MBOUDOD "Children's School of Arts", Yarovoye
Brief
VOCABULARY
French terms
classical dance
Compiled by: V.G. Voloshina
Concertmaster of the Children's Art School, Yarovoye
Yarovoe
2014
Introduction
Choreographic terminology is a system of special names designed to denote exercises or concepts that are difficult to briefly explain or describe.
Exercise at the support or in the middle is a complex training exercises in ballet, contributing to the development of muscles, ligaments, the development of coordination of movements in the dancer. The exercise is performed at the “machine” (attached to the wall with brackets) and in the middle of the training hall daily. Exercise is made up of the same elements.
In the 17th century (1701), the Frenchman Raul Feyet created a system for recording the elements of classical dance.Gradually, this dance terminology became universally recognized throughout the world. But it underwent many changes, additions, clarifications before it came to the harmonious and strict system that we currently use. A significant contribution to the clarification of terminology was made by the Russian school of classical dance and the famous teacher-choreographer, Professor Agrippina Yakovlevna Vaganova.Knowledge of technical terms speeds up the learning process. This is the international language of dance, the opportunity to communicate with choreographers, understanding the special literature.
soubresaut – (subreso) big jump with air delay.
Saut de basque - (so de basque) Basque jump. Jump from one foot to another with a turn of the body in the air.
Soutenu - (puff) to withstand, to support.
Suivi - (suivi) continuous, sequential movement. A type of pas de bourree performed on the fingers. The legs are finely sorted one next to the other.
Sur le cou de pied - (sur le cou de pied) the position of one leg on the ankle of the other, supporting leg.
Sus-sous (shu-su) on yourself, right there, on the spot. Finger jump with progress.
Temps lie - (tanglie) merged, flowing, connected. Solid, smooth dance combination in the middle of the hall; there are several forms
Tombe - [tombe] fall, transferring the weight of the body to the open leg forward, to the side or back to the demi-plie
Tour chains (Tour Chenet), a chain of turns following one after another, fused half-turns from foot to foot on half-toes or on fingers moving forward, sideways or backward.
Adajio – (adagio) slowly. The slow part of a lesson or dance.
allonge - (alonge) to lengthen, extend, stretch. A technique based on straightening the rounded positions of the arms.
Aplomb – (aplomb) resilience.
Arabesque - (arabesque) pose, the name of which comes from the style of Arabic frescoes. AT classical dance There are four types of “arabesque” poses under No. 1, 2, 3, 4.
Arrondi - (arrondi) rounded, rounded. Rounded position of the hands from the shoulder to the fingers.
Assembly - (assembly) to unite, to collect. Jump with picking up extended legs in the air.
Attitude - (attitude) posture, position of the figure. The raised leg is bent.
Balance - (balance) swing, sway. Swinging motion.
Pas ballonne - (pa balloon) to inflate, to inflate. In the dance, a characteristic advance at the moment of jumping in various directions and poses and strongly extended legs in the air until the moment of landing and bending one leg on sur le cou de pied.
Pas ballotte - (pa balotte) hesitate. A movement in which the legs at the moment of the jump are extended forward and backward, passing the central point. The body leans back and forth, as if hesitating.
Balancoire - (balancer) swing. Applies to grand battement jet.
Battery - (batri) drumming. Leg in position sur le cou de pied makes a series of small percussive movements.
Battus - (battu) beat, beat. Movement with a skid.
Bourree pas de - (pas de bourre) a chased dance step, stepping over with a slight advance.
Brise - (breeze) to break, crush. Movement from the section of jumps with skids.
Basque pas de - (pas de basque) step of the Basques. The movement is characterized by a score of 3/4 or 6/8, i.e. triplex. Runs forward and backward.
Battement - (batman) scope, beat; leg exercise.
Battement tendu - (batman tandyu) abduction and adduction of a stretched leg.
Battement fondu - (batman fondue) soft, smooth, "melting" movement.
Battement frappe - (batman frappe) beat, smash, split; impact movement.
Battement double frappe - (batman double frappe) movement with a double blow.
Battement developpe - (batman devloppe) unfold, open, take out the leg 90 degrees in the right direction, pose.
Battement soutenu - (batman pimp) withstand, support. Movement with pulling up the legs in the fifth position.
Cabriole - (cabriole) jump with knocking one leg to the other.
preparation - (preparation) preparation, preparation.
Releve - (releve) raise, elevate. Rise on fingers or on half-fingers.
Releve tape - (releve liang) slow leg lift 90 degrees.
Renverse - (ranverse) to overturn, turn over. Tipping the body in a strong bend and turn.
Rond de jambe par terre - (ron de jamb par ter) rotary motion feet on the floor, toe circle on the floor.
Rond de jambe en l'air - (ron de jamb anler) leg circle in the air.
Royal - (royal) magnificent, regal. Jump with a skid.
Saute - (sote) jump in place.
Simple – (sample) simple. Simple movement.
