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To speak and write correctly, you need to know the rules of the language. It's the same in ballet. Only there, instead of words, there are movements, and instead of spelling and syntax, there are the rules of classical dance. This name appeared in Russia at the end of the 19th century. Before this, ballet dance was called “serious”, “noble”, “academic”.
The system of classical dance was formed over several centuries; the most expressive ones were taken from the many movements of folk dances and everyday dances. The positions of the legs and arms, the positions of the body and head were gradually developed, and all dance movements were given names.
It should be said that ballet language is universal: a dancer from Germany will understand his colleague from Brazil, and a Japanese ballerina will understand an American one. Just as Italian terminology is used in music, and Latin in medicine, so in ballet all the terms are French.
Classical dance is the basis of choreography. Classics allow you to learn all the subtleties of ballet art, feel the harmony of movements and music.
All movements in classical dance are based on turnout - one of the most important qualities in classical dance, which is simply necessary for any stage dance.
Choreographic terminology is a system of special names intended to designate exercises or concepts that are difficult to briefly explain or describe. Exercise at the support or in the middle: is a set of training exercises in ballet that promote the development of muscles, ligaments, and the development of coordination of movements in the dancer. The exercise is performed at the “bench” (attached with brackets to the wall) and in the middle of the training room and consists of the same elements.
Terminology is divided into groups:

1. Exercise at the barre and in the middle of the hall.
2. Positions, directions, postures, additional movements.
3. Jumping.
4. Rotations.

Exercise at the barre and in the middle of the hall.

PREPARATION [preparation] - a preparatory movement performed before the start of an exercise.
DEMI PLIE [demi plie] - an incomplete, small “squat”, half-squat, in which the heels do not come off the floor.
GRAND PLIE [grand plie] - deep, full “squat”.
BATTEMENT TENDU [batman tandu] - abduction and adduction of the extended leg in the desired direction, without lifting the toe from the floor.
BATTEMENT TENDU JETÉ [batman tandu jete] - “throw”, a swing of the outstretched leg to a position of 25°, 45° in the desired direction.
ROND DE JAMB PAR TERRE [rond de jamb par terre] - circle with the toe on the floor; circular movement of the toe on the floor.
BATTEMENT SOUTENU [batman hundred] - withstand, support; movement with pulling the legs in the fifth position, continuous, united movement.
BATTEMENT FONDU [batman fondue] - a “soft”, “melting”, smooth movement consisting of simultaneous bending of the knees, at the end of which the “working” leg comes to a position sur le cou-de-pied in front or behind the supporting leg, and then follows simultaneous extension of the knees and the “working” leg opens forward, to the side or back.
BATTEMENT FRAPPE [batman frappe] - “blow”, a movement consisting of a quick, energetic flexion and extension of the leg, the foot is brought to the sur le cou-de-pied position at the moment of flexion and opens with the toe to the floor or to a height of 45 ° at the moment of extension forward, sideways or backward.
BATTEMENT DOUBLE FRAPPE [batman double frappe] - a movement with a double strike.
PETIT BATTEMENT [petit batman] - “small blow” - alternately small, short kicks with the foot in the cou-de-pied position in front and behind the supporting leg.
BATTERIE [batri] – drumming; the leg in the sur le cou-de-pied position makes a series of small striking movements.
BATTU [botyu] - “hit” continuously, small, short blows to the ankle joint only in front or behind the supporting leg.
ROVD DE JAMBE EN L "AIR [ron de jambe anler] - circular movement of the lower leg (ankle) with a fixed hip, abducted to the side to a height of 45° or 90°.
ADAJIO [adagio] - slowly, smoothly includes grand plies, developments, relevés, all types of balances, pirouettes, turns. Joint bundle for 32, 64 counts.
BATTEMENT RELEVE LENT [relevant] - “raise” slowly, smoothly slowly on a count of 1-4 1-8 raising the outstretched leg forward, to the side or back by 90° and above.
BATTEMENT DEVELOPPE [batman development] - removing, opening the leg forward, backward or to the side by sliding the “working” leg along the supporting leg in the desired direction.
GRAND BATTEMENT [grand batman] - “big throw, swing” 90° and above the outstretched leg in the desired direction.
BALANCOIRE [balanceoir] – “swing”, used in grand battement jete.

Positions, directions, postures, additional movements.

