What is a spin in ballet called? Batman is an element of classical dance

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 - the basis 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 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.

In ballet, there are basic movements and concepts that every lover of this art should know! The main 4 poses in the ballet are named - Arabesque, Ecarte, Alasgon and Attitude. These are poses in which the performer balances on one leg while holding the other in the air at that moment.

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 (alasgon), back (arabesque), back with a bent knee (attitude), diagonally forward or backward (ekarte).

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.

Adagio - A dance of two or more ballet characters aimed at revealing an emotional state.

Pa (fr. pas - step) - a separate expressive movement performed in accordance with the rules of classical dance.

Glide path - a special movement, the main purpose of which is preparation before the jump.

Glisse (from glisser - to slide) - a step in which the toe slides across the floor from position V to 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 French grands battements) - throwing the leg to the maximum height.

Plie (plié - fold, gently bend) - demi plié - a small squat.

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.

Ballon (from French ballon, from balle - ball) - the dancer's ability to maintain a jump (in the air) posture and position taken on the ground - the dancer seems to freeze in the air.

Batri (from French batteries - to beat) - jumping movements, ornamented with skids, i.e. kicking one leg against the other in the air. During the strike, the legs are crossed in the V position (before the impact and after it, the legs are slightly apart).

Entre (from French entree - introduction, exit to the stage) - in ballet, the entrance to the stage by one or more performers. Introductory part in pas de deux, pas de trois.

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 of a dancer and a ballerina.

Koda (from French Coda) - fast, final part of the dance, following the variation

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.

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.

Arondi (from French arrondie - rounded) - the 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 the jump. Tours are made with one and two turns. The tour with two turns is an element of male dance.

Brize (from French brisé - to break; denotes a light, gusty sea wind) - a small jump, moving forward or backward behind the foot. The jump ends in V position. Variety: brise dessus (forward) - dessous (back).

SHAGEMAN DE PIE. A jump during which the legs are in the fifth position and change places.

Rond de Jamb - if translated literally from French - a circle with a foot. In fact, in this movement, the foot describes a semicircle.

Shazhman de Pied - a special jump from the fifth position, in which the legs change places.

Fuete - the most famous movement of the ballerina, or rather, her rotation on the toes of one leg like a top. 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.

Entrechat (antrasha - Italian intrecciato - braided, also defined for that type of jump as crossed) - a vertical jump from two legs, during which the legs are slightly spread in the air and connected in the V position again, without hitting each other, as they are in an eversion position from the hip.

VARIATION. Solo dance, dance monologue. A small dance for one or more dancers, usually technically advanced. Variations are male and female, terre a terre and jumping. The former are built on small, technically complex movements, the latter on large jumps.

A la zgond (from French a la seconde) is a classical dance pose when the leg is raised to the II position to the side by 90 ° and higher.

Elevation (from French elevation - elevation, elevation) - in classical dance means a high jump.

SUPPORT. A necessary element of classical dance. During the dance, the dancer helps the ballerina, supports, lifts her.

Eversion - the opening of the legs in the hip and ankle joints.

BUTT. Ballerina costume consisting of many short starched tulle skirts. These puffy and light skirts make the tutu airy and weightless.

Pointe shoes. One of the main elements of female dance in classical ballet- dance on the tips of outstretched fingers. To do 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 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.

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.

Divertissement (from French divertiss-ment - entertainment, entertainment) - 1) Plug-in (ballet or vocal) numbers performed between the acts of the performance or at the end of it, often constituting a single entertaining performance, not related to the plot of the main one; 2) Structural form within the ballet performance, which is a suite of dance numbers (both concert solos and ensembles, and plot miniatures).

LIBRETTO. literary script ballet, its content.

Corps de ballet (from French corps de ballet, from corps - personnel and ballet - ballet) - a team of dancers performing group, mass dances and scenes. The corps de ballet can perform both independently and in mass dances.

Premier (from French premier - first) - a ballet soloist who performs the main parts in the performances of a ballet troupe; dancer the highest category. The first premier dancer in the history of ballet was Pierre Beauchamp, a ballet soloist of the Royal Academy of Music, founded 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.

