Ballet Syllabus in its entirety_2015-2016

Transcription

2015/2016
TOOELE VALLEY ACADEMY OF DANCE BALLET SYLLABUS
The Benefits of Classical Ballet Instruction
Our academy teaches the theatrical dance of classical ballet. Preparatory ballet classes are divided by age
groups. Students 8 years of age and older are placed in classes according to levels to ensure each student is
learning what is appropriate for their individual abilities. All classes are designed to help dancers develop a
strong technical foundation. Students will learn accurate placing of positions, good posture, how to safely
move/jump, proper barre etiquette, and correct ballet terminology. Benefits of Classical Ballet Instruction
include an increased awareness of movement, expression, and musicality, including:
Confidence, Character & Self-expression ~ The portrayal of character, thoughts & emotions through movement.
Perseverance, Strength & Stamina~ Physically demanding & rewarding, ballet promotes the holistic strength of body & mind.
Kinesthetic Awareness ~ Development of fine & gross motor skills, inner cognizance, harmony of movement with others,
spatial reasoning, coordination, balance, flexibility, grace, posture & poise.
This syllabus is intended to be an aid to students and serves as the basis for class instruction and end of
year evaluations. In addition to technique, instructors will evaluate the following when determining
whether to advance a student to the next level of the curriculum: attendance*, attitude/behavior, and
observation/adherence to Academy rules, including the dress code.
What Class Expects of You and Proper Class Etiquette:
Studio etiquette may seem tedious at first, but is necessary to maintain an environment conducive to learning.
By observing the following standards, you are demonstrating the esteem in which you hold your instructor,
your fellow students and your art.
Be Considerate, Respectful and Polite
Be clean and neat
Stash your belongings in an orderly manner
Begin warming up upon arrival
Pay attention
Know where to stand
Do the combination as given, and do it in its entirety
Cultivate a Positive Attitude
Drink Politely
* Attendance & Punctuality: Please refer to your copy of the “Class Rules & Contract.”
A Comprehensive List of Ballet Terms with French Pronunciations is available online at
tvadance.org
1
DO NOT USE or REPRODUCE THIS PAGE or ANY PORTION of THIS SYLLABUS for PERSONAL
GAIN or FOR-PROFIT DANCE INSTRUCTION. CREATED & INTENDED for NON-PROFIT 501(c)3
Tooele Valley Academy of Dance INSTRUCTIONAL & EDUCATIONAL PURPOSES Only. © 2014 TVAD
2015/2016
Daily Class Structure
BARRE
Every class begins with exercises à la barre (plié, battement tendu, relevé, etc…). The foundation of classical
ballet training, such exercises are essential for developing correctly formed muscles, turnout, and flexibility.
Proper technique implemented at the barre translates to finer floor work.
CENTRE
The group of exercises similar to those à la barre, but performed on the floor without the support of the barre.
Centre combinations alternate feet and are invaluable for obtaining good balance, uprightness and control.
ADAGE
Meaning “at ease or leisure,” Adage is a series of slow and graceful movements performed with fluidity and
apparent ease. Adage exercises develop a sustaining power, sense of line, and the beautiful poise which
enables the dancer to perform with majesty and grace.
SAUTER
Also done center floor, sur place en cinq positions des pieds, sauter means “to jump.”
TOURNE
Common turns include pirouettes, chaînés, and piqué en tournant.
ENCHAÎNEMENT
Combinations of two or more steps arranged to fit a phrase of music. Generally Classified as:
Petite Allegro - brisk, lively steps of elevation aiming for lightness, smoothness, and ballon
Grand Allegro - glissades, grand jetés and other large, across the floor movements
RÉVÉRENCE:
Reverence is a series of bows, curtsies and ports de bras at the conclusion of class to pay respect to the
teacher and celebrate ballet's traditions of elegance and respect.
Vocabulary:
Because ballet was formalized in France, almost all of the terms we use in class are French. Our ballet
vocabulary list is now available on our website at tvadance.org
Performing
Ballet is a Performing Art. The Academy Director will give students & cast members detailed instructions prior to
a performance regarding performance etiquette, call times, costumes, make-up, etc... Please pay close attention
to the details of the instructions and adhere to the rules and guidelines.
Refer to the section of the syllabus corresponding with your age group/level.
The syllabus is designed to build upon itself.
“In today’s world of instant informality and less than perfect manners, ballet class provides an oasis of true
courtesy and dignity, a remnant of the royal decorum of the Baroque age.”
~ Eliza Gaynor Minden
2
2015/2016
Preparatory Ballet: Age 3-4
À la barre
1.
2.
3.
4.
5.
6.
7.
Arabesque—Lift one leg behind the body, foot pointed; both legs remain straight
Battement Dégagé—From 1st position, brush one leg to the side of the body slightly off the floor. Close 1st.
Élevé —1st position facing the barre, press up onto the balls of the feet with straight legs
Piquer la pointe—With a pointed foot and straight leg, execute little bounces/pricks
Plié —1st position facing the barre, bend the knees to make a diamond shape
Pointe Tendue—One hand on the barre, extend straight leg, foot pointed, w/ toes resting lightly on the floor
Sur le cou-de-pied—Wrap pointed foot around standing leg just above the ankle [heel forward, toes back]
Additional Barre work includes: 2nd & 3rd position demi-plié, Battement Tendu devant and a la second,
Quatrième Devant & Attitude Devant [a la demi-hauteur], Sous-sus
À la centre
1.
2.
3.
4.
5.
Bourrée—Tiny steps on demi-pointe
Chassé—Chassé around the room for 8 counts, arms extended
Jetés & Spatial Reasoning—Leap over or onto specified marks on the floor. Form lines & circles.
Port de bras, the Carriage of Arms—Preparatory, 1st, 2nd, 3rd, 4th, 5th, Arabesque
Temps Levé Sauté—1st position, demi-plié and execute 4 jumps
Additional Floor work includes: Corps penché en avant, Échappé sauté, Emboîté (sauté), Sauté arabesque,
Skipping with pointed toes
Balletic Mime
Act the role of a flower growing from the ground
Demonstrate the following gestures:
Yes
(nod of head w/ expression)
No
(nod of head w/ expression)
Me
(point/indicate to yourself)
You
(point finger outwards)
Sleep
(hands together resting under a cheek, arms rock and eyes close)
Musicality
Dance to music consisting of a variety of tempos and styles, interpreting and demonstrating the mood of the music
Révérence
Curtsey or Bow with a demi rond de jambe
Vocabulary
Arabesque, Bourrée, Chassé, Dégagé, Élevé, Jeté, Piquer, Plié, Sauté
Some people seem to think that good dancers are born, but all the good dancers I have known are taught or trained.
~ Fred Astaire
3
2015/2016
À la barre
1.
2.
3.
4.
5.
6.
7.
8.
Battement Tendue: working from 3rd position, extend straight, pointed leg en croix [front, side, back, side]
Cambré: 1st position, bend sideways from the waist, one hand holding the barre, the other above the head
Carriage of Arms: demonstrate port de bras prep
Développé: to attitude devant, a la demi-hauteur
Petit Battement: moving between sur le cou-de-pied devant and basic sur le cou-de-pied [wrapped]
Plié: 1st 2nd and 3rd positions, demi-plié without lifting the heels of the feet
Posture: properly hold the barre and demonstrate good posture
Soulevé; facing the barre, 1st position, plié, then rise up onto the balls of the feet with straight legs
Additional Barre work includes: Pirouette in sur le cou-de-pied, Relevé lent a la demi-hauteur, Rond de
jambe piqué; Sous-sus
À la centre
1.
2.
3.
4.
5.
Arabesque—While keeping both legs straight and the lifted leg behind the body, foot fully pointed
Jeté & Spatial Reasoning—Jeté (leap) over specified marks on the floor. Form circles & lines.
Positions des bras with positions de pieds — 1st, 2nd, 3rd, 4th , 5th and Arabesque
Temps Levé Sauté—Execute 3 jumps from plié in 2nd position & 3 jumps from plié in 4th position
Temps lié—In 2nd position
Additional Floor work includes: Bourrée en tournant, Emboîté (sauté)
Balletic Mime
Act the role of a butterfly emerging from its cocoon
Listen
(cup hand to ear)
Look
(one hand shading eyes)
Stop
(hold up hand with the palm facing out)
Think
(touch your temple with your index finger)
Musicality
Dance to music of a variety of tempos & styles, interpreting & demonstrating the mood of the music.
Copy a rhythm said, sung or clapped by instructor.
Révérence
Curtsey or Bow with a demi rond de jambe
Vocabulary
Cambré, En croix, Petit Battement, Pirouette, Rond de jambe, Soulevé, Sur le cou-de-pied, Temps lié
You can learn many things from children: how much patience you have, for instance.
~ Franklin P. Jones
4
2015/2016
À la barre
1.
2.
3.
4.
5.
6.
7.
8.
9.
Arabesque Fondu: arabesque, lengthening the line, supporting leg bent in plié [fondu]
Battement Soutenu à terre: pointe tendu [with supporting leg fondu] to sous-sus, en croix
Carriage of Arms: execute basic port de bras positions for exercises done en croix
Échappé relevé: facing the barre, from 1st position demi-plié spring to 2nd position sur les demi-pointes.
Élevé: facing the barre in 1st, 2nd & 4th positions, rise up onto the balls of the feet with straight legs
Frappé: Russian - from sur le cou-de-pied, open to the side in a low, extended position
Passé par terre: from pointe tendue devant pass the working leg through first to pointe tendue derrière
Plié: 1st, 2nd, 4th and 5th [or 3rd] positions, demi-plié with coordinating arm movements
Soulevé: facing the barre, 1st & 2nd positions, plié, then press up onto the balls of the feet with straight legs
Additional Barre work includes: Attitude a terre, Battu, Développé Arabesque Fondu, Petit Battement,
Relevé, Rond de jambe balancé, Sous-sus
À la centre
1.
2.
3.
4.
Bourrée—Glide on demi-pointe in various directions (very small steps taken with the feet close together)
Échappé sauté—From 1st to 2nd and 4th to 5th
Grand Battement—Stepping forward on each with a strong dégagé
Jeté & Spatial Reasoning—Jeté with brush [dégagé] without marks on the floor, looking at mirror or wall.
Continue working on formations: circles, half circles, lines, windows
5. Positions des bras— Preparatory, 1st, Demi 2nd, 2nd, Russian 2nd , 3rd, 4th, 4th en avant, 5th and Allongée
6. Stage Orientation—Learn how to move Stage Right, Stage Left, Upstage and Downstage
7. Walking—Walk on demi-pointe for 16 counts in a poised and regal manner
Additional Floor work includes: Assemblé soutenu de face, Sauté Arabesque
Balletic Mime
Remain statuesque in various balletic poses
Crazy
(circle around you ear with your finger)
Please
(clasp hands & open forward and out)
Happy
(clap hands with little jumps)
Sad
(trace a tears down your face with finger)
Musicality
Révérence
Curtsey or Bow with a demi rond de jambe with basic port de bras
Vocabulary
Assemblé Soutenu, Attitude, Balancé, Battu, Développé, Échappé, Fondu, Frappé, Relevé, Sous-sus
One can never consent to creep when one feels the impulse to soar.
Helen Keller (American Author, the first deaf-blind person to graduate from college 1880-1968)
5
2015/2016
À la barre
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
Battement Fondu: en croix, arm remaining a la second
Battement Frappé: French method [pointe tendu]
Battement Soutenu at 45˚: dégagé [with supporting leg fondu], sous-sus. Repeat en croix.
Battement Tendue: from 5th position, en croix, incorporating port de bras
Dégagé Piqué: en croix, arm remaining a la second
Grand plié: in 1st position [heels lift as body lowers] and in 2nd position [heels remain on the floor]
Petit Battement: from sur le cou-de-pied devant to sur le cou-de-pied derrière
Piqué to various positions: e.g. sur le cou-de-pied