Sissonne – (sison) has no direct translation. It means a type of jump, varied in form and often used.
Sissonne fermee - (sison farm) closed jump.
Sissonne ouverte - (season dodge) jump with leg opening.
Sissonne simple - (season sample) a simple jump from two legs to one.
Sissonne tombee - (sison tombe) jump with a fall.
Pas d'actions - (pas d'axion) effective dance.
pas de deux - (pa de de) dance of two performers, a classical duet, usually a dancer and a dancer. The pas de deux form is often found in classical ballets: Don Quixote, Swan Lake, The Sleeping Beauty, The Nutcracker and others. .
pas de trios - (pas de trois) dance of three performers, a classical trio, most often two dancers and one dancer, for example, in the ballets Swan Lake and The Little Humpbacked Horse, etc.
pas de quatre - (pas de quatre) dance, four performers, classical quartet.
passe - (passe) to pass, to pass. Linking movement, holding or moving the leg.
Petite - (bird) small.
petite battement - (petit batman) a small batman, on the ankle of the supporting leg.
Pirouette - (pirouette) whirligig, spinner. Fast rotation on the floor.
Pique - [dive] a light prick with the fingertips of the "working" leg on the floor and lifting the leg to a given height.
Plie - (plié) squatting.
Pointe - (pointe) sock, fingers.
port de bras - (por de bra) exercise for arms, body and head; six forms are known.
Chain - (shen) a chain.
Changement de pieds - (shazhman de pied) jump from fifth position to fifth with a change of legs in the air.
pas chasse - (pa chasse) drive, drive. Ground jump with advance, during which one leg knocks out the other.
Chat, pas de - (pas de sha) cat step. This jump is similar in character to the gentle movement of a cat's jump, which is emphasized by the curve of the body and the gentle movement of the arms.
Ciseaux, pas - (pa Siso) scissors. The name of this jump comes from the nature of the movement of the legs, thrown forward in turn and extended in the air.
coupe - (coupe) jerky. Knocking out. Jerky movement.
Pas Coruru - (pa smoke) jogging.
Croisee - (croise) crossed; one of the basic positions of classical dance in which the lines cross. Closed leg position.
Degagee - (degas) to release, take away.
Demiplie - (demi plie) half squat.
Developpee - (devloppe) taking out.
Dessus-dessous - (ten desu) top part and Bottom part, above and below. Pas de bourre view.
Ecartee - (ekarte) to withdraw, push apart. A pose in which the entire figure is turned diagonally.
Effacee - (efface) to smooth; one of the basic principles of classical dance. It is determined by the open, unfolded nature of the posture, movement. Open leg position.
Echappe - (eschappe) break out. Jump with legs opening to the second (fourth) position and collecting from the second (fourth) to the fifth position.
Pas Emboite - (pa ambuate) to invest, insert, stack. A jump during which there is a change of half-bent legs in the air.
En dehors – (an deor) outside, rotation from the supporting leg.
En dedans – (an dedan) inside, rotation to the supporting leg.
en face - (en face) straight, straight position of the body, head and legs.
En tournant - (an turnan) rotate, turn the body while moving.
Entrechat - (antrash) jump with a skid.
Entrechat-tromis - (entrecha trois) skid. Jump with a triple change of legs in the air, from two to one.
Entrechat-quatre - (antrash katr) skit. Jump with a four-fold change of legs in the air.
Entrechat-cinq - (antrash sank) skid. Jump with a five-fold change of legs in the air.
Entrechat-six - (antrash siz) skid. Jump with a six-fold change of legs in the air.
Epaulement - (epolman) the diagonal position of the body, in which the figure is turned halfway.
Exercice - (exercise) exercise.
flic-flac - (flick-flyak) click, clap. A short movement often serves as a link between movements.
Fouette - (fuete) whip, flog. A kind of dance turn, fast, sharp. The open leg during the turn quickly bends to the supporting leg, with a sharp movement it opens again.
farmer - (farm) to close.
Faille, pas - (pa fai) cut, cross. Weakening movement. This movement is fleeting and often serves to prepare the springboard for the next jump. One leg seems to undercut the other.
Galoper - (gallop) to chase, to chase, to gallop, to race. Movement similar to chasse.
Glissade - (glide path) to slide, slip. A jump performed without lifting the toes off the floor.
Grand – (grand) large.
Jete - (jete) throw. Throw a leg in place or in a jump.
Jete entrelace - (zhete antrelyase) entrelacee - to bind. Flip jump.
Jete farm - (jete ferme) closed jump.
Jete passe - (jete passe) passing jump.
Lever - (leve) raise.
pas - (pa) step. Movement or combination of movements. It is used as equivalent to the concept of "dance".
IN CLASSICAL DANCE - PART 1
Classical dance jumps are extremely diverse in appearance. When we analyze them, we will see that they are divided into two main groups. In the first group, air jumps: for such a jump, the dancer must impart great strength to the movement, must freeze in the air. In the second group, movements that cannot be done without leaving the ground, without a jump: but they are not directed upwards, but, like creeping plants, spread along the ground.