A LA SECONDE [a la drive] - a position in which the performer is positioned en face, and the “working” leg is open to the side at 90°.
ALLONGEE [alonge] – from ch. lengthen, prolong, extend; movement from adagio, meaning an extended position of the leg and a hidden hand, completing the movement with the arm, leg, torso, the position of the elongated arm.
APLOMB [aplomb] - stability.
ARABESQUE [arabesque] - a classical dance pose in which the extended leg is pulled back by 45°, 60° or 90°, the position of the torso, arms and head depends on the shape of the arabesque.
ATTITUDE [attitude] – posture, body position; the raised leg is half bent.
BALANCE [balance] – “swing, sway”; swaying movement. It is performed moving from side to side, less often - back and forth.
BATTEMENT [batman] - swing, beat.
BATTEMENT AVELOPPE [batman avloppe] - the opposite movement to battement developpe, the “working” leg from the open position through passe is lowered to a given position.
BATTEMENT RETIRE [batman retire] - transfer through sliding of the “working” leg, through passe from the V position in front to the V position behind.
COUPE [coupe] - knocking; a jerky movement, a short push, a quick substitution of one leg for the other, serving as an impetus for a jump or other movement.
CROISEE [croise] - a pose in which the legs are crossed, one leg covers the other.
DEGAJE [degazhe] - release, take the “transition” from the stand on the left to the right forward on the toe, step forward through a half-squat in the 4th position, straightening up, stand on the right, left back, on the toe. From the stand on the left, right to the side on the toe, step to the side through a half-squat in the 2nd position, stand on the right, left to the side on the toe.
DEMI [demi] - medium, small.
DEMI ROND [demi rond] - incomplete circle, semicircle (toe on the floor, at 45ana 90° and above).
DESSUS-DESSOUS [desu-desu] – upper-lower part, above-under, kind of ras de bourree.
DÉVELOPPE [development] - “opening”, “unfolded”, from a stoic position on the left, right with a sliding movement to a bent position (toe at the knee) and straightening it in any direction (forward, sideways, backward) or higher.
DOUBLE [double] - “double”, battement tendu - double heel press battement fondu - double half-squat battement frapper - double blow.
ECARTE [ecarte] - a classical dance pose (a la seconde), in which the entire figure is turned diagonally forward or backward.
EFFACE [efase] - deployed position of the body and legs.
EN DEDANS [an dedan] - the direction of movement or turning towards oneself, inward, in a circle.
EN DEHORS [an deor] - circular movement from yourself, circular movement outward in the hip or knee joint, as well as turns
EN FACE [en face] - straight; straight position of the body, head and legs.
EN TOURNANT [an turnan] – from Ch. "rotate"; turning the body while moving.
EPAULMENT [epolman] - the position of the dancer turned 3/4 in t. 8 or t. 2; a distinction is made between epaulement croise (closed) and epaulement efface (erased, open).
GRAND [grand] – big.
JETE [jeté] - leg throw on the spot or in a jump.
PAS COURU [I'm smoking] - jogging through the sixth position.
PAS D`ACTIONS [pas de action] - an effective dance.
PAS DE BASCUE [pas de basque] - Basque step; This movement is characterized by a count of 3/4 or 6/8 (three-beat time signature), performed forward and backward.
PAS DE BOURREE [pas de bourée] – a well-executed dance step, stepping with a slight advance.
PAS DE DEUX [pas de deux] is a dance of two performers, usually a dancer and a dancer.
PAS DE QUATRE [pas de carte] – dance of four performers.
PAS DE TROIS [pas de trois] is a dance of three performers, usually two dancers and one dancer.
PASSE [pass] - “to carry out”, “to pass”, the position of a bent leg, toe at the knee: in front, to the side, behind.
PETIT [peti] – small.
PIQUE [pique] - a light prick with the tips of the toes of the “working” leg on the floor and raising the leg to a given height.
PLIE [plie] - squat.
PLIE RELEVE [plie releve] - position of the legs on half toes with bent knees.
POINT [point] - extended position of the foot.
PORDEBRAS [por de bras] - “bends of the body”, bending forward, backward, to the side, the same in stretching. Exercise for arms, body, head; tilts of the body and head.
POUNTE [pointe] - “on the toe”, “touching the toe” from a stoic position on the left, right forward, to the side or back on the toe swing in any direction with a return to IP.
RELEVÉ [releve] - “to raise, elevate”, lifting on fingers or half-fingers
RENVERSE [ranverse] - from ch. “overturn, turn over”; a sharp bending, overturning of the body, mainly from an atitude croise pose, accompanied by a pas de bouree en tournant.
Rond [rond] – “circle, round”
SOUTENU [hundred] – from Ch. “to withstand, to support, to draw in.”
SOUTENU EN TQURNANT [soutenu en turnan] - a turn on two legs, starting with retracting the “working” leg into the fifth position.
SUR LE COU DE PIED [sur le cou de pied] - the position of the leg on the ankle (at the narrowest point of the leg), the position of the bent leg at the ankle joint.
TEMPS LIE [tan lie] - small adagio, 1 - half squat on the left, 2 - right forward on the toe, 3 - shift the center of gravity to the right, left back on the toe, 4-IP, 5. the same to the side and back.
TOMBÉE [tombe] - fall, transfer of the weight of the body onto the open leg forward, to the side or back on the demi-plie.