Relevé: from 5th, relevé onto one leg, lifting the other sur le cou-de-pied
Relevé passé: from 5th to 5th, en avant and en arrière, passing through high conditional sur le cou-de-pied
Rond de jambe a terre: en dehors and en dedans, respectively
Sur le cou-de-pied: devant and derrière
Temps lié: in 4th position [quatrième]
Additional Barre work: Dégagé en cloche, Demi-Détourné, Développé [45], Grand rond de jambe en l’air a
la demi-hauteur, Heel stretches, Parallel Position (6th position) relevé, Pas de cheval,
À la centre
1.
2.
3.
4.
5.
6.
7.
8.
Chassé—chassé de côté, en avant & en arrière
Changement—From 3rd to 3rd position
Échappé relevé—From 5th to 2nd position
Emboîté—sur les demi-pointes
Pirouette—begin with pirouette preparations
Piqué tour—single tour en dedans with proper port de bras.
Port de bras—flowing from one into the other
Spotting—across the floor
Additional Floor work: Pas de chat, Petit Jeté en avant, Splits
Révérence
Curtsey or Bow with a demi rond de jambe and coordinating port de bras
Balletic Mime
See Appendix A
Musicality
Vocabulary
Détourné, Fouetté, Pas de cheval
Dancers are the athletes of God.
~ Albert Einstein
6
2015/2016
À la barre
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
Arabesque vs. Attitude: lift leg straight behind the body vs. leg half-bent (but in both, foot remains pointed)
Battement Dégagé: en croix, incorporating port de bras
Battement Fondu: en croix, incorporating port de bras
Battement Frappé: Russian & Bournonville methods
Battement Soutenu: à terre with pas de cheval (en croix)
Battement Tendu Fondu: battement tendu with demi-plié in the open position, en croix
Cambré en arrière: tilt backwards, one hand holding the barre, the other above the head
Élevé, Relevé & Soulevé: in all positions, with proper placement
Fouetté-Relevé: from pointe tendu derrière through quatrième devant to arabesque by means of relevé
Fouetté-Sauté: from quatrième devant to arabesque
Grand plié: in 4th and 5th position
Passer la jambe: from pointe tendu, passer la jambe through to the opposite open position or à la second
Port de bras: demonstrate commonly used positions of the arm à la barre with smooth transitions
Posture: properly adjust the arm resting on the barre to accommodate movements [e.g. arabesque]
Stretching at the barre: properly stretching extensions with good placement at the barre
Sur le cou-de-pied in all positions, held with supporting leg sur la demi-pointe
Additional Barre work: Développé Passé, Grand Battement, Petit Battement, Pirouette, Retiré
À la centre
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
Arabesque allongée a terre—arms held in 3rd, 4th and 5th
Bourrée suivi de côté—arms held in 3rd position, head looking in the direction of the front foot [high arm]
Changement--From 5th to 5th position arms held in preparatory position
Chassé—chassé passé in a series en diagonale
Grand Jeté—from a chassé-step preparation. Legs straightening, toes pointing, Arms controlled.
Pas de basque glissé—aka pas de basque par terre
Pas Marché—classical ballet walk in a poised and regal manner
Relevé lent—incorporated into adage exercises
Tour en l’air—in half turns
Tour de basque—in a series of 1 or 2, spotting
Additional Floor work: Échappé passé, Glissade, Pas de basque sauté, Pas de bourrée, Pas de chat,
Relevé passé, Sissonne Simple, Tour de promenade en arabesque, Spatial reasoning & Formations, Splits
Révérence
Curtsey or Bow with a demi rond de jambe and coordinating port de bras
Balletic Mime See Appendix A
Musicality
Vocabulary
Allongé, Basque, Croisé, Effacé, En l’air, Glissade, Pas de chat, Pas Marché, Quatrième, Relevé lent, Retiré, Terre,
Tour de Promenade
To everything there is a season... a time to dance...
~ Ecclesiastes 3:1-8
7
2015/2016
Men's Class: Age 8+
FOR ADDITIONAL STRENGTHENING PURPOSES. BOYS/MEN ARE ENCOURAGED TO ENROLL IN
ADDITIONAL CLASSES/LEVELS.
À la barre
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
Achieving/understanding proper turn out and feet/leg positions, including the basic 6 positions (inc. parallel)
Learning how to effectively plié with elasticity
Proper pointing of the feet using the entire leg
Battement Tendu & Piquer la pointe
Strengthening of the body’s core and holding the body with aplomb
Battement Dégagé with a determined brushing action
How to place and hold the arms and hands in all the basic port de bras. Proper placement of the head.
Élevé, Relevé & Soulevé: in all positions, with proper placement
Sur le cou-de-pied, Battement Battu
Rond de jambe a terre and en l’air
Battement Fondu & Battement Frappé
Proper positioning in corps penché en avant & cambré de côté & en arrière
Développé & Effective Stretching Techniques
Grand Battement
Retiré & Pirouettes
À la centre
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
Arabesque allongée a terre, Arabesque sauté & Arabesque voyagèe
Assemblé & Assemblé soutenu (with sous-sus/tour)
Tour sautillée in a la seconde finished with pirouette
Échappé sauté
Changement, Royale & Entrechat
Italian Changement
Chassé & Chassé en tournant
Glissade
Cabriole
Grand Jeté—across the floor, arms kept still and strong, legs straightening with pointed toes
Pas Marché—classical ballet walk in a poised and regal manner
Tour en l’air landing beginning from 5th & landing on one or two feet or into a kneeling position
Saut de basque
Tour en retiré into kneeling position
Sissonne: Fermée, Ouverte & Sissonne simple into pas de bourrée
Jeté entrelacé
Pirouettes en dehors & en dedans from 5th and 4th
Pique tours & Tour de basque
Coupé jeté en tournant en ménage
Fouetté en tournant & Ballonné dessous/dessus
21. Men's Variations & Partnering (Pas De Deux) Techniques & Choreography
Success is not the result of spontaneous combustion. You must set yourself on fire.
~ Fred Sero (Canadian professional ice hockey player and coach. 1925 – 1990)
8
2015/2016
Ballet Level I
À la barre
1. Arabesque: lift leg directly behind the body à la demi-hauteur (45˚), core strong, legs straight, foot pointed
2. Attitude: devant and effacé derriere à la demi-hauteur [45˚]
3. Battement Battu: move the leg outwards from sur le cou-de-pied to à la second en l’air à la demi-hauteur
4. Battement Dégagé: en croix, 2-4 inches off the ground
5. Battement Fondu Simple: bend and straighten the legs simultaneously, hold arm in 2nd position throughout
6. Battement Frappé—Bournonville: Flex working foot on the ankle of the supporting foot. Thrust working leg
outwards. Strike the floor with the ball of the working foot1/3 of the way out. Hold the leg in the “dégagé” position as
long as possible, foot strongly pointed. Return the working leg to its initial, flexed position to repeat.
7. Battement soutenu à terre—basic & en tournant en dedans: half turn from pointe tendue to pointe tendue
8. Battement Tendu: with expression, coordinating port de bras
9. Cambré & Core penché en avant: knowing the difference
10. Demi-détourné: From 5th position, relevé onto the balls of the feet and turning toward the back foot, (bringing the
back foot in the front). Lower the heels. A demi-détourné is often used at the end of a combination to switch sides.
11. Détiré: [détiré pied dans la main à la barre] AKA HEEL STRETCH: Grab inside of foot & stretch leg to its fullest.
12. Développé: From pointe tendu, draw the leg into high conditional sur le cou-de-pied and extend to an open position.
Lower the leg with control. Keep the hips level and square to the direction in which you are facing.
13. Échappé relevé: facing the barre, from 3rd or 5th to 2nd position
14. Élevé: in all positions, rise up onto the balls of the feet, legs remain straight throughout
15. Grand Battement: Lift and lower a fully extended working leg from the hip. Keep both legs straight. Raise the
working leg as high as possible in a controlled lift, not a throwing of the leg into the air. Lower the leg with control
16. Pas de Cheval: From pointe tendue, draw the foot inward along the floor into the supporting leg and without
pausing move it up to cou-de-pied and développé back out to pointe tendue.
17. Passé par terre: From pointe tendue devant to derrière à terre through first position
18. Pirouette in sur le cou-de-pied en dedans and en dehors
19. Piquer la pointe: with strong ankle, light movement.
20. Piqué en avant: to various positions, e.g. arabesque or sous-sus
21. Plié—Demi & Grand: with coordinating head and arm movement, keep shoulders parallel to the floor.
22. Port de bras: demonstrate commonly used positions of the arm à la barre with smooth transitions
23. Positions of the Head: [à la barre] as well as “gaze” and facial expression
24. Posture: properly hold oneself at the barre, fingers lightly resting upon the barre [thumb horizontal]
25. Relevé: from 5th position spring onto one leg, lifting the other to high conditional sur le cou-de-pied
26. Relevé lent: à la demi-hauteur en croix
27. Rond de jambe à terre: en dehors [outwards] and en dedans [inwards], passing through 1st position with precision
on the beat
28. Soulevé: All positions. From demi-plié smoothly straighten the legs. Without stopping rise onto the balls of the feet.
29. Sous-sus: holding with aplomb for 4 counts
30. Sur le cou-de-pied: in all forms
31. Temps lié: in 4th and 2nd positions with coordinating port de bras
32. Turnout: Demonstrate an understanding of proper turnout and weight distribution.
À la Centre
1. Arabesque allongée à terre: extended leg à terre
2. Arabesque sauté: learning how to properly transfer weight and keep legs straight and bent at appropriate times
3. Assemblé soutenu de face: This is not a turn but an assembling of the legs facing the mirror
9
2015/2016
4. Attitude à terre: Working leg bent slightly behind the body. The outside edge of the working leg’s big toe rests lightly
on the floor. The only space between the working and supporting leg is from the knee down.
5. Balletic Walk: Standard walk not rising demi-pointe
6. Bourrée Suivi: Holding a sous-sus position
7. Bras: [arms] preparatory, 1st, 2nd, demi-2 nd [palms up]; demi-2 nd [palms down], Russian 2nd, 3rd, 4th, 4th en avant,
5th en haut, 5 th en bas [Bournonville], Arabesque & Allongée
8. Changement: short for changement de pied [change of feet]. A jump from both feet to both feet. Feet change
position midair.
9. Chassé: [pas chassé] like a gallop
10. Chassé à terre: the feet remain in contact with the ground throughout. From 5th position, demi-plié & glide into an
open position with equal weight distribution until arriving [in 2nd or 4th], at which point straighten both legs & shift the
weight over the supporting leg with the other going to pointe tendue. The execution of this step lends itself to a study
of the movement and orientation of the body center floor. Level I will execute and study the following [4th position]:
Croisé en avant, Croisé en arrière
11. Échappé sauté: from 5th to 2nd
12. Emboîté par terre: this is from pointe tendue to pointe tendue
13. Pas de bourrée dessous: remember back, side, front
14. Pas de chat: step of the cat
15. Pas marché: [the classical ballet walk] - Transfer the weight from one leg to the other by a fondu on the supporting
leg, the foot taking the step being pointed before being placed on the floor.
16. Petit jeté en avant: like grand jeté with a brush and leap.
17. Pirouette: Practicing the preparation from 5th to 4th to retire and balance. Then practicing with the turn en dehors.
18. Piqué tours en dedans: regular piqué tours executed across the floor, spotting.
19. Promenade: [walk] with a partner - Both lift R arm, touching palm to palm walking clockwise [see pas marché]
20. Pull-up & Aplomb: How to properly stand & move center floor
21. Passé: en avant and en arrière without relevé
22. Sissonne simple: Land on one foot en fondu, the other raised sur le cou-de-pied either devant or derrière.
23. Sous-sus en avant: Dégagé the working leg en avant with the supporting leg fondu and piqué forward to a tight 5th