Such creeping ground jumps include:
pas glissade, pas de basque and jete en tournant in the performance of the first part.
Air jumps, in turn, are divided into four types:
1) jumps from two legs to two, among them: a) performed directly from the V position:changement de pied, echappe, soubresaut;b) performed with a preliminary abduction of the leg from the V position to the side and bringing it back to the V position:assemble, sissonne fermee, sissonne fondu, sissonne tombee, pas de chat, failli, chasse, cabriole fermee, jete ferme fondu;
2) jumps from two legs to one also have varieties: a) when they first come off the floor with two legs, and finish the movement on one leg (in a pose), these include:sissonne ouverte, sissonne soubresaut, ballonne, ballotte, rond de jambe en 1 "air saute;b) when the movement begins by throwing out the leg (takeoff is made), and ends with a stop on the same leg in a pose, these include: jet with V positions, Grand jete starting from V position, jete advancing half a circle, emboote;
3) jumping from one foot to another:jete entrelace, saut de basque, jete passe, jete on attitude (when it is executed with preparation IV position croisee);
4) combined jumps, in their structure consisting of several elements:jete renverse, sissonne renversee, grand pas de basque, rond de jambe double, pas ciseaux, balance, jete en tournant and grand fouette.
Air jumps can be small and large, but, regardless of their degree, the separation of the dancer from the floor should always be visible.
When developing a jump, the following guidelines should be followed.
1.Before any jump, a demi-plie must be done.
Since the main factor in supplying force when separating the dancer from the floor is the foot, it is necessary to pay special attention to the correct demi-plie when developing the jump, i.e. e. do not separate the heels from the floor.
2. At the time of the jump, you should keep your legs tensely extended at the knee, instep and fingers, if the jump is done with two legs. If it is done on one leg, the other assumes the position required by the posture, and it is necessary to strictly observe the eversion of the upper leg and the harmony of the back, that is, do not stick out the buttocks.
3. After the jump, the feet should touch the floor first with the toe, then smoothly move to the heel and lower to the demi-plie, then extend the knees.
As Volynsky rightly said, the elevation consists of two elements: the actual elevation and the balloon. Elevation in the proper sense of the word is a takeoff: a person separates from the ground and makes a high jump through the air, but such a jump can be meaningless or gymnastic-acrobatic. Some acrobat can jump over 10 people lined up with amazing agility, but he cannot be recognized as an elevation of the classical order: this is a mechanical trick due to well-trained muscles. To have dance elevation, you need to attach a balloon to the jump. Under the balloon is understood the ability of the dancer to linger in the air in a certain position. The dancer seems to freeze in the air. And so, when we are dealing with a high jump connected to a balloon, we are talking about classical elevation. It develops in a number of movements, such as: for the development of a jump ending in two legs, it serves changement de pieds, for the development of a “springboard type” jump with forward, backward and sideways movement on one leg pas ballonne.
These preparatory pas for great elevation, it is necessary to do it with perseverance and attention in the third or fourth year of study and go through them in large numbers.
The study of jumps is approached gradually and from afar. For children and beginners, the initial exercise is as follows: stand in I position, demi-plie, push off with your heels and jump, grabbing outstretched fingers, arching your instep and stretching your knees; descending, touch the floor with a toe, in next moment get down on your heels on a demi-plie, straighten up and stretch your knees. Such a study of a jump on two legs at a stick can be started when the exercise is comprehended, that is, after the first half of the year of training (fig.48). The same is done with II and V positions. These jumps are called temps leve.After that, go to changement de pieds.
When passing temps left in the middle of the hall, it is often done on one leg, i.e. a jump is made with one foot, the other maintains the position adopted before the jump.
Fig.48. Temps leve on two feet
CHANCEMENT DE PIEDS
Petit changement de pieds. Become a V position, right foot forward, demi-plie, push off the floor, jump up, grabbing outstretched fingers, arching the instep and stretching the knees; dropping to the floor, change legs, the left will be in front. Go down the same way: first with the toe, then with the heel, ending with the demi-plie movement to V position. The technique develops the softness and elasticity of the jump, eliminating any rigidity (fig.49).
Fig.49. Petit changement de pieds
For more advanced students, I prefer a different variety. pet change. Everything is done in exactly the same way, but you don’t have to take your legs off the floor with a jump, the toe is always in contact with the floor, you just sort of stand on your toes. The movements are performed in a continuous chain, without emphasis on the plie, although it should be noted that the emphasis is not on the air, but on the floor, on the plie.
In this form, this exercise is even more effective and valid in its results and is used at the end of the exercise in the middle of the hall (as the final part allegro) at a fast pace.