Gradually I begin to understand that dancing is becoming big and important part 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, neither one nor the other has been given to me, but now I'm 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 a throw is made with the foot forward or backward, the head looks to the side (center of the class), and when the foot is thrown to the side, the head looks straight.
With battement tendu, the foot is brought forward with the heel. In general, where the heel is directed is very important. For if you send 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 hang 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 (plié) must be very active so that the mortal, heavy and loose body is still pushed up.
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 negotiated.
Demi plie(demiplie)- semi-squats (Fig. 8). It is important to achieve maximum bending of the legs in the knee joints without separating the heels from the floor. The weight of the body is evenly distributed on both feet without "blockage" on the big toe. The knees and feet keep the eversion position all the time, 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 (grand plie). When performing the exercise (Fig. 9), you should keep your heels on the floor as long as possible - the movement is performed through demi plie. When straightening your legs, you need to put your heels on the floor as early as possible. It is necessary to rise on half-toes and put the heels on the floor at the same time with both legs. Throughout the exercise, the maximum eversion of the hips and feet is maintained. The weight of the body is evenly distributed on both legs, without "blockage" on the big toes.

Batman(battement)- abduction of the working leg in any direction and its return to the supporting leg. Each type of batman has its own form and independent name.

Batman tandyu sample(battement tendu simple) - putting the foot forward, to the side, back on the toe. The exercise contributes to the development of lifting the leg and strengthening the ankle joint, and is preparatory for mastering a number of subsequent movements of this classification group. When performing batman tandyu, the eversion leg is retracted with a sliding movement from positions I, III, V forward, to the side, back to the toe and returns to and. n. The movement should be performed in a straight line from the heel of the supporting leg to the toe of the retracted leg and back (Fig. 10). Sliding of the leg is performed first with the entire foot with a gradual separation of the heel from the floor to the position of the most retracted toe without resting on the toe in the final position. With a similar sliding movement, the leg returns to and. n. The support is straightened at the knee. The center of gravity is on the supporting leg. The working leg maintains an eversion position.

Batman tandu demi plie(battement tendu demi plie) - a combination of leg abduction followed by adduction and a semi-squat on two legs (Fig. 11). When performing the exercise, it is necessary to achieve complete unity of the two movements. To do this, bending the legs at the knees begins a little earlier than the working leg returns to position 1 or III. The body is held straight, the weight of the body with demi plie is evenly distributed on both feet.

Batman tandyu pimp(battement tendu soutenu) - is an exercise from the combination of simultaneously performed leg leads-adductions with a semi-squat on the supporting one. In this case, the body deviates somewhat in the direction opposite to the working leg. After performing the exercise with the face, sideways to the support, the form of this movement becomes more complicated: i. p. - right in front on the toe (IV position) through the I position to the right position back on the toe. In the future, the complication of the exercise is possible. various movements hands, lifting on half-fingers, changing the direction of movement.

Batman tandyu zhete(battement tendu jete) - this exercise is profiling for all swing movements. Unlike batman, tandyu is performed with the toe off the floor when retracted from and. n. In fact, it is a swing to a height of about 25 ° (Fig. 12). The movement should be clear, unified, energetic. The legs maintain an eversion position, the center of gravity is on the supporting leg. Hands in II position.

Batman tandyu jete pointe (battement tendu jete pointe). In principle, this movement does not differ from the batman tandyu jet, however, after the abduction, the leg does not close 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 the III position (Fig. 13). When the movement becomes more difficult, the leg is transferred along a low arc from the right (left) position in front, behind on the toe (IV position) to the side to the toe and back or “cross”.

Double batman tandu(double battement tendu) is a kind of batman tandu. It is performed with lowering the heel to the floor in position II: with one, two or three or more lowering (Fig. 14). At the moment of lowering the heel to the floor, the center of gravity remains on the supporting leg. The emphasis of the movement coincides with the lowering of 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 forward position (conditional) is used - the leg is bent at the knee, the toe is in front at the ankle of the supporting leg, the thigh is turned backwards - the toe is pressed from behind at the ankle of the supporting leg. Batman frappe consists in quickly bending the lower leg from and. n. right (left) to the side in the position of sur le cou de pied in front or behind with a light blow on the supporting leg, followed by extension forward, sideways, back. The exercise is performed with a sharp, strong movement. In this case, the hip and knee retain the eversion position. Since the exercise starts from I.P. leg to the side, then before the start, the leg from I, III positions through the batman tandyu opens to the side, while the arm rises from the preparatory position through I to II position.

There is a more complicated version batman double frappe(battement double frappe) , characterized by a double "hit" of the working leg at the supporting ankle.

Batman fondue(battement fondu)- a combination of a semi-squat on the supporting leg with simultaneous bending of the free one on sur le cou de pied in front (rear) with subsequent extension of the working leg and straightening of the supporting leg (Fig. 17).

It is performed forward, to the side, back, with the toe to the floor, with the leg raised by 45, 90 °. When bending the leg to the position of sur le cu de pied, the thigh should not be lowered immediately, first the knee is bent, and the thigh is held motionless at a height of 45 °, then gradually lowers along with the lower leg to the final position. When the batman frappe is performed at 90°, the leg is first lowered to 45°, then bent as described above. Musical time signature 2/4 or 4/4.