sur les demi-pointes [sous-sus]. Arms through 1st position en haut (to 5th position).
24. Spotting: Learning how to properly spot for turns
25. Temps Levé Sauté: a jump from both feet ending in the same position; the feet do not cross or beat. Execute in
each of the following positions 1st, 2nd, 4th and either 3rd or 5th. Initiate and conclude each jump with demi-plié. The
tips of the toes are the last to leave the ground and the 1st to reach the ground.
26. Temps Lié: in 4th and 2nd positions with coordinating port de bras
27. Tour de promenade: with the leg on the ground pointe tendu derrière
Exam Review & Trivia
-Know the fixed points of the stage and studio: Points 1-8; Stage Right, Stage Left, Upstage, Downstage
-What are male ballet dancers known as? Danseurs
-What does “ballerina” mean? From the Italian ballare, which means to dance. A title given to female ballet dancers.
Level I Vocabulary
Arabesque, Attitude, Battement, Battu, Bourrée, Cambré, Changement, Chassé, Corps, Croisé, en Croix, Dégagé, Détiré
Détourné, Développé, Échappé, Élevé, en Haut, Fondu, Frappé, Jeté, Pas de chat, Pas de cheval, Pas marché, Passé,
Petit Battement, Piqué, Pirouette, Plié, Port de bras, Relevé, Rond de jambe, Sauté, Simple, Sissonne, Soulevé, Sous-sus,
Soutenu, Sur le cou-de-pied, Temps levé, Temps lié, Tendu, Tour
Until you’re ready to look foolish, you’ll never have the possibility of being great.
CHER
10
2015/2016
Ballet Level II
In addition to the following, Level II will continue to practice and implement all the techniques, poses and
movements introduced in Level I.
À la barre
1. Battement Frappé—French/Russian with wrapped foot
2. Battement Tendu: with expression, coordinating head and port de bras
3. Battement Tendu Fondu: Also dégagé with standing leg bent.
4. Cambré & Core penché en avant: with proper alignment
5. Dégagé piqué: with strong ankle, light movement.
6. Développé passé: en avant & en arrière
7. Échappé relevé: 5th to 2nd
8. Grand Battement: careful to raise and lower through and to pointe tendu
9. Heel Stretch: with extension holds
10. Pas de cheval: en croix with port de bras
11. Petit Battement: from basic sur le cou-de-pied to devant/derrière
12. Piqué Arabesque: strengthening back muscles
13. Pique de côté: along the barre
14. Pirouette: learning the preparation at the barre
15. Rond de jambe balancé: coordinating upper body movement throughout
16. Retiré: with balance on flat before learning on relevé
17. Temps lie: with en tournant
À la Centre
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
21.
22.
23.
Arabesque allongée à terre: extended leg pointe tendu
Arabesque sauté: with retiré into arabesque sauté and various combinations across the floor
Assemblé soutenu de face: to sous-sus
Bras: [arms] demi-second between palms down and palms up. Deux bras
Chassé: [pas chassé] with optional pas de cheval preparation
Chassé à terre. [4th position]: Effacé en avant, Effacé en arrière, En face en avant & En face en arrière
Coupé: Executed from pointe tendue to pointe tendu
Échappé sauté: from 5th to 2nd and from 5th to 4th
Emboîté & Déboîté par terre: this is from pointe tendue to pointe tendue
Glissade: de côté
Grand jeté: en avant across the floor
Pas de chat: with arms in 4th en avant
Pas de valse (polonaise): without turn
Pirouette: From 5th position to 4th position, en dehors with turn finishing with aplomb
Relevé lent: with control in the adage learning orientations of the body while striving to hold proper body alignment
Relevé passé: en arrière
Révérence: with emphasis on attitude á terre
Sissonne simple: Finished with pas de bourrée
Soubresaut: in preparation for tour en l'air
Sous-sus de côté: Dégagé the working leg to the side with the supporting leg fondu. Piqué to sous-sus.
Tour de basque: executed across the floor, spotting.
Tour de promenade: with the leg barely off the ground.
Tour en l’air: half tours
Level II Vocabulary
Balancé, Coupé, Déboîté, Effacé, en Dehors, en Face, Relevé lent, Révérence, Quatrième, Terre,
11
2015/2016
Ballet Level III
À la barre
1. Arabesque: Lift leg directly behind the body à la hauteur. Lengthen working side of arabesque slightly forward from
the shoulder to the hip. Press back arm slightly in back of the shoulder. Keep shoulders parallel to the floor!!
2. Assemblé soutenu à terre en tournant: en dehors with half turn. [Feet exchange places].
3. Battement arrondi [battement rounded] - en dehors & en dedans. Keep both legs straight throughout.
4. Battement dégagé balançoire: passé à terre en avant and en arrière lifting the leg slightly off the floor (25˚) with a
continuous movement through première position [1st]. Body should slightly incline back and forth.
5. Battement frappé—Cecchetti: with the working foot in a demi-pointe position [ball of foot has contact with the floor]
strike to an open position several inches above the floor.
6. Battement tendu: flex ankle in open position & replace pointe tendu; w/ turn-in/turn-out rotation in open position
7. Battement tendu relevé [battement stretched and raised]: with or without plié in the open position depending upon
what is request by instructor. Keep hips level, transfer weight to both feet.
8. Cambré en avant: with a full lunge [arabesque allongée à terre]
9. Demi-fouetté relevé en dehors hold working leg à la seconde at 45˚ or higher. With supporting leg executing a
relevé rotate into arabesque [facing the barre]. Also execute from quatrième devant to à la seconde.
10. Demi-grand rond de jambe à terre: Same as demi rond de jambe but executed with the supporting leg in fondu.
11. Développé relevé sur la demi-pointe: to all open positions passing through sur le cou-de-pied
12. Directions of the body: devant en face, croisé devant, effacé devant, à la second, écarté devant, écarté derrière,
derriere en face, croisé derrière, effacé derriere. Also: croisé devant & croisé derrière with inside leg
13. Échappé relevé: 5th to 4th
14. Fouetté à terre: En dehors - devant to derriere & extend. En dedans - derriere to devant & extend
15. Pas de bourrée dessous: [back, side, front] execute with dégagé or sur le cou-de-pied, supporting leg fondu.
16. Pas de cheval-piqué: from 5th with appropriate port de bras and head movement
17. Petit battement: supporting foot à terre - Move the lower part of the working leg out and in, changing between sur le
cou-de-pied positions: devant & derrière.
18. Rond de jambe piqué: with strong ankle, light movement.
19. Relevé: in all positions, slight spring
20. Relevé passé: from 5th to 5th, en avant & en arrière, passing through retiré
21. Tombé: Fall forward or backward on one foot in a demi-plié, transferring the weight of the body
Additional Barre Work
Battement fondu développé,
Battement frappé double
Battement soutenu à terre with pas de cheval
Développé en croix
Grand port de bras with cambré in arabesque allongée á terre
Relevé retiré with balance
Rond de jambe en l’air
Stretches at the barre
Using the directions of the body à la barre
À la centre
1. Arabesque - Demonstrate our School’s 5 basic arabesque positions as follows:
1st arabesque-[Fr. ouverte] downstage leg and arm extend back; upstage arm extends front
2nd arabesque-downstage leg and upstage arm extend back; downstage arm extends front
3rd arabesque-(ouverte) downstage leg extended in back with arms à la lyre [deux bras]
4th arabesque-body croisé, upstage leg extended back, downstage leg fondu and arms as in 1st arabesque.
5th arabesque-[Fr. croisé] upstage leg extended back with the arms as in 2nd arabesque.
2. Arabesque allongée a terre: with grand port de bras. Remember to move en dehors, toward the extended leg.
12
2015/2016
3. Assemblé: [a jump from one foot to both feet] - Both legs must come together before landing.
Dessus [over]-begin R foot back, brush to the side and close right foot front
4. Assemblé soutenu en tournant: 45˚ en dehors & en dedans with full turns. Feet exchange places.
5. Balletic Walk: Walking on high demi-pointe.
6. Attitudes: Demonstrate the following attitudes à la demi-hauteur: effacé, épaulé, croisé derrière & croisé devant
7. Balletic Run: Standard run with demi-plié
8. Balancé de côté: reaching far with the first leg and falling tombé (down) then back with the second (up) then falling
onto the front leg (down)
9. Chaînés: from piqué preparation
10. Changement de pieds: en tournant, executing quarter turns
11. Chassé à terre: remember equal weight distribution throughout the glide, until arriving at the open position at which
point the weight will shift over the supporting leg. Level III will execute and study the following:
À la second en face, À la second écarté devant, À la second écarté derrière
12. Chassé en tournant: arms from 4th en avant to 4th en haut.
13. Chassé passé a terre: Chassé passé à terre en avant & Chassé passé à terre en arrière. Think of ice-skating
14. Demi-contretemps: performed on the upbeat of the music
15. Élevé: in 1st, 2nd, 4th & 5th positions
16. Emboîté: sur les demi-pointes. Move from 5th to 5th with a slight swishing action. Keep both legs straight.
17. Emboîté: en avant, to sur le cou-de-pied devant this step will lead to a turning movement learned in Level IV.
18. Emboîté: sauté to at least 45 degrees, in attitude devant, alternating legs and moving en diagonale
19. Entrechat: trois - devant & derriere
20. Fouetté sauté: from quatrième devant to arabesque by means of sauté
21. Glissade changé: alternating glissade dessous - glissade dessus [de côté], use épaulement when in 5th
22. Grand Soubresaut: knees are bent as in a grand plié in 5th position in the air
23. Jeté Entrelacé :also known as tour jeté
24. Pas de basque:[ par terre aka glissé] regular en avant
25. Pas de chat —Cecchetti. Forms a diamond shape in the air. For petit, raise to sur le cou-de-pied instead of retiré.
26. Pas de polka (chassé -passé): en avant & en arrière- For en avant: Cinquième R foot devant. Temp levé (hop) on L
foot while executing a petit développé à la quatrième devant with the R. Step en avant on the R foot, bringing the L
foot forward passé. Continue to alternate.
27. Pas Failli: preceded by arabesque.
28. Petit jeté dessus: landing fondu in sur le cou-de-pied derrière
29. Piqué fondu: [aka pas marché] with fluid port de bras movements
30. Piqué tour: in a low arabesque, en dedans
31. Pirouette: from 4th position with prep en dehors and en dedans
32. Pique tours: en dedans & en dehors
33. Royale: [changement battu]
34. Rond de jambe à terre: en tournant en dehors & en dedans
35. Sauté Arabesque : with a flutter step between each.
36. Sissonne ouverte: petit sissonne ouverte de côté, en avant & en arrière by means of développé or battement [45˚]
37. Sissonne passé: devant
38. Sissonne tombé: en avant in effacé, finished with pas de bourrée
39. Sous-sus en arrière: Dégagé the working leg to the back with the supporting leg fondu and piqué back bringing the
supporting leg to the front in a tight 5th sur les demi-pointes [sous-sus].
40. Temps levé: on one leg, with the other held at 45˚ in attitude
41. Temps lié en tournant:through 4th position
42. Tombé: à la demi-hauteur en avant & en arrière
43. Tour de promenade: in various positions
44. Tour en l'air: full turn
13
2015/2016
Additional Floor Work:
Bourrée suivi
Détourné à terre
Échappé relevé
Glissade devant & derrière
Pas de basque sauté
Pas de Valse en tournant
Running Splits
Saut de basque
Tour sequences across the floor
Turnout: the rotation of the legs outwards from the hip joints allows greater freedom of movement and is necessary for
students of ballet to continue their progression. By Level III students should be working, within their personal best, to
maximize & hold all their movements with proper turnout. Strengthening and engaging lower abdominal and lower
back muscles, the gluteal muscles and the thighs is a most important step toward achieving desired turnout in
classical ballet technique.
What is another name for “quatrième derrière?” Arabesque