Grand change de pieds. For this exercise demi-plie becomes deeper, more intense; to rise higher in the air, you need to strongly push off the heels from the floor,joining the legs together; with
Fig.50. Grand changement de pieds:
a -Italian: b - Russian
with outstretched knees, try to stay in this position for as long as possible and only at the last moment change legs. Go down in the same sequence as in pet change. He when changing legs in the air, spread them wide, then you will lose shape changement de pieds, the purpose of which is a change of legs in V position. The legs must be spread apart to the distance necessary for this transfer. (Fig. 50b).
In the initial study of jumping, special attention should be paid to the arms, which should remain perfectly still from the shoulders to the hands, slightly rounded, as in a preparatory position, they should not twitch, as if helping the movement of the legs.
In Italian exercise when performing changement de pieds it is customary to bend the legs (rice. 5O, a).
PAS YOSNARRE
Petit echappe. Demi-plie in V position, push off with your heels and immediately, with outstretched fingers and knees, jump to II position on demi-plie, strictly observing the rule indicated for plie on position II; returning back in the same jump, with outstretched fingers and knees, finish in V position (Fig.51).
Fig.51. petit echappe
This pas can be done in IV position on crise and effect, giving the appropriate posture to the hands. But in general, on such small jumps, the postures of the hands should not be high. The high position of the hands should be left for big jumps. Doing echappe, need to follow behind uniform riyo of both legs, especially be attentive to this when performing echappe from the IV position.
Echappe can be done by finishing it on one leg.
pas performed in the same way, only the conclusion is different:
legs do not return to V position, but one of them goes sur le cou-de-pied forward or backward. And this echappe done in both II and IV positions.
grand echappe. If in petit echappe, in a jump, the legs immediately open to II position, then in grand echappe, after demi-plie (deeper), stretch the legs connected in the V position during the highest possible jump, and only when falling open them to the II position. Return to V position also from a big jump, strongly pushing off the floor with your heels (Fig.52).
Fig.52. grand echappe
This is echappe you can also finish on one leg, falling on attitude, arabesque or developpe forward 90° e. in general in a big pose.
PAS ASSEMBLE
Assembly is an essential beginning for the development of a jump in general. This is a solid foundation and the first step to dance for beginners. Despite some difficulty, assemble- one of the initial pas. It is early introduced into the exercise, because when the students understand it, the further is comprehended by them more easily.
Stand in V position, right leg in front, demi-plie and at the same time the left leg is retracted with a sliding movement towards II position and, extended, touches the toe of the floor in II position; with the right foot remaining in the plie, push off the floor, extending the fingers and knee; the left leg simultaneously with the right returns to the V position forward on the demi-plie (fig.53).
Withthis plie the movement is repeated from the other foot, and thus in the execution of this pas little progress is made.
It is necessary to monitor the accuracy of the II position, i.e., do not allow the leg to deviate by ecarte forward or backward; accuracy in the initial study of this pas subsequently guarantees the correct execution of its more complex form - grand assemble.
Fig.53. Assembly
Assembly it is also done with moving backwards as follows: V position, right foot in front, bring it to the II position and, at the conclusion, put it back to the V position. In this form (in two paces) assemble studied initially.
In the next most difficult stage, the leg passes the II position at a height of 45 ° (conditionally) without focusing on the II position. Such assemble performed at the same pace. In conclusion, pass grand assemble.
Grand assemble. If you do it back, the right leg is thrown 90 ° to II position, as in grand battement; the subsequent jump-large-carries the dancer to the side. In this moment left leg you need to bring them to the right in front and keep them closed in the air, then simultaneously lower with both legs to the V position on demi-plie.
Italians for the impression of greater jump height after grand battement tuck your legs in before lowering into V position. This leg-jumping in a jump gives the dance a grotesque character, breaking its classical line. (Fig.54).
grand assemble is usually applied at the most advantageous moment of execution. To take force for such a big movement, it’s more effective to do it in front of him preparation or as a glissade, or in this form: do grand developpe forward, fall on that foot on plie and push off harder, throwing the other leg to II position at 90 °; repulsion is more energetic, and the whole movement wins.
Fig.64. Assembly (Italian)
In general, in order to highlight the jump and enhance its impression, it should be accompanied not by an equivalent in size, but by a smaller one. One movement wins at the expense of another. For example, in Don Quixote, in the dream scene, successive soubresaut and assemble must be performed, giving great strength and height of the jump to soubresaut, and then the following assemble- middle as the finishing move. Thus, the first movement is highlighted and emphasized, and, conversely, it can be performed instead of soubresaut passing failli and give all the power of the jump to assemble.
On initial study assemble I do not introduce the participation of hands and only achieve that they are used to holding them freely and not bound, so that they are not jerked.
When assemble mastered by the students, you can introduce the movement of the hands. The hands, together with the leg, open slightly towards the II position and in the final V position, as it were, are closed, connecting in the preparatory position. Then head turns begin to apply. When advancing the legs and arms to the II position, the head must be held in profile, in the opposite direction from the opened leg, at the end assemble turn your head to the other side also profile. I indicate the turn of the head in profile because otherwise the indeterminacy of the turn makes the head seem to be leaning towards the shoulder, which gives a weak, sluggish impression.
