the working foot is held sur le cou-de-pied and the lower part of the leg moves out and in, changing the foot from sur le cou-de-pied devant to sur le cou-de-pied derrière and vice versa. Petits battements are executed with the supporting foot à terre, sur la demi-pointe or sur la pointe.
Battement tendu [bat-MAHN tahn-DEW] Battement stretched. A battement tendu is the commencing portion and ending portion of a grand battement and is an exercise to force the insteps well outward. The working foot slides from the first or fifth position to the second or fourth position without lifting the toe from the ground. Both knees must be kept straight. When the foot reaches the position pointe tendue, it then returns to the first or fifth position. Battements tendus may also be done with a demi-plié in the first or fifth position. They should be practiced en croix.
Battement, grand [grahn bat-MAHN] Large battement. An exercise in which the working leg is raised from the hip into the air and brought down again, the accent being on the downward movement, both knees straight. This must be done with apparent ease, the rest of the body remaining quiet. The function of grands battements is to loosen the hip joints and turn out the legs from the hips. Grands battements can be taken devant, derrière and à la seconde.
Battu [ba-TEW] Beaten. Any step embellished with a beat is called a pas battu. As, for example, in jeté battu.
Bras [brah] Arms.
Bras bas [brah bah] Arms low or down. This is the dancer's "attention." The arms form a circle with the palms facing each other and the back edge of the hands resting on the thighs. The arms should hang quite loosely but not allowing the elbows to touch the sides.
Brisé [bree-ZAY] Broken, breaking. A small beating step in which the movement is broken. Brisés are commenced on one or two feet and end on one or two feet. They are done dessus, dessous, en avant and en arrière. Fundamentally a brisé is an assemblé beaten and traveled. The working leg brushes from the fifth position to the second position so that the point of the foot is a few inches off the ground, and beats in front of or behind the other leg, which has come to meet it; then both feet return to the ground simultaneously in demi-plié in the fifth position.
Brisé volé [bree-ZAY vaw-LAY] Flying brisé. In this brisé the dancer finishes on one foot after the beat, the other leg crossed either front or back. The foundation of this step is a fouetté movement with a jeté battu. In the Russian and French Schools the raised leg finishes sur le cou-de-pied devant or derrière and the brisé volé is done like a jeté battu. In the Cecchetti method, the working foot passes through the first position to the fourth position, the calves are beaten together and on alighting the free leg is extended forward or back with a straight knee.
Cabriole [ka-bree-AWL] 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, etc.
Cecchetti method Enrico Cecchetti, one of the world's outstanding teachers of ballet, established a system of passing on the tradition of ballet to future generations of dancers. This system, the Cecchetti method, was codified and recorded by Cyril Beaumont, Stanislas Idzikowski, Margaret Craske and Derra de Moroda. The method has a definite program of strict routine and includes a table of principal set daily exercises for each day of the week. The Cecchetti Society was formed in London in 1922 to perpetuate his method of teaching. In 1924 the Society was incorporated into the Imperial Society of Teachers of Dancing. Entrance to the Society is by examination and students must pass through a carefully graded system which has done much to raise the standard of dancing and teaching throughout the British Empire.
Centre practice Centre practice, or exercices au milieu, is the name given to a group of exercises similar to those à la barre but performed in the centre of the room without the support of the bar. These exercises are usually performed with alternate feet and are invaluable for obtaining good balance and control.
Chaînés [sheh-NAY] Chains, links. This is an abbreviation of the term "tours chaînés déboulés": a series of rapid turns on the points or demi-pointes done in a straight line or in a circle.
Changement de pieds [shahnzh-MAHN duh pyay] Change of feet. The term is usually abbreviated to changement. Changements are springing steps in the fifth position, the dancer changing feet in the air and alighting in the fifth position with the opposite foot in the front. They are done petit and grand.
Chassé [sha-SAY] Chased. A step in which one foot literally chases the other foot out of its position; done in a series.