Double batman fondue(double battement fondu) . The movement begins with demi-plié on the supporting one, then the half-toes are lifted, but the free leg does not open in the given direction, but lingers in the position bent at the ankle; then the semi-squat on the supporting leg is repeated again with simultaneous straightening of the free leg by 45 or 90 °; at the moment of the final straightening of the free leg, the supporting leg is also straightened, ending with a rise to the half-toes.

Grand Batman Jete(grand battement jet) - swing your legs forward, to the side, back (Fig. 18). The movement is performed through the batman tandyu until the toe touches the floor, then the leg rises to the maximum height and returns to the sp through the batman tandyu. (I or III position).

Gran Batman Jete Balance(grand battement jet balance) - swings in the direction forward and backward by 90 ° and above through the I 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 foot. Perhaps a combination with a tilt of the body, lifting on half-toes, half-squats.

Grand Batman Jete Pointe(grand battement jete pointe) performed like a grand batman jet, but until 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 the technique passe (passe)(Fig. 21): the leg is bent, the thigh is turned out, the knee is to the side, the toe is at the supporting knee, without touching it. Runs forward and backward. Musical size 2/4.

batman devloppe(battement developpe) performed forward, to the side, backward by 90 ° and above (Fig. 22). From position III, the working leg, bending and sliding with an outstretched toe, rises to the knee of the supporting leg, after which it straightens in any direction and descends to the SP. Throughout the movement, the thigh maintains maximum eversion; when the leg is straightened, the knee does not drop. When moving forward and to the side, the body remains straight, backward - slightly leans forward. Musical size 2/4, 4/4.

Batman devloppe passe (battement developpe passe). The working leg rises, then bends, the toe goes under the supporting knee without touching it (passe 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 retracted to the side and lowered into and. n. The same is done in the opposite direction. Then the leg is lifted to the side and retracted forward or backward.
Batman devloppe with leg abduction 1/4 of the circle. The leg from the III position is raised forward by 90 ° and higher, the extended leg is retracted through the side back and lowered to the III position. Similarly, it is performed in the opposite direction.

Batman devloppe balance (battement developpe passe). The leg rises forward, to the side, back, then with a short movement slightly lowers and immediately abruptly returns to its previous height. Musical time signature 2/4 and 4/4.

Ron de jambe (rond de jambe). This type of exercise includes leg movements in an arc on the floor and in the air. The movement of the leg in an arc back, sideways, forward, that is, directed towards the supporting leg, is called en dedan (en dedans). The movement of the leg in an arc forward, to the side, back, that is, directed from the supporting leg, is called en deor (en dehors). Exercises of this group contribute to the development of mobility of the hip joints, eversion of the legs.

Ron de jambe par terre (rond de jambe par terre)- movement of the outstretched leg in an arc, touching the toe of the floor (Fig. 23). The exercise is performed with a uniform movement of the outstretched leg in an arc, separating the fingers from the floor. The thigh is in an eversion position, the weight of the body is on the supporting leg.

Ron de Jamb en Lair(rond de jambe en l'air) - circular movements of the lower leg in the air (Fig. 24). From i.p. right (left) to the side at a height of 45 ° circular movements of the lower leg, while bending the knee inward (an deor), outward (an dedan) until the toe touches the calf muscle. The thigh is in a reversible position.

Grand ron de jamb jete (grand rond de jambe jete) - a large swing of the leg in an arc of 90 ° in the direction of an deor and an dedan.

Gymnastics all-around: Women's types. Ed. G 48 2nd, revised. Floor exercise. T.S. Lissitskaya, V.E. Zaglada / edited by Gaverdovsky Yu.K. - M.: Physical culture and sport, 1986. - 336 p., ill. "

pas (pa ) - step; movement or combination of movements; used as an equivalent to the concept of "dance".
Pas d'actions (pas de action ) is an effective dance.
pas de deux (pas de deux listen)) is a dance between two performers, usually a dancer and a dancer.
pas de trois (pas de trois ) - a dance of three performers, more often two dancers and one dancer.
pas de quatre (pas de cartes ) is a dance of four performers.

Adagio (adagio ) - slow, slow part of the dance.
Allegro (allegro ) - fast, jumping.
Allongee (alonge ) - from Ch. lengthen, prolong, extend; a movement from the adagio, meaning the extended position of the leg and the hidden hand.
Aplomb (aplomb ) - stability.
Croisee (croiset ) - a pose in which the legs are crossed, one leg covers the other.
Degage (degassing ) - release, take away.
Demi (demi ) - medium, small.
Ecartee (ekarte ) - take away, push apart; a pose in which the whole figure is turned diagonally.
effect (ephase ) - 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 turnan ) - from Ch. "rotate"; rotation of the body during movement.
Grand (grandee ) - big.
Petite (petit ) - small.
port de bras (port de bra ) - exercise for arms, body, head; inclinations of the body, head.
preparation (drug ) - preparation, preparation.