In high school when assemble performed directly one after the other, it is done with me without the participation of hands; and only in complex combinations, already working out a dancer, do I introduce assemble hands participation. Assembly done in all directions, forward, backward, croise, effect, etc.
In conclusion, we must insist on the exact ending assemble in V position during the lesson. If on the stage, in the dance, sometimes you have to not quite accurately perform pas, then, so that its correctness is not lost, the dancer must, by daily exercise, performed pedantically and zealously, preserve and maintain the developed forms of her dance. The more a dancer practices in exercise, the less mistakes she makes on stage. That's what the daily lesson is for.
Just like a book is made up of words, a house is made of bricks, any ballet is made up of movements. Strict, once and for all established positions of arms and legs, postures, jumps, rotations, connecting movements are the basis of classical dance. Combining these movements, building them in a certain order, the choreographer creates a choreographic drawing of the ballet.
The beauty and strength of the movements depend on whether they accurately express the nature of the music, and on the meaning put into them by the choreographer and performer – ballet dancer. And it turns out that the same movement can look different, it can be good and evil, brave and cowardly, beautiful and ugly, and sometimes it depends on the inclination of the head, sometimes on the position of the arms and body, on the strength and expressiveness of the jump, from smoothness and swiftness of rotation.
That is why ballet performances are so different from each other.
ALYASGON, ARABESQUE, ATTITUDE, ECARTE. Basic poses, "whales" on which classical ballet rests. In all these poses, the performer stands on one leg, and the other is raised high: to the side (alyasgon), back (arabesque), back with bent knee(attitude), diagonally forward or backward (ekarte).
ADAGIO. A dance of two or more ballet characters in which they reveal their inner state. 
ASSEMBLY. A jump during which one leg opens to the side, forward or backward, and by the end of the jump is pulled to the other leg.
CHOREOGRAPHER. A person who composes, or, as they say, directs a ballet. Sometimes the choreographer, or ballerina, is called the performers of the male parts in the ballet. It is not right. A man in ballet is called a dancer.
VARIATION. Solo dance, dance monologue. 
Glide path. Sliding lateral movement. Usually it connects one movement with another, serves as a preparation, a run for a jump. 
JET. Jump from one foot to the other. Large jets are performed as a jump over an imaginary obstacle in all the main ballet poses - arabesque, attitude, alasgon.
CABRIOLE. A jump during which one leg knocks out the other. The legs are strongly extended. This jump is performed in all directions: forward, sideways, backward.
LIBRETTO. Literary script of the ballet, its content.
PA-DE-DE. The main dance scene in a ballet or in one of the ballet acts. The pas de deux reveals the relationship of the characters, shows the dance skills of the performers. The pas de deux consists of an adagio, a dancer's variation, and a ballerina's variation and coda, short, technically complex dance pieces by a dancer and a ballerina.
BUTT. Ballerina costume consisting of many short starched tulle skirts. These puffy and light skirts make the tutu airy and weightless.
PIROUETTE. Rotation around its axis on the 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 major poses.
SUPPORT. A necessary element of classical dance. During the dance, the dancer helps the ballerina, supports, lifts her.
Pointe shoes. One of the main elements of female dance in classical ballet is the dance on the tips of outstretched fingers. To do this, you need ballet shoes with a hard toe.
FIFTH POSITION. The basic position of the legs of classical dance. Legs turned one hundred and eighty degrees. The heel of the right foot is firmly pressed against the toe of the left, and the heel of the left foot is firmly pressed against the toe of the right. From this position, the dance most often begins, and this position most often ends.
RONDE DE JAMBES. In French it means “circle with the foot”. In fact, half of the circle is described by the foot on the floor and in the air, during the jump and squat.
SOTE. A jump during which the legs are strongly extended in the first, second or fifth positions.
TOURS. Rotation around its axis during the jump. Tours are made with one and two turns. Tour with two turns is an element of male dance.
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 is the exercise (exercise) at the barre and the larger one is the exercise in the middle of the hall. During the lesson, all the movements that a ballet dancer needs in a dance are improved and practiced. 
SHAGEMAN DE PIE. A jump during which the legs are in the fifth position and change places.
FUETE. Rotation of the ballerina around its axis on the toes of one foot. After each turn, she opens the other to the side. Fuete is usually performed at a very fast pace sixteen or thirty-two times in a row.
Grand [grand]- from French. large. It is used as a prefix to clarify the latitude and amplitude of movement (for example:).
Petit [bird]- from French. small. It is used as a prefix to clarify the latitude and amplitude of movement (for example:).
Pas [Pa]- movement or a combination of movements. It is used as equivalent to the concept of "dance".
Par terre [parterre]- from French. On the floor. A term that is applied to movements to indicate the position of the working leg.