Cinq [senk] Five. As, for example, in entrechat cinq.
Coda (1) The finale of a classical ballet in which all the principal dancers appear separately or with their partners. (2) The final dance of the classic pas de deux, pas de trois or pas de quatre.
Corps [kawr] Body.
Côté, de [duh koh-TAY] Sideways. Used to indicate that a step is to be made to the side, either to the right or to the left.
Cou-de-pied, sur le [sewr luh koo-duh-PYAY] On the "Neck" of the foot. The working foot is placed on the part of the leg between the base of the calf and the beginning of the ankle.
Coupé jeté en tournant [koo-PAY zhuh-TAY ahn toor-NAHN] A compound step consisting of a coupé dessous making a three-quarter turn and a grand jeté en avant to complete the turn. The step is usually done in a series either en manège or en diagonale.
Couru [koo-REW] Running. As, for example, in pas de bourrée couru.
Croisé, croisée [kmJah-ZAY] Crossed. One of the directions of épaulement. The crossing of the legs with the body placed at an oblique angle to the audience. The disengaged leg may be crossed in the front or in the back.
Danse [dahnss] Dance.
Danse de caractère [dahnss duh ka-rak-TEHR] Dance of character, character dance. Any national or folk dance, or a dance based on movements associated with a particular profession, trade, personality or mode of living. See Mazurka and Polonaise.
Dedans, en [ahn duh-DAHN] Inward. In steps and exercises the term en dedans indicates that the leg, in a position à terre or en l'air, moves in a circular direction, counterclockwise from back to front. As, for example, in rond de jambe à terre en dedans. In pirouettes the term indicates that a pirouette is made inward toward the supporting leg.
Dehors, en [ahn duh-AWR] Outward. In steps and exercises the term en dehors indicates that the leg, in a position à terre or en l'air, moves in a circular direction, clockwise. As, for example, in rond de jambe à terre en dehors. In pirouettes the term indicates that a pirouette is made outward toward the working leg.
Demi-plié [duh-MEE-plee-AY] Half-bend of the knees. All steps of elevation begin and end with a demi-plié. See Plié.
Demi-pointes, sur les [sewr lay duh-mee-PWENT] On the half-points. Indicates that the dancer is to stand high on the balls of the feet and under part of the toes. Also used in the singular, "sur la demi-pointe."
Derrière [deh-RYEHR] Behind, back. This term may refer to a movement, step or placing of a limb in back of the body. In reference to a particular step, the addition of derrière implies that the working foot is closed at the back.
Dessous [duh-SOO] Under. Indicates that the working foot passes behind the supporting foot. As, for example, in pas de bourrée dessous.
Dessus [duh-SEW] Over. Indicates that the working foot passes in front of the supporting foot. As, for example, in pas de bourrée dessus.
Deux [duh] Two.
Deuxième [duh-ZYEM] Second.
Devant [duh-VAHN] In front. This term may refer to a step, movement or the placing of a limb in front of the body. In reference to a particular step the addition of the word "devant" implies that the working foot is closed in the front.
Développé, temps [tahn dayv-law-PAY] Time developed, developing movement. Through common usage the term has become abridged to développé. A développé is a movement in which the working leg is drawn up to the knee of the supporting leg and slowly extended to an open position en l'air and held there with perfect control. The hips are kept level and square to the direction in which the dancer is facing.
Diagonale, en [ahn dya-gaw-NAL] In a diagonal. Indicates that a step is to be done traveling in a diagonal direction.
Divertissement [dee-vehr-tees-MAHNLAY] Diversion, enjoyment. A suite of numbers called "entrées," inserted into a classic ballet. These short dances are calculated to display the talents of individuals or groups of dancers.
Double [DOO-bluh] Double. As, for example, in pirouette double (a double pirouette).
©1997 AMERICAN BALLET THEATRE