Arabesque (arabesque ) - a pose whose name comes from the style of Arabic frescoes.
Attitude (attitude ) - posture, body position; raised leg half-bent.
passe (passe ) - from Ch. "to pass, to pass"; linking 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.
Tire-bounchon (Tyr bouchon ) - “twist, curl”; the raised leg is in a half-bent position forward.

Balance (balance sheet ) - "swing, sway"; swaying movement.
Balancoire (balancer ) - “swing”, used in grand battement jete.
Battement (batman ) - scope, beat.
Battement developpe (batman devloppe ) - swing, open, take out the leg 90 * in the right direction.
Battement double frappe (batman double frappe ) is a movement with a double strike.
Battement fondu (batman fondue ) - soft, smooth, "melting" movement.
Battement frappe (batman frappe ) - movement with a blow, or shock movement.
Battement soutenu (batman hundred ) - withstand, support; movement with pulling up the legs in the fifth position, continuous movement.
Battement tendu (batman tandu ) - abduction and adduction of the extended leg, without lifting the sock from the floor.
Battery (batry ) - drum beat; the foot in the sur le cou-de-pied position makes a series of small shock movements.
Demi-plie (demi plie ) - a small squat.
Dessus-dessous (ten desu ) - upper-lower part, above-under, view of pas de bourree.
grand battement (grand batman ) is a big batman.
grand plie (grand plie ) is a big squat.
Jete (zhete ) - throw a leg in place or in a jump.
pas couru (I smoke ) - a run through the sixth position.
pas de bascue (pas de basque ) - Basque step; this movement is characterized by an account of 3/4 or 6/8 (triple size), performed forward and backward.
Pas de bourree (pas de bure ) - a chased dance step, stepping over with a slight advance.
petite battement (petit batman ) - a small batman, on the ankle of the supporting leg.
Plie (plie ) - squatting.
Releve (relevé ) - from Ch. "raise, elevate"; lifting on fingers or half-fingers.
Relevelent (Revelian ) - slow leg lift 90 *.
Soutenu (hundred ) - from Ch. "endure, support, draw in."

Fouette (fouette ) - from ch "quilt, whip"; kind of dance turn, fast, sharp; the open leg bends towards the supporting leg during the turn and opens again with a sharp movement.
Pirouette (pirouette ) - "yula, turntable"; fast rotation on the floor.
port de bras (port de bra ) - inclinations of the body, head.
Renverse (ranverse ) - from Ch. "overturn, overturn"; overturning of the body in a strong bend and in a turn.
Rond (rond ) - "circle, round".
Rond de jambe en l'air (ronde de jamb en ler ) - circle with the foot in the air.
Rond de jambe par terre (ronde de jamb par ter ) - a circular movement of the leg on the floor, a circle of toes on the floor.
Tour (tour ) - turn.
tour chain (Chenet tour ) - “linked, connected”; fast turns following one after another.
Tour en l'air (tour en ler ) - tour in the air.

Assembly (assembly ) - from Ch. connect, collect; jump with picking up extended legs in the air; jump from two legs to two legs.
Brise (breeze ) - to break, crush; movement from the jumping section with skids.
Cabriole (cabriole ) - jump in place with knocking one leg to the other.
Changement de pieds (checkman de pied ) - jump with a change of legs in the air (in the V position).
coupe (coupe ) - knocking; jerky movement, short push.
Echappe (eschappé ) - a jump with opening the legs to the second position and collecting from the second to the fifth.
Entrechat (entrecha ) - jump with a skid.
Glissade (glide path ) - "slip"; a jump performed without lifting the toes off the floor.
Jete farm (get a ferme ) - closed jump
Jete passe (zhete passe ) - passing jump.
Pas ballonne (pa balone ) - inflate, inflate; advancement at the time 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 on sur le cou-de-pied.
Pas ballotte (pa balotte ) - fluctuate; a movement in which the legs at the time of the jump are extended forward and backward, passing through the central point; the body leans back and forth, as if hesitating.
pas chasse (on the chassis ) - ground jump with advancement, during which one leg knocks out the other.
Pas ciseaux (pa jail ) - scissors; jump with throwing forward in turn legs extended in the air.
Pas de chat (pa de sha ) - cat's step; a sliding jump from foot to foot, when in the air one foot passes by the other.
Pas Emboite (pa amboate ) - from Ch. "to invest, insert, stack"; a jump during which there is a change of half-bent legs in the air.
Saute (sauté ) - jump in place in positions.
Sissonne (season ) - a type of jump, diverse in form and often used.
Sissonne fermee (season farm ) - closed jump.
Sissonne ouverte (season douvert ) - jump with leg opening.
Sissonne simple (season simple ) - a simple jump from two legs to one.
Sissonne tombee (season tombe ) - a jump with a fall.