Preparation [prompt] from French preparation. It is performed at the beginning or end of a musical phrase in preparation for the main exercise or movement.
Aplomb literal translation from French sheer. Characterizes the stability of the performer.
Adagio [Adagio] from Italian. slowly, quietly. Smooth, calm movements to a slow musical tempo.
À la seconde [A la gond] from French to the second. The position of the working leg to the side is 90 ° or higher.
Allegro [Allegro] from Italian. funny. In choreography, the word Allegro [Allegro] is usually called the jumping part of the lesson.
Elevation from French rise, elevation. The dancer's ability to perform high jumps while fixing the pose.
Ballon [balloon] from French ball, balloon. This term in choreography refers to the ability to "hang" in the air, while maintaining a pose. This skill can be acquired or innate. Balloon develops special exercises borrowed from acrobatics.
En face [en face] from French in front of the face, in front of the face. The position facing the viewer, in which the "front" part of the head, body, legs is facing directly to the viewer (first point). While working with a choreographic barre, the full face position may change: 1) hips, shoulders and face are turned towards the barre, both hands are on a stick; 2) sideways to the machine, full face position parallel to the stick; 3) back to the machine.
Épaulement [Epalman] from French shoulder. Turning the body into a diagonal (2 or 8 points in space).
Divided into eight parts (Fig. 1). The first point is determined by the performer, facing the viewer (En facé [en face]). The second point is the turn of the body into a diagonal (Épaulement [Épalman]), to the right. The third point is the turn of the body to the right, left side to the viewer. At each next point, the body is similarly turned to the right.
Double from French double, double. Double execution of the element in motion.
En dehors [Andeor] from French outside. The direction of movement or turn is away from you or out.
En dedans [Andedan] from French inside. The direction of movement or turning towards oneself, inward.
eversion- opening of the legs in the hip and ankle joints.
Coordination- compliance and coordination of the whole body.
half toes- the position of the foot (s), when the body weight remains on the "pads" of the toes (s), and the heel is maximum off the floor. They also say to stand on your toes.
Zatakt- in music, a weak beat before a strong one at the beginning of the measure of a musical sentence. In choreography, the beat is a signal to start performing any movement, it is customary to highlight it with the “I” command.
MOA UDOD "Palace of Pioneers and Schoolchildren"
French Glossary
classical dance
Prepared by: Glukhova S.Yu.,
teacher of higher qualification
Orsk, 2013
In the process of teaching the art of dance, the teacher should pay special attention to terminology. Accurate, correct possession of professional vocabulary speaks of culture, professionalism, both of the teacher and pupils. For various kinds choreographic art, primarily for classical, as well as for folk-stage and historical-everyday dance, one generally accepted terminology is used, which gives a verbal definition of the dance element.
The dance with its origins dates back to ancient times, but its terminology was formed in the 17th century (in 1661) in France, at the Royal Academy of Dance. Gradually, this dance terminology became universally recognized throughout the world. But it underwent many changes, additions, clarifications before it came to the harmonious and strict system that we currently use. A significant contribution to the clarification of terminology was made by the Russian school of classical dance and the famous teacher-choreographer, Professor Agrippina Yakovlevna Vaganova.
However, the French language remained as indispensable in terminology as Latin in medicine.
The following is a list of the main terms of classical dance; the pronunciation of French words in brackets is conditional.
Adajio- (adagio) slowly. The slow part of a lesson or dance.
allonge- (alonge) lengthen, extend, stretch. A technique based on straightening the rounded positions of the arms.
Aplomb- (aplomb) sustainability.
Arabesque- (arabesque) pose, the name of which comes from the style of Arabic frescoes. In classical dance there are four types of arabesque poses under No. 1, 2, 3, 4.
Arrondi- (arrondi) rounded, rounded. Rounded position of the hands from the shoulder to the fingers.
Assembly- (assembly) to unite, to collect. Jump with picking up extended legs in the air.
Attitude- (attitude) posture, the position of the figure. The raised leg is bent.
Balance- (balance) swing, wiggle. Swinging motion.
Pas ballonne- (pa ballon) inflate, inflate. In the dance, a characteristic advance at the moment of jumping in various directions and poses and strongly extended legs in the air until the moment of landing and bending one leg on sur le cou de pied.
Pas ballotte- (pa balotte) hesitate. A movement in which the legs at the moment of the jump are extended forward and backward, passing the central point. The body leans back and forth, as if hesitating.
Balancoire- (balancer) swing. Applies in grand battement jet.
Battery- (batri) drumming. The leg in the position sur le cou de pied makes a series of small shock movements.
Battus- (battu) beat, beat. Movement with a skid.
Bourree pas de- (pas de bourre) chased dance step, stepping over with a slight advance.
Brise- (breeze) to break, crush. Movement from the section of jumps with skids.
Basque pas de- (pas de basque) step of the Basques. The movement is characterized by a score of 3/4 or 6/8, i.e. triplex. Runs forward and backward.