Jumping.

ALLEGRO [allegro] - quickly; “cheerful”, “joyful”; part of the lesson consisting of jumping, performed at a fast pace.
ASSEMBLE [assembly] - from Ch. connect, collect; a jump from one leg to two is performed with the leg abducted in a given direction and the legs collected while jumping together in the air.
BRISE [breeze] – to break, crush; movement from the section of jumping with skids.
CABRIOLE [cabriole] - jumping in place with one leg kicking the other.
CHANGEMENT DE PIEDS [shazhman de pied] - a jump with a change of legs in the air (in the V position).
ECHAPPE [eshappe] - a jump with the legs opening to the second position and collecting from the second to the fifth.
EMBOITE [ambuate] - successive transitions from foot to foot on half-toes, fingers and with a jump. Emboite jumps - alternately throwing the legs bent at the knees forward or 45°, while changing the half-bent legs in the air.
ENTRECHAT [entrechat] - jump with a skid.
GLISSADE [glissade] - a ground sliding jump without lifting off the floor, moving left-right or forward-backward.
GRAND JETE [grand jete] - a jump from one leg to the other, moving forward, backward or to the side. The legs open as much as possible and take a “split” position in the air.
JETE FERME [zhete ferme] - closed jump
JETE PASSÉ [jet passé] - passing jump.
PAS BALLONNE [pas balone] - to inflate, swell; advancement at the moment 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 sur le cou-de-pied.
PAS BALLOTTE [pa ballotte] - hesitate; a movement in which the legs are extended forward and backward at the moment of the jump, passing through a central point; the body leans forward and backward, as if oscillating.
PAS CHASSE [pa chasse] - a ground jump, during which one leg kicks the other. with advancement in all directions, during which one leg “catches up” with the other at the highest point of the jump.
PAS CISEAUX [pa siso] – scissors; a jump with legs thrown forward in turn, stretched out in the air.
PAS DE CHAT [pas de sha] - cat step; a sliding jump from one foot to another, when one leg passes the other in the air.
PAS FAILLI [pa faille] - a connecting step consisting of passing the free leg through the passing demi plie in the first position forward or backward, then the weight of the body is transferred to the leg with some deviation from the vertical axis.
SAUTE [saute] - a classical dance jump from two legs to two legs in I, II, IV and V positions.
SISSONNE [sison] is a type of jump, varied in form and often used.
SISSON OUVERTE [sisson overt] - a jump with flying forward, backward or to the side; upon landing, one leg remains open in the air at a given height or in a given position.
SISSONNE FERMEE [sisson farm] - closed jump.
SISSONNE SIMPLE [sisson simple] - a simple jump from two legs to one.
SISSONNE TOMBEE [sisson tombe] - jump with a fall.
SOUBRESAU [subreso] - a large jump with a delay in the air.

Rotations.

FOUETTE [fouette] – from the verb “to quilt, whip”; type of dance turn, fast, sharp; During the turn, the open leg bends towards the supporting leg and opens again with a sharp movement.
PIROUTTE [pirouette] - “spinning top, spinner”; rotation of the performer on one leg en dehors or en dedans, the second leg in the position sur le cou-de-pied.
TOUR [tour] – turn.
TOUR CHAINES [tour shene] - “linked, connected”; quick turns, one after the other, performed on two legs diagonally or in a circle on high half-toes.
TOUR EN L`AIR [tour en ler] - tour in the air.

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

In the 17th century (1701), the Frenchman Raoul Feuillet created a system for recording elements of classical dance. These terms are recognized by experts in the field of world choreography even today.