-Fill in the blank: “_______ is on one leg what a plié is on two.” Saint-Léon [Fondu]
Royale: named for King Louis IV. Rumor has it he found the entrechat quart too difficult, hence the royale.
Tutu Trivia: It can cost up to $5,000 to make just one professional tutu.
Do professional dancers get to keep their costumes? No, the costumes and sets are property of the company.
Dancers have costumes that are made for them specifically, but if they leave the company, the costume stays and is
tailored to fit another dancer.
Level III Vocabulary
Allongée, Arrondi, Assemblé, en Arrière, en Avant, Balançoire, Basque, Changé, Chat, Cinquième, de Côté, en Dedans,
Derrière, Dessous, Dessus, Devant, Écarté, Emboîté, En l’air, Entrechat, Entrelacé, de Face/en Face, Fouetté, Glissade,
Ouverte, Polka, Polonaise, Promenade, Retiré, Royale, Soubresaut, Suivi, Tombé, Tournant, Valse
Freedom to a dancer means discipline. That is what technique is for – liberation.
14
2015/2016
Ballet Level IV
À la barre
1. Arabesque: Développé arabesque fondu
2. Assemblé soutenu en tournant—Russian Method (no rond de jambe): Bring working leg in from tendue à la
3.
4.
5.
6.
7.
8.
9.
10.
seconde. Execute en dedans and en dehors.
Ballotté: Ballotté par terre. Execute dessous-dessus pointe tendue to pointe tendue.
Battement arrondi [battement rounded] - à la hauteur en dehors & en dedans. The highest point of the battement
is reached when the leg passes through seconde position. Keep both legs straight throughout.
Battement dégagé balançoire: with plié through 1st.
Battement dégagé: en croix, with plié in the open position. Execute petite and grand [45˚]
Battement fondue: to 90˚ by means of passé développé or directly from sur le cou-de-pied through attitude.
Battement frappé—Balanchine: strike from sur le cou-de-pied position
Battement Serré- Same as Battement Battu with supporting leg en relevé & working leg executing small, quick
movements from the knee down as if the leg is having a "spasm" while holding sur le cou-de-pied
Battement tendu en tournant: en dehors & en dedans with varying amount of turn. Begin the turn in 5th, pivoting
on the ball of the foot and open to pointe tendu with conclusion of the turn
Battement tendu pour batterie [battement stretched for beaten steps]
Coupé en demi-pointe: dessous & dessus
Dégagé en cloche: remains à plat, body held upright throughout
Demi-grand rond de jambe en l’air: en dehors & en dedans
Développé passé: pass working leg back to front or front to back and extend. Supporting leg remains à plat.
Enveloppé: the reverse of développé
11.
12.
13.
14.
15.
16.
17. Extensions: barre stretches aiming for flexibility & partner stretches aiming for strength to hold extensions
18. Grand battement passé développé: from quatrième to quatrième
19. Grand échappé: from 5th to à la seconde; from 5th to quatrième
20. Grand rond de jambe à terre: With fluid port de bras & slight cambré/corps penché
21. Grand relevé sur la demi-pointe: by means of battement or développé to all open positions
22. Fouetté a terre en tournant: en dehors & en dedans:
23. Fouetté relevé: from quatrième devant to arabesque
24. Passé par terre: à la demi-hauteur with rise sur la demi-pointe
25. Passer la jambe: Bring the pointed foot of the extended leg in to pass the side of the supporting knee and open
développé in the opposite direction or to à la seconde en l’air.
26. Petite battement: supporting foot sur la demi-pointe
27. Petite temps relevé en dehors & en dedans: Fondu supporting leg and développé working leg to an open position
[either quatrième devant or derriere]. Without pausing, the working leg moves à la seconde à la demi-hauteur while
the supporting leg rises demi-pointe.
28. Pirouettes en retiré: en dehors & en dedans: into open positions
29. Piqué tours en retiré: en dehors & en dedans
30. Rond de jambe soulevé: executed à la demi-hauteur
Additional Barre Work:
Battement développé tombé
Battement fondu développé relevé
Double rond de jambe en l’air
Grand battement fini piqué
Grand battement raccourci
Penché en arabesque
15
2015/2016
À la centre
1. Assemblé: [a jump from one foot to both feet] - Both legs must come together before landing. jeté
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
21.
22.
23.
24.
25.
26.
27.
28.
29.
30.
31.
32.
Devant-R foot front, brush to the side, close to the front
En avant-R foot front, brush to the front, close to the front
Assemble soutenu en tournant: this time with a jump finishing with sous-sus and a détourné
Ballonné: petit ballonné simple à la demi-hauteur
Battement tendu with fouetté: en dedans and en dehors with half turns. En dedans begins tendu devant. En
dehors begins tendu derrière.
Chaînés: from tombé preparation
Coupé piqué ballonné: Repeat on alternate feet
Déboîté: sur les demi-pointes. Move from 5th to 5th traveling slightly backwards.
Demi-contretemps assemblé élancé: executed in a series. [feels similar to failli, assemblé]
Demi-fouetté sauté : from a la second to arabesque, by means of sauté
Échappé passé: with épaulement throughout
Échappé sauté: landing on one leg fondu with the other sur le cou-de-pied
Échappé battu: from 5th to 2nd position with the return to 5th including a beating of the legs in the air either landing
5th or to one leg sur le cou-de-pied
Emboîté sauté en tournant: by half turns
Emboîté: sur les demi-pointes to 45˚
Full contretemps: all of the movement is executed on the upbeat with the exception of the final tombé
Glissade : en avant & en arrière. In croisé with port de bras moving from 3rd to 2nd allongée, to the opposite 3rd
Grand jeté en avant: proceed with a preparatory movement such as glissade or pas couru.
Grand port de bras: the arms will move through 3rd position, not 5th en haut
Pas de basque glissé into attitude derrière: [by means of a piqué]
Pas de bourrée: détourné & enveloppé (en tournant) Can be done with lift of leg to sur le cou-de-pied/ retire in which
case it is a pas de bourrée pique détourné/enveloppé. For enveloppé brush R and step front, then turn Left finish RB.
Pas de bourrée bateau: [boat-like] executed in effacé
Pas de bourrée de côté from échappé sauté: Bournonville school
Pas de chat: Russian version, en avant through 4th position, feet flick back, very similar to pas de Papillion, but
petite. Arms lift deux bras.
Jeté entrelacé: with preparatory chassé
Pirouette en retiré en dedans: from arabesque allongée à terre either en face, effacé, croisé or upstage en
diagonale [in which case make sure to spot downstage still]
Pirouette en retiré en dehors: from 4th position plié
Piqué tour en dedans: using proper arms
Piqué tour en dehors: execute with dégagé
Port de bras variation: Romantic 5th en haut
Positions De Le Corps: [positions of the body]
Croisé devant - [crossed in front]; Croisé derrière French/Russian method - [crossed in back]
Croisé derrière Cecchetti method - arm closest to the audience is en haut
Écarté devant - [separated, thrown wide apart front]; Écarté derrière - [separated, thrown wide apart back]
Effacé devant - [shaded in front]; Effacé derrière - [shaded in back]
En face: À la seconde - [to 2nd]; À la quatrième devant - [to the 4th front]; À la quatrième derrière - [to the 4th back]
Épaulé devant - [shouldered front]; Épaulé derrière -[shouldered back]
~These positions are in themselves a study in line and perspective
Préparation & Finish: with aplomb
Sissonne changé: en avant and en arrière
16
2015/2016
33.
34.
35.
36.
37.
Sissonne fermée: en avant, en arrière, dessous and dessus
Sissonne passé: derrière
Soubresaut: with cambré en arrière
Soulevé: in 1st, 2nd, 4th & 5th positions
Temps levé chassé: from 5th position croisé, plié and jump a quarter turn landing 5th position effacé. Glide forward
into a low arabesque and finish with a pas de bourrée dessous.
38. Tour de promenade: en arabesque, full rotation [about 8 shifts of the heel] or attitude derrière
Balancé en avant & en arrière
Entrechat quarte
Italian changement
Pas couru
Passé sauté
Petit Jeté Dessus & Dessous
Piqué arabesque in various arabesques
Toward which direction does the head incline if standing en face à la cinquième R foot devant? Right-the front foot
Definition of arabesque. From the Italian arabesco, meaning “in Arabian fashion” refers to a style of intricate ornamentation
What does attitude mean? From the Italian attitudine, which refers to a pose developed by the Italian ballet master Carlo
Blasis, based on Bologna’s statue of Mercury.
Differentiate between dessus & dessous: Dessus- over, dess -u [duh-sue]; Dessous-under, dess- oo [duh-so]
Compare the sissonne tombé & the temps levé chassé: Both begin 5th croisé. Both open effacé. Both end in low
arabesque effacé. For sissonne tombé, jump in the air and execute small développé with front foot, landing on back leg,
transfer weight to front leg. For temps levé jump from 5th to 5th and slides forward to the open position.
What are the 5 Classifications of Jumps?
(1) both feet to both feet (changement, temps levé sauté);
(2) both feet to one foot (e.g. sissonne, odd-numbered entrechat)
(3) one foot to both feet (e.g., assemblé)
(4) one foot to the same foot (e.g., temps levé)
(5) one foot to the other foot (e.g., jetés)
Level IV Vocabulary
Adage, Allégro, Aplomb, Ballonné, Ballotté, Bateau, Batterie, Chaînés, Couru, Contretemps, Cloche, Déboîté, Deux, en
Diagonale, Élancé Enchaînement, Épaulement, Enveloppé, Extension, Fermé, Fini, Hauteur, Marquer, Passer la jambe,
Penché, à Plat, Première, Préparation, Raccourci, Serré
In life as in dance: Grace glides on blistered feet.
~ Alice Abrams
17
2015/2016
Pre-pointe
Fall Semester
Please refer to the section of the syllabus corresponding with technique class.
ALL students must wear standard technique shoes to class.
À la barre
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
Battement frappé pointé double
Demi-détourné
Développé with supporting leg sur la demi-pointe and working leg held at 45˚
Élevé in all positions, including parallel (aka 6th position).
Grand battement sur la demi-pointe
Grand plié in relevé in all 5 basic positions
Grand port de bras with legs held sous-sus
Passé par terre at 45˚ rising sur la demi-pointe
Relevé, continual relevé with leg lifted to various positions such as arabesque, retire, attitude
Relevé passé 5th to 5th
Relevé sous-sus with sustained balance; port de bras moving through 1st & finishing 5th en haut
Soulevé in all positions with balance & control
Sur le cou-de-pied held in all positions, supporting leg sur la demi-pointe
À la centre
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
Assemblé soutenu de face
Bourrée suivi with fluidity and well placed feet
Échappé sur les demi-pointes & Échappé passé sur les demi-pointes
Emboîté [& Déboîté] sur les demi-pointes
First position élevé & soulevé with strong balance; port de bras moving through 1st & finishing 5th en haut
Piqué arabesque sur la demi-pointe
Piqué fondu with aplomb
Piqué sous-sus in various directions
Piqué to retiré de côté & Piqué tours en dedans
Pirouettes en dehors from 4th and en dedans from 5th
Relevé sous-sus with balance
Second position élevé with strong balance and aplomb; port de bras moving through 1st & finishing 2nd.
Tour de basque
-When was pointe work was first introduced? In the late 1820s. Marie Taglioni was the first major ballerina to dance on
pointe. Here shoes were not blocked but padded with cotton wool.
-What are the three ways of reaching the pointes? piqué, relevé & sauté
A ballerina masks her strength with beauty, but it is still there.
18
2015/2016
POINTE REQUIREMENTS
The Ballet Director will ultimately determine whether a student is ready to begin pointe work at the recommendation of the
student’s instructor(s). In addition to meeting the requirements of pre-pointe, determining factors for whether a student is ready
to begin pointe work include the attitude, work ethic and maturity of a student, as well as:


Age/Bone Development: Age is an important factor due to the development of a child’s bones. The long bones of
the leg, forefoot and toes, which bear the weight of the body when a girl is on pointe, ossifies in the shaft (or middle
of the bone) first. Because the ends of the long bones ossify last, it is important that muscles be strong and well
developed in order to protect joint alignment. Students must be at least 11 years old to begin pointe work.
Anatomy: Flexibility of the ankle and the proper amount of natural arch in the instep are important factors necessary
for pointe work. Factors such as the length of the toes in comparison to each other may also determine possible
problems on pointe.
Strength: Student must demonstrate sufficient strength to begin pointe work. This especially includes strength and
control in the feet, ankles, legs, and the core (abdominals). Weaknesses in and around the ankles and feet can delay
a student from starting on pointe until the proper strength and control has been achieved.
Training: Celia Sparger writes: “The ability to do pointe work is the result of slow and gradual training of the whole
body.” Anatomy and Ballet. Students should have a sufficient amount of time and intensity training in classical ballet
methods before beginning pointe work—typically 2-3 years of training 2-3 times a week. Students should also be able
to continue to attend classes 2-3 times a week when beginning pointe.
Weight: The added weight on overweight students produces extra pressure on their toes and can risk damage to the
joints. Students are encouraged to maintain a healthy weight for their height.
Good Indicators that a student may be ready to begin pointe:
 Student is able to execute 16 relevés high upon the balls of the feet with ease.
 Student is able to balance in various poses for extended periods of time while maintaining proper alignment.
 Student is able to piqué en arabesque with a straight extended leg.
 Student maintains proper turn-out throughout technique class.