Battement- (batman) scope, beat; leg exercise.
Battement tendu- (batman tandyu) abduction and adduction of the stretched leg.
Battement fondu- (batman fondue) soft, smooth, "melting" movement.
Battement frappe- (batman frappe) beat, smash, split; impact movement.
Battement double frappe- (batman double frappe) movement with a double blow.
Battement developpe- (batman devloppe) unfold, open, take out the leg 90 degrees in the desired direction, pose.
Battement soutenu- (batman pimp) withstand, support. Movement with pulling up the legs in the fifth position.
Cabriole- (cabriole) jump with knocking one leg to the other.
Chain- (shen) chain.
Changement de pieds- (shazhman de pied) jump from fifth position to fifth with a change of legs in the air.
pas chasse- (pa chasse) drive, drive. Ground jump with advance, during which one leg knocks out the other.
Chat, pas de- (pas de sha) cat step. This jump is similar in character to the gentle movement of a cat's jump, which is emphasized by the curve of the body and the gentle movement of the arms.
Ciseaux, pas- (pa Siso) scissors. The name of this jump comes from the nature of the movement of the legs, thrown forward in turn and extended in the air.
coupe- (coupe) jerky. Knocking out. Jerky movement.
Pas Coruru- (pa smoke) jogging.
Croisee- (croise) crossed; one of the basic positions of classical dance in which the lines cross. Closed leg position.
Degagee- (degas) to release, take away.
Demiplie- (demi plie) half squat.
Developpee- (devloppe) taking out.
Dessus-dessous- (desu-desu) upper part and lower part, "above" and "under". Pas de bourre view.
Ecartee- (ekarte) divert, push apart. A pose in which the entire figure is turned diagonally.
Effacee- (effase) to smooth; one of the basic principles of classical dance. It is determined by the open, unfolded nature of the posture, movement. Open leg position.
Echappe- (eschappe) break out. Jump with legs opening to the second (fourth) position and collecting from the second (fourth) to the fifth position.
Pas Emboite- (pa ambuate) to invest, insert, stack. A jump during which there is a change of half-bent legs in the air.
En dehors- (an deor) outside, rotation from the supporting leg.
En dedans- (an dedan) inside, rotation to the supporting leg.
en face- (en front) straight, straight position of the body, head and legs.
En tournant- (an turnan) rotate, turn the body while moving.
Entrechat- (antrash) jump with a skid.
Entrechat-tromis- (entrecha trois) skid. Jump with a triple change of legs in the air, from two to one.
Entrechat-quatre- (antrash katr) skid. Jump with a four-fold change of legs in the air.
Entrechat-cinq- (antrash sank) skid. Jump with a five-fold change of legs in the air.
Entrechat-six- (antrash siz) skid. Jump with a six-fold change of legs in the air.
Epaulement- (epolman) the diagonal position of the body, in which the figure is turned halfway.
Exercice- (exercise) exercise.
flic-flac- (flick-flyak) click, clap. A short movement often serves as a link between movements.
Fouette- (fuete) whip, flog. A kind of dance turn, fast, sharp. The open leg during the turn quickly bends to the supporting leg, with a sharp movement it opens again.
farmer- (farme) to close.
Faille, pas- (pa fai) cut, cross. Weakening movement. This movement is fleeting and often serves to prepare the springboard for the next jump. One leg seems to undercut the other.
Galoper- (gallop) to chase, to chase, to gallop, to race. Movement similar to chasse.
Glissade-(glide slope) glide, glide. A jump performed without lifting the toes off the floor.
Grand- (grand) large.
Jete- (jete) throw. Throw a leg in place or in a jump.
Jete entrelace- (zhete antrelyase) entrelacee - to bind. Flip jump.
Jete farm- (zhete ferme) closed jump.
Jete passe- (zhete passe) passing jump.
Lever- (leve) raise.
pas- (pa) step. Movement or combination of movements. It is used as equivalent to the concept of "dance".
Pas d'actions- (pas d`axion) effective dance.
pas de deux- (pa de de) dance of two performers, a classical duet, usually a dancer and a dancer. The pas de deux form is often found in classical ballets: Don Quixote, Swan Lake, The Sleeping Beauty, The Nutcracker and others. .
pas de trios- (pas de trois) dance of three performers, a classical trio, most often two dancers and one dancer, for example, in the ballets Swan Lake and The Little Humpbacked Horse, etc.
pas de quatre- (pas de quatre) dance, four performers, classical quartet.
passe- (passe) to pass, to pass. Linking movement, holding or moving the leg.
Petite- (ptit) small.
petite battement- (petit batman) a small batman, on the ankle of the supporting leg.
Pirouette- (pirouette) whirligig, spinner. Fast rotation on the floor.
Plie- (plié) squatting.
Pointe- (pointe) toe, toes.
port de bras- (por de bra) exercise for arms, body and head; six forms are known.
preparation- (preparation) preparation, preparation.