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 movements depend on whether they accurately express the nature of the music, and on what meaning the director - the choreographer and the performer - the ballet dancer put in 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 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.

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.

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.

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.

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.

Choreographic terminology is a system of special names designed to denote exercises or concepts that are difficult to briefly explain or describe.

In the 17th century (1701), the Frenchman Raul Feyet created a system for recording the elements of classical dance. These terms are recognized by experts in the field of world choreography at the present time.

Turning to the special literature, students experienced difficulties when faced with unfamiliar terms, such as: "Eversion of the legs", and this is necessary and prerequisite techniques for performing elements of classical dance, "Corpus" in gymnastics is an unacceptable term, it is replaced by "Posture", "Balloon" - the ability to fix the pose in a jump, "Force" - the necessary preparatory movement of the hands to perform pirouettes, "Aplomb" - the stable position of the student, "Elevation" - the ability of an athlete to show the maximum phase of the flight in a jump, "Priporation" - preparatory exercises with an arm or leg before the start of the element, "Cross" - the implementation of elements in the following directions: forward, sideways, back, sideways or in the opposite direction .

Knowledge of technical terms speeds up the learning process. Choreographic terminology characterizes the movement in more detail than gymnastic. it international language dance, the ability to communicate with choreographers, understanding of special literature, the ability to briefly record training combinations, lessons, sketches, floor exercises, compositions.

Terminology is always built in accordance with the rules of word formation. The main advantage of the term is brevity. This makes it possible to reduce the time for explaining tasks, to maintain the density of the lesson.

But not always students manage to remember the choreographic terminology, so the idea arose of writing choreographic elements using gymnastic terminology, for a more accessible perception of the material being studied by students.

Experience shows that it is students who do not have choreographic training who have difficulty remembering the names of movements. As a rule, these are trampolines and jumpers on an acrobatic track. But athletes who have fulfilled the CMS and MS standards do not always have knowledge of the terms and the correct technique for performing even the simplest elements. Creating this kind of table a large number of illustrations to the elements make it possible to streamline the knowledge of students in the field of choreographic training, to be fluent in the terms of choreography and, if necessary, to use special literature on choreography.

POSITIONS OF HANDS AND LEGS IN CLASSICAL DANCE POSITIONS OF HANDS

preparatory

Hands down, rounded at the elbow and wrist joints, palm up. thumb inside palm

I - first

Hands forward, rounded at the elbow and wrist joints

II - second

Hands forward to the sides, rounded at the elbow and wrist joints, palms inward

III - third

Hands forward upward, rounded at the elbow and wrist joints, palms inward

HAND POSITION OPTIONS

Right hand in third position left hand in second position

Right hand forward, palm down, left hand back, palm down

Right hand in second position, left hand in preparatory position

Right hand in first position, left hand in preparatory position

Right hand in third, left hand in preparatory position

LEG POSITIONS

I - first

Closed toe stand out. Heels closed, toes out. Legs are in line with uniform distribution center of gravity throughout the foot

II - second

Wide leg stance with toes out. The legs are located from each other on the same line at a distance of one foot with a uniform distribution of the center of gravity between the feet

III - third

The right is attached to the middle of the left foot (socks out)

IV - fourth

Leg stand apart, right in front of the left (at a distance of one foot) socks outward (performed from both legs)

V - fifth

Closed stance right in front of the left, toes out (right heel is closed with the toe of the left, performed on both legs)

VI - sixth

Closed stance (heels and toes closed)

LIST OF EXERCISE ELEMENTS

Exercise - choreographic exercises in the established sequence at the support or in the middle.

TURNS 90°, 180°, 360°, 540°, 720°, 1080°.

METHODOLOGY OF TEACHING THE BASIC ELEMENTS OF THE EXERCISE

DEMI PLIE, GRANA PLIE (HALF Squat, Squat)

The purpose of the exercise is to develop the elasticity of the articular-ligamentous apparatus and "eversion" in the hip, knee and ankle joints. The exercise promotes the development of jumping ability by stretching the Achilles tendon.