The Academy, above all else, seeks to ensure the well-being of students. The risks of beginning pointe work when the above
factors are unmet outweigh any temporary disappointment a dancer may have. The many pleasures and benefits of dancing
can be obtained even without pointe shoes. There is no reason a student needs to stop dancing just because she is not
qualified for pointe work. A proper attitude and an informed mind go a long way in a student’s well-being and happiness.

Weekly Assist Fall 2014

WEEK 1 Soulevé; Passé par terre rising demi-pointe; Assemblé soutenu de face; Piqué to retiré de côté
WEEK 2 Relevé; Demi-détourné; Bourrée suivi; Piqué arabesque; Relevé sous-sus with balance
WEEK 3 Élevé; Relevé sur la demi-pointe; Emboîté & Déboîté sur les demi-pointes; Tour de basque;
WEEK 4 Battement frappé pointé doublé; Grand plié in relevé all 5 positions; Piqué fondu; Piqué tours
WEEK 5 Développé to 45˚ with supporting leg sur la demi-pointe; Échappé sur les demi-pointes
WEEK 6 Relevé passé; Relevé sous-sus with sustained balance; Piqué sous-sus in all directions
WEEK 7 Sur le cou-de-pied held in all positions supporting leg sur la demi-pointe; Pirouettes
WEEK 8 Grand port de bras with legs held sous-sus; Échappé passé sur les demi-pointes
WEEK 9 Grand battement sur la demi-pointe; 1st & 2nd position élevé & soulevé balanced center floor
WEEK 10 REVIEW
WEEKS 11-12 EXAMS
WEEK 13 EXAM RESULTS - PT CONFERENCE
NOTE: Italicized movements will be tested at the Barre.
19
2015/2016
Ballet Level V
Ballet Level V is for Beginning pointe students. In this Level, students will continue to practice and implement all
the techniques, poses and movements introduced in previous levels, but now they will do so á la pointe.
Beginning Pointe
ALL students must bring standard technique shoes to class.
À la barre
1. Assemblé soutenu in various forms, including en tournant; Battement Soutenu in various forms including
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
with pas de cheval
Bourrée en avant & en arrière
Chaînés slowly along the barre
Demi-détourné
Développé sur la pointe -working leg to 45˚
Échappé sur les pointes
Élevé, Relevé & Soulevé in all 5 positions, sur le cou-de-pied, positions & arabesque/attitude derriere at 45˚
Pas de bourrée [including pas de bourrée bateau]
Petit Battement, supporting leg sur la pointe
Piqué to sur le cou-de-pied, retiré & arabesque at 45˚
Piqué fondu with one hand moving along the barre
Piqué sous-sus en avant & de côté
Pirouettes
Relevé from 5th to 1 leg - sur la demi-pointe arriving attitude devant, retiré devant & other positions/poses
Relevé Retiré & Relevé passé en avant & en arrière
Relevé sous-sus with sustained balance
Sur le cou-de-pied held in all positions, supporting leg sur la pointe
À la centre
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
Assemblé soutenu de face
Attitude à terre
Bourrée suivi & bourrée en tournant
Coupé a terre from pointe tendu to pointe tendu
Centre floor work such as tendu, dégagé, pas de cheval, piquer la pointe & rond de jambe
Emboîté [& Déboîté] sur les pointes
Jeté piqué sur les pointes
Pas de valse
Piqué sous-sus in various directions
Piqué to retiré & Piqué tour en dedans
Relevé sous-sus with balance
Tour de basque
Walking high demi-pointe in pointe shoes
Additionally students will be instructed on how to properly:
Sew ribbons and elastics onto pointe shoes.
Fray, tie and tuck ribbons.
Take care of pointe shoes, including toe pads/gels
What we hope ever to do with ease, we must first learn to do with diligence.
~ Samuel Johnson (English Poet 1709-1784)
20
2015/2016
Ballet Level VI: 13+
Ballet Level VI corresponds with Intermediate Pointe. It is not uncommon for students to repeat Level VI.
À la barre
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
21.
A la seconde extension: keeping shoulders parallel to the ground, leg rotated properly
Arabesque penché: sur la demi-pointe
Battement frappé—Balanchine & Russian methods: with plié on the opening
Battement soutenu: with développé action proceeding the movement, executed at various heights
Battement tendu: with demi-plié in the closed position [5th]
Coupé from pointe tendu: dessous and dessus
Dégagé: in fondu
Dégagé: with petite passé
Demi-fouetté sauté: moving between the positions quatrième devant, a la second & arabesque
Double rond de jambe en l’air: Extend the leg back to second position en l’air after the 2nd circle is completed
Fouetté à terre en tournant: en dehors & en dedans
Grand battement: with supporting leg fondu as working leg opens
Grand battement balançoire: keep shoulders parallel with the floor, arm a la second. Body tilts as leg "swings."
Grand battement fini piqué: As in grand relevé lent, lift leg to full height from point tendu. Continue by lowering
leg pointe tendu. Repeat. Make sure to lift & lower the leg at the same speed with control.
Grand rond de jambe en l’air: En dehors & en dedans at full height
Petit battement au genou: begin sur le cou-de-pied, travel up to the knee and back down.
Relevé en arabesque: à la hauteur
Retiré: devant, de côté, and derrière - supporting foot sur la pointe
Rond de jambe à terre: with supporting leg en fondu throughout
Rond de jambe à terre à quart: double or triple, using the toes only
Rond de jambe balancé: at 45 degrees while sur la pointe
À la centre
1. Arabesque voyagèe: en avant and en arrière - small hops in arabesque, supporting knee fondu throughout.
2. Assemblé: At the highest point of the jump the legs should be in 5th position.
Derrière-R foot back, brush to the side, close to the back
En arrière-R foot back, brush to the back, close to the back
Dessous [under]-begin R foot front, brush to the side and close right foot back
3. Assemblé soutenu en tournant—French Method (with rond de jambe):Execute en dehors & en dedans
4. Balancé/pas de valse en tournant: with very slight pressure on the pointes throughout grand movement
5. Balletic Run: Women - Light, dainty run with the feet slightly flicking up to the back as in a low attitude derrière
6. Ballonné: en avant en effacé en diagonale (not on pointe at first, but with sauté)
7. Bournonville pas de basque en l’air: legs brush to about 45˚.
8. Cabriole: Execute both devant and derrière.
9. Ciseaux: From 5th position, large jump to 2nd position en l'air. Can be seen in Balanchine's Stars & Stripes.
10. Coupé dessous en tournant: Working foot begins pointe tendu derrière and executes a demi-grand rond de
jambe en dedans à la demi-hauteur. Rotate around, springing onto the working leg, other leg lifted sur le cou-de-pied.
11. Coupé jeté en tournant: en ménage
12. Développé passé temps levé: As in choreography from our 2012 Sleeping Beauty Royal Court
13. Échappé battu: with royale beat on the initial jump from 5th. See Level IV for more description.
14. Entrechat cinq: like entrechat quart but lands on one foot
15. Failli-Assemblé
21
2015/2016
16.
17.
18.
19.
20.
21.
22.
23.
24.
25.
26.
27.
28.
29.
30.
31.
32.
33.
34.
35.
36.
37.
38.
39.
40.
41.
42.
43.
44.
45.
46.
47.
48.
49.
50.
Piqué Fouetté sur la pointe: from quatrième devant to arabesque
Grand changement: changing the feet at the last moment
Grand jeté développé: en avant
Grand port de bras en rond: in preparations for pirouettes; also in preparation for en diagonale
Jeté battement dessus. Execute in a series. Travels slightly en avant. May use épaulement.
Jeté fermé aka Jeté fondu: as in the Tree Sprite Choreography
Jeté passé devant: i.e: from sur le cou-de-pied derrière facing corner #8 with R arm en rond 4th position. Left leg
croisé back, fall back onto Left leg facing corner #2 and extend R leg effacé devant to a dégagé position. Jump still
facing corner #2 switching the legs mid air so as to land croisé devant onto the R leg pointe tendu L arms allongée.
Jeté passé derriere : petit, [derrière] aka Pas de papillon [step of the butterfly] from tombé preparation pointe
tendu en effacé making sure to look upstage as the downstage leg "flutters" and to look downstage when finished
(landing on the downstage leg croisé plié) Arms go from 4th en avant through deux bras en haut and finish in 3rd.
Jeté passé en avant: [devant]. Legs can be straight as they pass each other. Or first leg straight, second leg bent.
Jeté porté: immediately assume the pose sur le cou-de-pied, execute in various directions.
Pas de chat en avant: through 4th position
Pas de poisson: Execute in a series - Begin croisé, turn effacé during the jump and upon alighting chassé passé a
terre in the direction croisé en avant, followed by an assemblé dessus to start again from the original position.
Petit jeté: en tournant, en arrière
Piqué Arabesque: with tour
Pique Tour: en attitude en dedans
Pirouette en retiré en dedans: from allongée à terre begin with fouetté to retiré [aka pirouette tire-bouchon] or
bring the foot directly to retiré. Finish with arms opening to Bournonville demi-seconde [palms up] in 5th croisé or
tombé coupé dessus to sur le cou-de-pied derrière supporting leg fondu
Pirouette en retiré en dehors: finishing in attitude croisé derriere or 4th arabesque [supporting leg fondu]; or
finished in quatrième devant, either effacé or croisé
Piqué détourné: Working foot executes dégagé à la second. Piqué onto working foot, crossing the other leg
behind in 5th and turning toward the back foot to finish. Like the opposite of tour de basque.
Port de bras variations: correlating with the body in croisé, effacé & écarté, respectively
Relevé passé: with épaulement
Relevé arabesque: successive relevé arabesque centre floor
Rond de jambe à terre en tournant: en dehors & en dedans with quarter, half or full turns
Rond de jambe rétombé: rise onto the supporting leg while opening the working leg g à la seconde en l’air.
Execute a single rond de jambe en l’air and then immediately tombé onto the working foot, raising the other to a petit
attitude derrière with the body inclining slightly forward.
Royale fermé: preceded by échappé sauté, finished 5th.
Royale ouverte: entrechat quart landing in 2nd position
Sissonne changé: fermé & ouverte, en avant & en arrière
Sissonne fermé battu: en avant & en arrière
Sissonne ouverte by means of développé: [to arabesque fondu followed by pas de bourrée]
Sissonne rétombé: aka sissonne doublé dessous & dessus with battement or développé
Stag jeté en avant: do not fully extend the leading leg outwards at any point during this movement.
Temps de cuisse: dessous & dessus, both the French method [petit passé] and Italian [dégagé]
Temps lié sauté en tournant: en avant with single tour en l'air
Tour en l’air: with 360˚ rotation.
Tours en ménage: turning and spotting while traveling in a circle
Variations in Arabesque/Attitude: Giselle arabesque penchée, Balanchine 1st arabesque, Margot Fonteyn 1st
arabesque, Spanish/demi-character1st arabesque, High 1st arabesque/High 1st arabesque with arms in V,
Romantic style 3rd arabesque, Swan 1st arabesque/attitude, Swan 4th arabesque/attitude
22
2015/2016
Demonstrate the difference between grand jeté [brushing action] & grand jeté développé [développé action]
What are les trois positions fermée des pieds: (1st, 3rd, 5th)
What are les deux positions ouverte des pieds: (2nd& 4th)
Who established les cinq positions des pieds?
Pierre Beauchamp, maître de ballet of the Académie Royale de Musique et de Danse from 1671 to 1687.
What is the Law of Opposition as applies to Proper Arm Placement?
The general rule: arm position is in opposition to the leg that is in front, whether that leg is the supporting or the working leg.
What is the typical head placement for Assemblé & Pas de bourrée? the head inclines to the foot that finishes in front
Musicality -Lead an adage exercise of your choice. Chose music you are familiar with and that would be appropriate for an
adage. The adage should aid in developing a sustaining power, sense of line, and balance. Chose slow, unfolding movements
which will help improve the ability to control the leg and increase extension. Common adage exercises might include: bourrée,
cambré, développé, grand rond de jambe en l’air, relevé lent & tour de promenade.
Level VI Vocabulary
Ballon, Cabriole, Ciseaux, en Ménage, Failli, Genou, Papillon, Poisson, Retombé,. Sautillé, Temps de cuisse, Voyagée
Many others have kicked higher, balanced longer, or turned faster.
These are poor substitutes for passion.
~ Agnes de Mille (American dancer and choreographer 1905-1993)
23
2015/2016
Intermediate Pointe Work
In correlation with the Level VI syllabus
ALL students must also bring their technique shoes to class.
À la barre
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
Arabesque a la hauteur with supporting leg sur la pointe
Battement & Assemblé soutenu en tournant with full turns
Ballonné en avant sur la pointe moving along the barre, one hand resting on the barre
Battement fondu développé relevé
Cambré and core penché en avant with legs held sous-sus
Changement de pied sur les pointes, facing the barre, both hands resting on the barre
Développé & Enveloppé
Fouetté à terre
Frappé pointé double
Full Détourné
Grand battement sur la pointe
Grand plié sur les pointes
Grand relevé sur la pointe
Passé par terre rising sur la pointe
Piqué into all poses [i.e. de côté en retiré along the length of the barre]
Piqué tours into open positions
Pirouettes
Relevé retiré
Rond de jambe en l’air supporting leg sur la pointe
Temps relevé en tournant
À la centre
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
Adage work, such as tour de promenade
Balancé in all directions
Bourrée suivi in all directions
Chaînés
Coupé piqué ballonné
Échappé, Échappé en tournant, & Échappé passé sur les pointes
Emboîté en tournant sur les pointes & Piqué tour ramassé
Pas de bourrée piqué