Releve- (releve) raise, elevate. Rise on fingers or on half-fingers.
Releve tape- (releve liang) slow leg lift 90 degrees.
Renverse- (ranverse) to overturn, turn over. Tipping the body in a strong bend and turn.
Rond de jambe par terre- (ron de jamb par ter) rotational movement of the foot on the floor, circle with the toe on the floor.
Rond de jambe en l'air- (ron de jamb en ler) leg circle in the air.
Royal- (royal) magnificent, regal. Jump with a skid.
Saute- (sote) jump in place.
Simple- (sample) simple. Simple movement.
Sissonne- (season) has no direct translation. It means a type of jump, varied in form and often used.
Sissonne fermee- (season farm) closed jump.
Sissonne ouverte- (season dodge) jump with leg opening.
Sissonne simple- (season sample) a simple jump from two legs to one.
Sissonne tombee- (sison tombe) jump with a fall.
soubresaut- (subreso) a large jump with a delay in the air.
Saut de basque- (so de basque) Basque jump. Jump from one foot to another with a turn of the body in the air.
Soutenu- (puff) to withstand, to support.
Suivi- (suivi) continuous, consistent movement. A type of pas de bourree performed on the fingers. The legs are finely sorted one next to the other.
Sur le cou de pied- (sur le cou de pied) the position of one leg on the ankle of the other, supporting leg.
Sus-sous- (shu-su) on yourself, right there, on the spot. Finger jump with progress.
Temps lie- (tan lie) fused, flowing, connected. Solid, smooth dance combination in the middle of the hall; there are several forms.
A short glossary of the main concepts of choreography
It is desirable for a pupil of a choreographic group to know the content of the concepts used in the process of his training. The following concepts are the essence of teaching dance technology.
Classical dance school - a system of practical techniques for controlling movements based on muscle sensations, requiring fixation to consolidate the foundations, as a necessary condition for improvement. On its basis, the skill of restructuring the system of movements is acquired. The task of the school is to teach the student the rules and techniques with which you can manage stability, aplomb.
Sustainability- the ability to maintain a certain position of the body in an equilibrium state. Sustainability is the basis for achieving aplomb (balance). The student learns to move in such a way as to fix one or another position, posture, and correctly position the center of gravity at any time. So, to perform a pose, the student mentally imagines it, creates an image, adjusts all parts of the body to hold it.
The controlplays a leading role. It is run for correct execution movement, develops stability, aplomb, posture. Control is exercised through self-regulation of the student according to the requirements of the teacher. Control helps to correctly redistribute work between muscle groups: include in it those involved in a given period and release other muscle groups from the load.
Repeat- a method of assimilation of rules, techniques, sensations. Repetition contributes to the development of muscle memory, the development of the student's attention to the task assigned to him, the correction of mistakes both independently and with the help of a teacher. Repetition contributes to the consolidation of the acquired knowledge, skills, abilities.
Coordination- a combination of rules, techniques and sensations, consistent with the music. The student learns to combine, vary them in practice, consciously organize the movements of a given form in time, space, within the image. Coordination helps to manage the entire motor apparatus, create a figurative performance, which determines artistry (“dancing”, as it is called in everyday life).
elevation(from the French. elevation - rise, elevation) - "the dancer's natural ability to perform high jumps with movement in space (span) and fixation in the air of one or another pose."
balloon- (balloon, from French letters - balloon, ball) - component elevation - "the ability to linger in the air during a jump, maintain a pose."
hold the cross- hold, coordinate the cross position of the limbs in certain positions, controlling the movement. The cross is based on the rules of cross-coordination of the muscles of all parts of the body: legs, arms, back, neck. The school of classical dance used the natural principle of cross-coordination of all four limbs, took it as a basis, developed it and brought it to perfection.
Frame- includes shoulder girdle, back and its muscles, ribs, muscles of the chest and abdomen. “The core of stability is the spine. It is necessary to make a number of self-observations of the sensations of the muscles in the back with various movements learn to feel it and master it ”(A. Ya. Vaganova).
Support leg- so it is customary in choreography to call the leg on which this moment is the weight of the whole body and through which the central axial line passes.
Working leg- this is the name of a leg conditionally released from gravity, performing any movement.
En dehors- (an deor) outward, movement or rotation from the supporting leg.
En dedans- (an dedan) inside, movement or rotation towards the supporting leg.
- preparation for movement. Consists of the following. First, information is given about the musical size, tempo, rhythm, and the nature of the proposed movement. Then a breath is taken, while the hands reflect the movement of the body, slightly open from the preparatory position with the fingers to the sides, also as if taking a breath. When inhaling, the diaphragm rises and maintains this position on exhalation.
Zatakt - (important element for the education of the performer) in music, a weak beat before a strong one at the beginning of the measure of a musical sentence. It can be equal to 1/4, 2/8, 3/8, etc. In choreography, the beat is a signal to start any movement, it is customary to highlight it with the “and” command.
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