Half squat(demi plie)

The semi-squat is performed in all positions. In this exercise, the heels do not come off the floor, the weight of the body is distributed evenly on both legs. Flexion and extension of the legs is performed smoothly, without stopping, "reverse", the knees are directed to the sides, along the line of the shoulders. Posture is straight.

squat(grand plie)

The squat is performed in all positions. First, a semi-squat is smoothly performed, then the heels gradually rise, and the knees bend as much as possible. When unbending, the heels first fall to the floor, then the knees straighten. When lifting the heels, do not rise high on the toes. The exception is the grand plie in the second position, where the heels do not come off the floor due to the wide position of the legs.

Flexion and extension should be performed smoothly, at the same pace. The pace is average. Before starting the exercise, the hand (if the movement is performed at the barre) or both hands (if the movement is performed in the middle) from the preparatory position are transferred from the preparatory position through the first position to the second. Then, with the beginning of leg bending, the arm (or both arms) descends from the second position to the preparatory one, and with the beginning of leg extension, the arm is again transferred through the first position to the second.

BANTMAN TANDYU (EXTENDED)

(position of the foot on the toe forward, to the side, back)

Flexion and extension of the foot by sliding along the floor to the position of the foot on the toe. It is performed from the first or fifth position in three directions: forward, sideways, back.

The purpose of the exercise is to teach how to properly stretch the leg in the right direction, to develop strength and elasticity of the lift (ankle joint) and a beautiful leg line.

Batman tandyu(right side to toe)

Batman tandyu forward(right forward on toe)

banman tandyu back(right back on toe)

Batman tandyu back and forth is performed along a line strictly perpendicular to the body, and to the side - exactly along the line of the shoulder. When performing the batman tandyu, the entire foot slides on the floor first, then the fingers and the rise are gradually extended. The center of gravity of the body is on the supporting leg, the toe does not come off the floor.

Make sure that the knees remain extremely extended and both legs remain “turned out”. At the moment of stretching the leg, there should not be an emphasis on the toe. When the leg returns to its original position, the foot gradually lowers to the floor. The heel drops to the floor only in the starting position.

When performed forward, the slide begins with the heel, and the foot returns with the toe to the IP. When performed backwards, the toe begins to slide, and the foot returns with the heel to the IP.

4/4 , the pace is slow. Later, the movement is performed from behind the beat. time signature -2/4, pace is average.

BATMAN TANDYU JETE (WAVING)

It develops muscle strength, the beauty of the line of the legs and the clarity of execution.

Small clear swings of the leg to the downward position and return to the starting position through the batman tandyu.

It is performed in the first or fifth position in three directions: forward - downward, to the side - downward, back - downward.

Batman tandyu jete aside

(swing right to the side - down)

Batman tandyu zhete forward

(swing right forward down)

Batman tandyu jeté back

(swing right back down)

Batman tandyu zhete is performed in the same way as batman tandyu, but when it reaches the position on the toe, the leg does not linger, but continues to move with a wave, where it is fixed at the height of the middle of the lower leg of the supporting leg (45 °). Both legs should be “turned out”, the muscles of the legs are tightened, and during the swing, the instep and toes of the working leg should be extremely stretched.

Returns to PI in a sliding motion through the position on the toe.

Musical size at the beginning of learning - 4/4 or 2/4, pace is slow. As the exercise is mastered, the leg swing is performed from the beat, the pace is medium.

GRAND BATMAN (WAVE RIGHT FORWARD, TO THE SIDE, BACK)

The leg is in this position both when performing large jette batmans (swings) fixed at 90 °, and when slowly raising the leg - relevelian.

Leg forward position

Leg position to the side

Leg back position

Large swings into the air and return to the starting position are performed in the first or fifth positions in three directions: forward, sideways, backward. From the starting position, the leg rises into the air with a wave, passing along the floor with a sliding motion, as in the batman tandyu jet, with the leg fixed at 90 ° (later on higher), and returns by sliding through the tandyu batman to the IP. Monitor the preservation of the “eversion” and tension of the knees, instep and toes of the working leg. Transfer the center of gravity of the body to the supporting leg. When performing a large swing forward and to the side, the body should remain strictly vertical. When performing a swing back, a slight tilt of the torso forward is allowed.

Musical size - 4/4. At the beginning of learning, the pace is slow. As you learn, the swing of the leg is performed due to the beat, the pace is medium, and the height of the swing increases in three directions: up and then up.

When performing relevant, the leg slowly rises forward, to the side or back and just as slowly lowers to its original position (through the batman tandyu). As you learn, the height also increases, as in the grand batman up and up.

RONDE DE JAMBES PARTERRERE (TOE CIRCLE ON THE FLOOR)

The main task of the exercise is the development and strengthening of the hip joint and the necessary “eversion” of the legs.

The movement is performed forward - an deor and backward - en de dan.