Piqué arabesque sur la pointe
Piqué détourné
Piqué passé en avant [Développé passé piqué en avant]
Piqué tours en dedans and en dehors
Piqué tour en attitude finished w/ the last half of balancé en tournant - repeated en ménage]
Piqué fondu [pas marché]
Pirouettes en dedans-en dehors
Relevé arriving attitude devant, retiré devant & other positions/poses
Relevé passé en avant & en arrière
Rond de jambe retombé [as in the Spanish Variation]
Tour de basque, piqué tour combination
24
2015/2016
Ballet Level VII: Ages 14+
Ballet Level VII corresponds with Advanced Pointe as well as Pas de Deux.
À la barre
A la seconde extension: at exactly 90 degrees, keeping shoulders parallel to the ground
Arabesque penché: sur la pointe
Assemblé soutenu en tournant: 90˚ en dehors & en dedans with either half or full turns. Feet exchange place.
Balancé de côté en tournant: turning on the first coupé
Ballotté: Ballotté at 45˚. Execute dessous-dessus with straight legs/développé.
Battement fondu doublé: développé working leg smoothly throughout until arriving at the desired extension [upon
1.
2.
3.
4.
5.
6.
the straightening of the supporting leg the second time].
Battement Fondu: with tombé, tombé en tournant, with fouetté, with half tour, etc…
Cambré en arrière: In extension devant or derriere
Demi-fouetté relevé: moving between the positions quatrième devant, a la second & arabesque
Détourné en l’air [a movement of adage] - Turn by small shifts of the heel while rotating the raised leg in the hip
socket. i.e. détourné en l’air from quatrième devant to arabesque.
11. Développé balancé: Développé leg to full height then drop the leg 3-4 inches and re-lift to initial height.
12. Développé ballotté: not to be confused with ballotté executed center floor
7.
8.
9.
10.
13. Développé d’ici-delà: i.e. développé and extend front move demi-rond side replace to front extension.
14. Développé passé relevé: from 5th, working leg will move through retiré to open position while supporting leg rises
15. Fouetté à terre en tournant: en dehors & en dedans to open positions
16. Fouetté raccourci: Seconde position en l’air supporting leg sur la demi-pointe, bend working leg in sharply behind
the supporting leg and then, without lowering the thigh of the working leg, turn into the barre, extending to arabesque.
17. Fouetté rond de jambe en tournant: execute en dehors & en dedans
18. Grand battement en cloche: keep shoulders parallel with the floor and arm a la second. Hold body upright
throughout (no tilting as in Balançoire)
19. Grand battement fini piqué: beginning with grand battement développé & with demi rond
20. Grand battement fouetté relevé: en dedans and en dehors
21. Grand battement relevé lent: en croix, slowly, making sure to move through pointe tendue each time
22. Grand battement tombé: Take care not to drop the leg before the actual tombé
23. Grand rond de jambe jeté: Soviet syllabus, executed en dehors & en dedans
24. Grand temps relevé: en dehors & en dedans
25. Passé par terre en tournant: en dehors & en dedans.
26. Petit battement serré: beating to the 4th instead of to the 2nd.
27. Piqué en arrière: to various positions such as retiré devant or attitude devant.
28. Piqué tours en retiré en dedans: finished in open positions, i.e. développé plié to 1st arabesque
29. Rond de jambe en l’air fondu: fondu supporting leg on either the rond or the final extension
30. Rond de jambe en l’air to open position: upon completion of double or triple rond extend working leg devant
[en dehors] or derrière [en dedans] or a la second to high final extension.
31. Rond de jambe to attitude en relevé: if executed en dehors, finish attitude derrière. If en dedans, attitude
devant. Supporting leg rises sur la demi-pointe as the working leg moves to attitude.
32. Russian temps relevé: leg opens diagonally effacé devant or derriere before traveling to seconde
33. Tours: half tour en dehors & en dedans at 90˚, begin with either développé or relevé lent
À la centre
1. Assemble coupé: assemblé from one foot instead of two, closing both legs without a brush.
2. Assemblé: assemblé dessous battu, assemblé porté, assemblé porté et battu
3. Attitude grecque: pirouette
25
2015/2016
4. Balanchine jeté battu: with body inclining toward the leg that dégagés [the leg alighted on in fondu]
5. Ballonné: ballonné arrondi, ballonné à trois temps [trwah tahn], ballonné battu [with dégagé on the first and then
from sur le cou-de-pied with either a royale or entrechat quarte]
6. Ballonné: Sur la pointe
7. Ballotté: Ballotté at 90˚ with straight legs either bent or straight with développé of one leg or both
8. Battement divisé en quarts: executed with quarter turns en dehors or en dedans
9. Bournonville brisé: en diagonale; make sure to execute at low elevation [terre à terre]
10. Bournonville grand jeté croisé en avant: back leg bent in attitude, arms through 1st to demi-2nd [palms up]
11. Bournonville jeté de côté: traveling in a large 2nd position at low elevation
12. Brisé volé: executed in a series, alight in either petit attitude or sur le cou-de-pied
13. Cabriole italienne: A variation of the cabriole fouettée in which the beat occurs after the body has turned into the
arabesque position.
14. Cabriole: grande ouverte
15. Coupé chassé, coupé en tournant: into grand jeté en avant
16. Développé passé piqué & Développé passé relevé (with no piqué)
17. Échappé battu: with the beat of entrechat quart. Alternate between échappé battu & échappé battu changé.
Variation: execute from 5th to 4th; from 4th to 5th
18. Échappé sauté en tournant: turn the jump when going from 5th to 2nd; execute a tour en l’air from either the
initial sauté from fifth or at the close to 5th
19. Enveloppé en pirouette en dedans: finished in attitude and extending to arabesque
20. Fouetté en dedans-en dehors: repeated
21. Fouetté en tournant: from a pas de bourrée en tournant preparation, working leg opens directly à la seconde
22. Fouetté rond de jambe en tournant: from a pirouette en dehors preparation
23. Gargouillade: with one single and one double rond
24. Glissade précipitée: a very quick, small glissade, done in half the time of a regular glissade.
25. Grand battement passé développé: from effacé devant to 4th arabesque, croisé devant to 1st arabesque, etc...
26. Grand battement sauté enveloppé-développé: aka “step of the deer”
27. Grand battement sauté passé développé: remains sur place, finishes in arabesque
28. Grand cabriole fermé: dessus & devant
29. Grand échappé sauté: Plié en cinquième, spring into the air as high as possible, extending the legs en cinquième.
Maintain this closed position until the height of the jump is reached, then throw the legs apart à la seconde en l’air.
Alight in demi-plié en seconde. On the return jump to cinquième, spring into the air with the legs extended en
seconde until the top of the spring, then close the feet à la cinquième en l’air and alight demi-plié cinquième. Or finish
on one leg with the other held in a pose such as arabesque, attitude or retiré.
30. Grand emboîté: emboîté at 90˚, with change of direction
31. Grand fouetté battu: en tournant
32. Grand fouetté en tournant: en diagonale
33. Grand fouetté sauté: specific port de bras, en dedans finishing effacé & en dedans with half turn to 4th arabesque
34. Grand jeté de côté: not to be confused with ciseaux in 2nd position
35. Grand jeté en avant fouetté: grand jeté en avant ending with a rotation of the back leg in the hip socket so as to
land facing the opposite direction, leg extended quatrième devant en l’air.
36. Grand jeté en tournant: Bournonville style with épaulement and port de bras in 4th
37. Grand jeté entrelacé: with fouetté, finished effacé devant
38. Grand pas de basque sauté: finishing grand quatrième devant croisé
39. Grand pas de chat développé: taken from coupé, finishing grand quatrième croisé devant
40. Grand pirouettes: arabesque, a la second, quatrième devant, attitude derriere & attitude devant - finish with
fouetté or pirouettes in retiré
26
2015/2016
41.
42.
43.
44.
45.
46.
47.
48.
49.
50.
51.
52.
53.
54.
55.
56.
57.
58.
59.
60.
61.
62.
63.
64.
65.
66.
67.
68.
69.
70.
71.
72.
73.
74.
75.
76.
Grand sissonne développé ouverte en tournant: with single tour en l’air
Grand sissonne ouverte: by means of développé or battement à la hauteur
Grand temps lié: from écarté devant to derrière grand rond to arabesque croisé& finish quatrième devant croisé
Hop-step-coupé: into grand jeté en tournant
Italian Pas de Chat: -aka grand pas de chat développé: battement or développé working leg a la
second and spring off supporting leg, tucking it under the body in a retire type position before completing
the movement: enveloppé; both legs should come together and land in 5 th.
Jeté battement dessous: travels slightly en arrière
Jeté battu dessous: Execute in a series. Begins with working foot sur le cou-de-pied devant
Jeté battu dessus: Execute in a series. Begins with working foot sur le cou-de-pied derrière
Jeté élancé: with coupé en tournant, en manège
Jeté passé en arrière [derrière]:from coupé preparation.
Jeté passé en avant: Grande First leg straight, Second leg with développé, in succession
Pas de basque battu: Cecchetti method. Follow with changement to repeat
Pas de basque en arrière:[ par terre aka glissé] the reverse of regular pas de basque en avant
Pas de basque en l’air en tournant: a Bournonville pas de basque en l’air finished with a détourné
Pas de bourrée jeté en tournant: A compound step consisting of a pas de bourrée dessus en tournant, making
three-quarters of a turn, and a jeté en avant, completing the turn.
Pas de chat en arrière: through 4th position
Petit battement battu sauté: from either sur le cou-de-pied devant or derrière
Petit jeté battu en tournant: with half turns
Piqué en tournant: en dedans a la hauteur in varying open positions
Piqué tours: executed in open positions, i.e. attitude derrière
Pirouette en arabesque: en dedans (not a piqué tour, but taken from relevé)
Pirouette en attitude: en dedans .If turning to the right with the left leg raised en attitude, the right arm will move
from1st to 2nd while the L arm moves en haut. The head does not spot.
Pirouette en retiré en dedans: finishing in 1st arabesque. arms move from 4th en avant, through 2nd, through
4th en haut, into 1st and finish allongée]
Pirouette preparations: coupé; step-tombé; Balanchine-style croisé
Relevé d’adage par quart de tour: same as grand temps relevé but with a turn en relevé upon arriving at the
desired extension. May also be executed par demi tour or full tour.
Relevé Fouetté sur la pointe: from quatrième devant to arabesque (NO PIQUÉ)
Renversé: Renversé en dehors [standard renversé], Vaganova renversé en dehors, Renversé en dedans from 5th
arabesque [aka tire-bouchon] & renversé en dedans from quatrième devant
Rond de jambe en l’air sauté: with and without dégagé, en dehors & en dedans
Saut de basque battu: a saut de basque with single, double, or triple beats while the body is turning en l’air
Saut de l’ange [temps de l’ange]: Similar to the temps de poisson, but the legs are bent as in attitude with the
knees slightly open. The back is well arched with the head back and the arms en haut.
Single tour en l’air avek à genou: Pirouettes to the knee for the ladies
Sissonne en tournant: sissonne simple en tournant, sissonne fermé en tournant, sissonne ouverte en tournant &
sissonne changé ouverte en tournant [aiming for about a 3/4 turn in the air]
Sissonne fermé changé battu
Sissonne tombé: en tournant [full turn en l’air] bringing one leg sur le cou-de-pied and landing on the other fondu
Temps levé: at 90˚ with a change of pose; with grand rond de jambe en dehors
Tombé, temps levé développé en tournant: into glissade, grand jeté en avant
27
2015/2016
77. Tour sautillée: turn with a series of tiny hops, supporting leg remains fondu, the heel of the supporting leg should
barely leave the floor. Execute primarily in arabesque and á la seconde, en dedans & en dehors. May conclude with
multiple pirouettes in retiré or sur le cou-de-pied.
Assemblé dessus battu, Barrel turns, Brisé en avant & en arrière, Chaînés papillon, Changement en tournant, Contretemps
en tournant, Coupé brisé, Coupé jeté battu, Double rond de jambe en l’air sauté, Gargouillade volé, Grande cabriole fouetté
with single or double beat, Grand jeté entrelacé battu, Grand jeté renversé, Grand sissonne tombé, Grand temps relevé, Jeté
rotation, Mazurka, Pas de basque en tournant, Pas de bourrée changé, Pirouette from grand plié, Pirouette renversé, Pistolet,
Revoltade, Rond de jambe double, Sissonne ouverte battu, Sissonne renversé, Sissonne retombé battu, Tour de basqueFouetté en tournant in a series en diagonale, Tour de reins
Temps de flèche [saut de flèche]: So named because the first leg acts as a kind of bow, the second leg an arrow.
Variation (1) Brush one leg en avant and then immediately en arrière as the other leg shoots en avant en l’air. Aim
to reach a full split at the height of the jump. The legs should pass each other en l’air.
Variation (2) Grand battement à la quatrième devant with front leg [the bow] and then bring in to retiré devant with a
spring into the air as the seconde leg quickly développés [the arrow] through it. Alight in fondu on the first leg.
Variation (3) Enveloppé first leg while jumping into the air. Développé the second leg to effacé devant while
alighting on the first leg fondu.
Balletic Mime-Depict the queen in Swan Lake: Act 1 of Swan Lake, the queen, (prince's mother) enters and tells her
son (Siegfried) to join them in the castle, because soon several prospective brides will arrive and he must choose one to
marry: I (right hand pointing towards yourself, your hand open) ask (hands clasped, extending towards your son) you (left
hand extended to Siegfried, palm up, hand open) this party (sweeping hand left and right, looking at the guests) not (hand
cross and cross again at waist level, head shaking "no"). Tomorrow (take three steps right, raising arm in an arc) six (count on
right hand 1 to 5, then rotate your hand and extend the index finger for 6) beautiful women (right hand, open, circling face)
come (arms sweep from shoulder height, down and left). You (as above) promise (right hand extending up, two fingers
pointing up) marry (right hand closed, pointing with index finger to ring finger of left hand at waist level, left hand open).
Compare the assemblé battu to brisé: The assemblé battu changes the position of the feet and the beat occurs before the
change of feet. The brisé is basically an assemblé, beaten and traveled. Unlike the assemblé battu, the brisé does not change
feet. In brisé dessus, for example, supporting leg comes from the back, beats in the front and returns to the back. This is
unlike the assemblé dessus battu, where the working leg comes from the back, opening slightly to beat in the back and then
beats in the front.
What is a Porteur? A Carrier. A male performer whose sole function was to support & lift the ballerina.
How many fouetté en tournant does Odile execute in Swan Lake? 32
Lead a petit allegro enchaînement of choice
Lead a grand allegro enchaînement of choice
Level VII Vocabulary
Brisé, Gargouillade, Pistolet, Porté, Précipitée, Renversé, Rivoltade, Temps de flèche, Tour de reins, Saut de l’ange, Volé
I do not try to dance better than anyone else. I only try to dance better than myself.
~ Mikhail Baryshnikov (1948-)
28
2015/2016
Advanced Pointe
In correlation with the Level VII syllabus
À la barre
A la second with enveloppé
Assemblé Soutenu développé en tournant
Ballonné relevé with change of direction
Battement arrondi rising sur la pointe
Battement fondu double
Fouetté rond de jambe en tournant
Grand port de bras with legs held sous-sus
Passé par terre en tournant
1.
2.
3.
4.
5.
6.
7.
8.
À la centre
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
21.
Ballonné en avant en effacé sur la pointe en diagonale
Changement de pied en tournant sur les pointes
Échappé double & Échappé passé
Fondu with tombé
Frappé pointé double
Grand battement sur la pointe & Grand développé sur la pointe
Grand fouetté relevé
Grand pirouettes,
Pas couru sur les pointes [in an unturned-out position],
Pas de bourrée piqué en tournant,
Pas de polka sur les pointes
Passe-pied devant sur les pointes [also temps levé sur les pointes w/ pas de cheval]
Passé relevé en tournant,
Petit assemblé développé, a terre à terre step
Piqué en tournant at 90˚ [holding different poses]
Piqué tours en ménage,
Relevé sur la pointe
Renversé
Rond de jambe en l’air temps levé sur la pointe en diagonale
Temps levé sur la pointe
Temps lié at 90˚
Additional Floor Work: Successive relevé tours
A weak first step transmits nothing.
Mai Kishikawa
29
2015/2016
Pas De Deux
In correlation with the Level VII syllabus
With partner
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
Assisted arabesque & Arabesque penché
Assisted fouetté sauté & grand fouettés
Ballonné relevé [with change of direction]
Fouetté rond de jambe en tournant [finger turns]
Pas marché
Passé par terre rising sur la pointe
Pirouettes, supported at the waist
Supported tours into open positions
Balancé en tournant
Single or multiple piqué tour en dedans en attitude [finger turn]
Lifts:
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
Assisted arabesque sauté chassé [executed side to side]
Assisted grand jeté
Assisted pas de chat
Ciseaux porté
Fish dive from jeté entrelacé
Retiré porté
Sauté arabesque into partner [partner kneeling]
Shoulder sit
Sous-sus with penché/cambré
Falling Angel with leg extension
“The Bird,”
Variations of Fish dive from shoulder sit
Temps levé en attitude derrière [while in closed hold, facing partner] with slight turn
Promenades: en arabesque, en attitude & other various poses: taken after grand temps relevé, grand rond de
jambe en l’air, temps levé sauté, etc... in shadow & open facing positions, en dedans & en dehors
Dancers are instruments, like a piano the choreographer plays.
30
2015/2016
APPENDIX A
Balletic Mime
Alone
Angry
Ask/Beg/Please
Beautiful
Call/Yell
Cold
Crazy
Cry
Dance
Death/Die
Dress
Enter
Faithful/True/Promise
Fear
Friend
Happy/Excited
He/She/Them
Hear/Listen
Hot
I/Me
Kiss
Knock
Laughing
Look
Love
Marry
No
Order
Princess
Proud/Haughty
Protect
Royalty
Sad
See
Sleep
Someone
Stop
look around, “seeing” no one
shake your fists in the air
clasp hands in front of you
make a circle around your face with one hand
hands cup around mouth
pretend to shiver
circle around you ear with your finger
trace tears down your face with your index finger
circle your arms high over your head
with clenched fists, cross your arms in front of your body
run your hands down the sides of your clothes or gesture as if wearing a dress
make a sweeping gesture with both arms across your body
hold two fingers upwards
hold hand(s) in front, palm(s) facing out and lean upper body back or turn away
American Sign Language-index fingers link, R over L, then switch [L over R]
clap hands with little jumps
hand out with the palm facing upward
cup your hand over your ear and lean towards the sound
fan yourself with your hand
point to yourself
touch your lips with one or two fingers
tap your fist in your hand three times
different laughs require different gestures. i.e. giggling differs from scorning
one hand shading eyes
cross hands over heart
point to your ring finger
shake your head w/ expression, may gesture with arms as well
point to the floor with a strong motion
hold your hands on top of your head like a crown or mime two pointes of a tiara
hold head extremely high, slightly tilted to one side, chin up
face the danger and throw both arms back, head held high
using a straight hand, placed vertically on the head, mime three pointes of a crown
hang your head low, sometimes cover your face with your hands
place one hand by your eye, pointing to it
hands together resting under a cheek, arms rock and eyes close
hold up your first finger
hold up your hand with the palm facing out toward the other person
Surprised
open your mouth wide and place fingers on cheeks
Think
Tired
Waiting
You
Yes
31
touch your temple with your index finger
yawn and stretch
fold arms and tap foot impatiently
gesture toward the other person with your palm up
nod of head w/ expression
2015/2016
APPENDIX B
The Major Schools/Methods of Ballet
When ballet spread beyond Italy and France, different countries developed their own look and their own approaches to
training their dancers. Certain outstanding teachers developed highly influential methods. Each school produces glorious
dancers. Isolation–especially the geographical isolation of Denmark and the political isolation of the Soviet Union–kept styles
and teaching methods distinct. Today the distinctions are blurring, resulting in inconsistent terminology and some conflicting
stylistic ideas, but also enabling students to receive a richer dance education.
French School: The French School of ballet began in the court ceremonies of the French Monarchs. Louis XIV was himself a
danseur (studying with ballet master Pierre Beauchamp) and established the Académie Royale de Danse in Paris in 1661.
The French school has been known for its elegance and soft, graceful movements rather than technical virtuosity. Its influence
spread throughout Europe and is the basis of all ballet training, thanks to Pierre Beauchamps, who codified ballet in French.
The hallmark of the French school is a clean and sophisticated style. Positions are perfect every time, due to insistence on
scrupulous placement. Training concentrates on port de bras and épaulement.
Italian School (Cecchetti): The Italian school in Milan Italy opened in 1812. The Italian style of dancing and teaching was
developed under ballet master Carlo Blasis, director of the Imperial Dance Academy in Milan from 1837-1852. Blasis codified
all that was known of ballet technique up until that time and, with a more detailed understanding of human anatomy,
introduced a degree of skill and mastery that differentiated the Italian school from the French. The Italian school was known
for its strong, brilliant technique and virtuosity of its dancers, who astonished the audience with their difficult steps and brilliant
turns. One of the Italian school’s greatest students and subsequent teacher was Enrico Cecchetti. Cecchetti is renowned as
one of the greatest teachers in the history of ballet and brought the Italian School to its peak. The Cecchetti Method has a
codified program of strict routine and a table of principal set daily exercises for each day of the week. Cecchetti method was
the first to address proper placement in order to avoid strain and injury i.e. not forcing turnout and proper distribution of weight
during transitions.
Soviet Russian School (Vaganova): The Russian school was founded in St. Petersburg in 1738 by the French dancer JeanBaptiste Landé. In 1885 Zucchi, a famous Italian ballerina, appeared in St. Petersburg and created a sensation with her
forceful and brilliant Italian technique (which differed from the soft, graceful elegance of the French technique prevalent in
Russia until then). Enrico Cecchetti arrived in Russia and continued to influence the Russian dancers. Thus, the Russian
School of Ballet is a development of the French and Italian Schools. During the 1920s, the Russian ballerina and teacher
Agrippina Vaganova developed a planned instructional system (differing from the older, Imperial Style) which now serves as
the basic method of the entire Soviet choreographic school. Soviet training produces powerful, expansive, and expressive
dancers. Their grand allegro is truly grand, with immense, soaring leaps. Soviet training favors a line made possible by a very
pliable upper back and high extensions. Vaganova worked to synthesize the strength and aplomb of the Italian school with the
more flowing French port de bras.
Denmark (Bournonville): August Bournonville was the artistic director of the Royal Danish Ballet for more than 40 years. His
style is unique, exemplifying modest grace without apparent effort. Brilliant allegros are never done in a showy, bravura style.
Round, soft, kind—not proud. Bournonville technique never compromises the integrity of a seamless phrase for the sake of a
flashy step. Bournonville dancers are famous for elevation, ballon and batterie. Since there was scarcely any room to travel in
cramped studios and cluttered stages, the dancers had to go up instead of out. The legs are especially powerful. The grand
plié is used extensively.
England (Royal Academy of Dance) R.A.D. uses a graded syllabus to train all students. Certified examiners evaluate students’
ability and progress in examination classes. R.A.D training produces a strong, clean dancer, well trained and well placed. An
R. A. D. trained dancer would never sacrifice proper form for extra extension. They use the head and arms gently. Students
study proper terminology and often become sticklers about it. The syllabus is continually reevaluated and refined by the
academy.
32
2015/2016
George Balanchine (1904-1983)
Balanchine’s teachings have had a significant impact in America. He used his company class at the NYC Ballet to teach
technique that is faster, cleaner, clearer, and more articulate in footwork. An extension of 19th century classicism, his
arabesque has longer lines because the working shoulder and hip are move open. Dancers often have to spot to the front,
regardless of the direction in which they are traveling. The timing of glissade shows second position in the air. Balanchine
trained dancers are very particular in the use of the feet, landing first on the ball of the foot, then rolling down, resulting in
catlike silence and control in jumps. Balanchine said, “if only you would learn to do battement tendu properly, you wouldn’t
have to learn anything else.” His famous choreographic passage Theme and Variations—is based on the battement tendue.
Many of Balanchine students have become teachers themselves around the United States.
Some choreographers work out all the steps ahead of time and teach them to the dancers once they are in the studio
rehearsals. Others, like George Balanchine, go into the studio with a good idea of what they want to do, but only create the
specific steps and movements while working with the dancers. For Balanchine, the dancers were an important part of the
creative process of choreography. Trying different movements and seeing how they looked on different dancers’ bodies
helped him to decide what steps to use. Once the choreography solidified, the dancers rehearsed the movements and steps
over and over again until they were executed perfectly. Balanchine’s choreography is carefully preserved.
“Cultivate your technique, your voice, your ideas. Ballet needs distinctive personalities to inspire new
choreographic genius, to make the classics fresh, and to keep the audience interested. Qualities you
develop in the studio—physical intelligence and confidence in your own voice—will serve you very well
outside it.”
~Eliza Gaynor Minden
33

Ballet Syllabus in its entirety_2015-2016

Transcription

Similar documents

LEG Up!

X 4 - Graco

Highway 1 Road Trip... - Big Sur Tours and More

Protective Body Suit

lifetime w arrant y - Fit

10020A Pendleton - Standard Furniture

Artroskopisk åtgärd av patella instabilitet

Wounded Panel 3 - Veterans For Peace, Santa Fe, NM

Leg 15 - Alon Hagalil to Zarzir Junction

Premium+