An deor(out)

From the first position, the sliding movement forward to the toe (batman tandyu), while maintaining the maximum "eversion" and tightness of the legs, is transferred by sliding to the second position to the right position to the side on the toe, then, while maintaining the "eversion" and tightness, it is carried back to the toe (batman tandyu) and slide back to the starting position

An dedan(inside)

When performing the exercise back (an dedan), the leg from the first position is glided back to the toe, then it is transferred by sliding to the side to the toe (to the second position), from the second position by sliding to the right forward position on the toe (batman tandyu) and returns to the original position by sliding position

The center of gravity of the body is maintained on the supporting leg. The working leg should pass all the main positions of the legs on the toe “inside out” at the same pace. Through the first position, the leg is carried out in a sliding motion with the obligatory lowering of the entire foot to the floor.

Time signature 3/4, 4/4, average tempo.

POR DE BRAS (EXERCISES FOR THE TRUNK AND ARMS)

A group of exercises that develops the flexibility of the body, the smoothness and softness of the hands and the coordination of movements.

Here one of the forms of por de bra is given, which consists in bending the torso forward and unbending it, tilting the torso back and returning to its original position.

The exercise is performed at the support and in the middle of the hall from the fifth position in the face position (en face) or in half a turn (croise, eface). Before starting the exercise, the hands are transferred from the preparatory position through the first to the second.

Fifth leg position, second arm position

Closed stance right in front of the left, toes outward, right heel closed with the toe of the left. Hands to the sides, rounded at the elbow and wrist joints, palm forward, thumb inward.

Fifth leg position, third arm position

Por de bra forward, hands in third position (torso forward, arms up, rounded at the elbow and wrist joints).

Fifth leg position, first arm position

Closed stance right in front of the left, toes outward, right heel closed with the toe of the left. Hands forward, rounded at the elbow and radio-metacarpal joints, palms inward.

Por de bra back, third hand position

Tilt the body back, arms up, rounded at the elbow and wrist joints, turn the head to the right (tilt the body back only with the shoulders back, without relaxing the muscles of the lumbar region).

Perform the exercise smoothly, observing the exact positions of the hands, accompanying their movement with a look and turn of the head. The musical size is 3/4, 4/4, the tempo is slow.

SUR LE COU AE PIE (FIXED POSITIONS OF BENT LEGS ON THE ANKLE)

The position of the leg on the ankle (sur le cou de pied) for performing batman frappe, batman fondue, petit batman, bottu. The right one, bent with a slightly unbent foot, is located above the ankle of the other leg, touching it with the outer part of the foot. The fingers are pulled back.

The sur le cou de pied position is performed in front and behind. In both cases, the knee of the bent leg should be “reversed” and directed exactly to the side along the line of the shoulder.

Sur le cou de pied

(basic position of the leg on the ankle in front)

Sur le cou de pied

(basic position of the leg on the ankle at the back)

Batman frappe consists of bending the working leg to the position of sur le cou de pied and extending it to the toe on initial stage training, and as they mastered in the downward position in the groups UTG-2,3, and in the groups UTG-4, SS, VSM - on the half-fingers with lowering into various postures in the position on the toe or downward.

First, the exercise is learned with leg extension to the side, then forward and later back facing the support at a slow pace. It is necessary to monitor the maximum "eversion" of the leg in the hip, knee and ankle joints.

When the flexion and extension of the leg in all three directions is mastered, then the flexion of the leg will be performed from the beat with an emphasis on the extension of the leg.

Musical size - 2/4, pace is average.

At first, only the position of sur le cu de pied in front and behind is learned. The leg from the fifth position is fixed over the ankle of the other leg and lowered again to the fifth position. This exercise is recommended to be learned facing the support. It is necessary to monitor the maximum "eversion" of the leg in the hip, knee and ankle joints, while maintaining correct posture and the center of gravity of the body on the supporting leg.

As the position of the leg on the ankle in front and behind is mastered, the change of position in front and behind is learned at a slow pace, and as it is mastered, at a fast pace. For learning the double frappe in the groups UTG-3, UTG-4 on half-fingers and in combination with demi-plié in poses.

Ankle leg position (sur le cou de pied) for performing batman fondue. This exercise consists in bending the leg into the position of sur le cou de pied with an extended “rise”, simultaneous semi-squat on the supporting leg and extension of the working leg to the toe or downward in one of three directions.

Sur le cou de pied

in front (conditional position of the leg on the ankle in front)

Sur le cou de pied

behind (conditional position of the leg on the ankle at the back)

First, only the position of sur le cou de pied is learned in front, then behind. After that, a semi-squat is learned on the supporting leg and extension of the working leg, first to the side, then forward and back facing the support

Musical size - 2/4, pace is slow. The movement is very smooth.

It is necessary to monitor the "eversion" of the legs and the distribution of the center of gravity of the body on the supporting leg. When the movement is well mastered, various hand positions can be introduced, especially when performing exercises in the middle of the hall. In the UTG-3 group, a double batman fondue is learned, and in the UTG-4, SS, VSM groups, the exercise is performed on half-fingers.

PASS (TRANSLATIONS - "REVERSE" POSITION OF THE BENT LEGS FORWARD, TO THE SIDE AND BACK, TOE AT THE KNEE).

DEVELOPE (LEG FLEXION AND EXTENSION AT 90° AND HIGHER)

The exercise develops "eversion" in the hip, knee and ankle joints and is a leading exercise for the development.

Passe to carry out development forward

Stand on the left, right bent at the knee toe in front.

Passe to execute development back

Stand on the left, right bent to the side, toe at the knee behind.

Passe to carry out development aside

Stand on the left, right bent to the side, toe at the knee to the side.

If the leg is unbent forward, then from the starting position it is transferred from the position of sur le cou de pied in front. If the leg unbends back, from the position of sur le cou de pied from behind.

Then the working leg slides up on the supporting leg (but without touching it) and opens in the required direction. If the leg unbends to the side, then, without slightly bringing the toe to the knee of the supporting leg, it must be transferred to inner part supporting leg and then straighten.

When performing, it is necessary to monitor the “eversion” of the thigh, the tightness of the lift and fingers.

When the pass is well mastered, the second part of the movement is introduced - leg extension in one of three directions forward, sideways, back. First, the development is learned to the side, then forward and later back. To the side and back, leg extension is learned facing the machine. The movement is smooth. It is necessary to monitor the "eversion" of the leg during its extension and return to its original position. Time signature -3/4, 4/4, slow tempo. When performed in the middle, various rotations of the torso and positions of the arms can be given. The passe position can also be used when moving the leg from one pose to another.

Development is performed from the fifth position in the UTG-3, UTG-4, SS, VSM groups in the upward position, and as it is mastered upward in three directions and on the half-fingers, into poses, in combination with elements of the chosen sport.

glide path(from glisser- slide) - a sliding jump with advancement behind the opening leg to the side, forward or backward. Serves as preparation for big jumps.

grand batman(from fr. grands battements) - leg throw to the maximum height

Grand plie(from fr. grand plie) - deep squatting in positions with heels off the floor.

Batman Tendue Jete(from fr. battements tendus jete) - ejection of the leg by 45 °.

Batman tendyu(from fr. battements tendus) - pull, pull.

en face(from fr. en face- straight) - the direct position of the body, head and legs.

degage(from fr. degage- extracted, released) - abduction of the leg to the desired height (according to the principle of battements tendus) and the subsequent transition to it with the transfer of the body

Demi plie relevé(from demi-plie- half-bent + releve- rise) - two movements that make up an inseparable whole; half-squat followed by lifting on half-fingers or fingers.

Jete(from fr. jet) - throw, throw. The term refers to the movements performed by throwing the leg.

Parterre(from fr. parter) - on the ground. A term indicating that a movement is performed on the floor

Plie(plier- fold, gently bend) - demi plié - a slight squat. Grandplier.

Port de bras(from fr. por de bra) - hand movements, involving rotation or tilt of the head and body

relevé(from fr. releve) - lifting on half-fingers, fingers.

Saute(from fr. saute- jumps) - a jump from two legs to two while maintaining a position in the air and landing. In elementary grades, it is learned at a slow pace, checking the positions and the moment of return after the jump. In high school, it is performed at a fast pace.

flick flack(from fr. flic-flac) - one leg is supporting, and the second is working. With the pads of the foot, the working leg with a sliding motion along the floor passes from the supporting leg and returns to it. The movement can be performed to the side, forward and backward.

Frape(from fr. frappe) - strike. Kicking the leg against the other and returning it to its original position

Fuete(from fr. fouetter- whip) - a swift biting rotation, in which the leg in the air is sharply thrown to the side and brought to the knee of the supporting leg with each turn

Shazhman de pied(from fr. changement de pied- change of legs) - a jump from V position to V with a change of legs in the air. Can be performed on a small jump, as well as in Grand changement de pied.

Eshape(fr. Echappe) - jump from two legs to two. It starts with demi plie V position in the legs, in the jump the legs are stretched tightly against each other, then in the air they open to the second position. Landing takes place in II or IV position in demi plie.

Ballonne. Jump on one leg or jump on the toes with advancement behind the working leg. The working leg, stretching during a jump or jump, returns to the position of the extended foot of the working leg on the ankle of the skating leg at the moment of semi-squatting (demiplie) on the skating leg.