Turning to specialized literature, students experienced difficulties when faced with unfamiliar terms, such as: “Eversion of the legs,” and this is a necessary and obligatory condition for the technique of performing elements of classical dance; “Body” is an unacceptable term in gymnastics; it is replaced by “Posture” , "Balloon" - the ability to fix a pose in a jump, "Force" - the necessary preparatory movement of the arms to perform pirouettes, "Aplomb" - a stable position of the student, "Elevation" - the ability of an athlete to show the maximum phase of flight in a jump, "Priporasion" - preparatory exercises hand or foot before starting to perform an element, “Cross” - performing elements in the following directions: forward, sideways, backwards, to the side or in the opposite direction.

Knowledge of special terms speeds up the learning process. Choreographic terminology characterizes movement in more detail than gymnastics. This is the international language of dance, the opportunity to communicate with choreographers, understanding of specialized literature, the ability to briefly record training combinations, lessons, etudes, floor exercises, compositions.

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

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

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

preparatory

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

I – first

Arms forward, rounded at the elbow and wrist joints

II – second

Arms forward to the sides, rounded at the elbow and wrist joints with palms facing 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

LEGS POSITIONS

I – first

Closed toe post outward. Heels closed, toes out. The legs are located on the same line with an even distribution of the center of gravity throughout the foot

II – second

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

III – third

The right one is placed in the middle of the left foot (toes out)

IV – fourth

Stand with your feet apart, right in front of the left (at a distance of one foot), toes outward (performed on both feet)

V – fifth

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

VI – sixth

Closed stance (heels and toes closed)

Exercise – choreographic exercises in a set sequence at the support or in the middle.

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

DEMI PLIE, GRANA PLIE (HALF SQUIET, SQUT)

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

Half squat(demi plie)

The half 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. Bending and extension of the legs is performed smoothly, without stopping, “inverted”, 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 half-squat is performed smoothly, then the heels are gradually raised, and the knees are bent as much as possible. When extending, the heels are first lowered to the floor, then the knees are straightened. When raising your heels, do not rise high on your toes. The exception is the grand plié 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 machine) or both hands (if the movement is performed in the middle) 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) is lowered from the second position to the preparatory position, and with the beginning of leg extension, the arm is again transferred through the first position to the second.

BANTMAN TANDYU (STRETCHED)

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

Flexion and extension of the foot by sliding along the floor until the foot is on the toe. Performed from the first or fifth position in three directions: forward, sideways, backward.

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

Batman tandu(right to the side on the toe)

Batman tandy forward(right forward on toe)

Banman tandyu back(right back to toe)

Batman tandu forward and backward is performed along a line strictly perpendicular to the body, and to the side - exactly along the line of the shoulder. When performing batman tandu, first the entire foot slides along the floor, then the toes and instep 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 your knees remain as extended as possible and that both legs remain turned out. When stretching your leg, there should be no emphasis on the toe. As the leg returns to its original position, the foot gradually lowers to the floor. The heel is lowered to the floor only in the starting position.

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

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

BATMAN TANDUE JETE (WASH)

Develops muscle strength, beauty of the leg line and clarity of execution.

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

Performed in the first or fifth position in three directions: forward - downwards, to the side - downwards, back - downwards.

Batman tandu jete to the side

(swipe the right one to the side - downwards)

Batman tandu jet forward

(swipe right forward downwards)

Batman tandu jete back

(swipe right back down)

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

Returns to IP with a sliding movement through the position on the toe.

Musical size at the beginning of learning - 4/4 or 2/4, the pace is slow. As you master the exercise, the leg swing is performed from a beat, the tempo is average.

GRAND BATMAN (RIGHT SWING FORWARD, SIDEWAY, BACKWARD)

The leg is in this position both when performing large batman jetés (swings), fixed at 90°, and when slowly raising the leg - relevé lan.

Foot forward position

Leg position to the side

Leg position back

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 swing, passing along the floor with a sliding movement, as in the batman tandu jet, with the leg fixed at 90° (hereinafter higher), and returns by sliding through the batman tandu jet to the IP. Make sure to maintain the “turnout” 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 torso should remain strictly vertical. When swinging backwards, a slight forward tilt of the torso is allowed.

Musical size – 4/4. At the beginning of learning the pace is slow. As the leg swing is mastered, it is performed out of beat, the tempo is average, and the height of the swing increases in three directions: up and then up.

When performing a relevé, the leg slowly rises forward, to the side or back and just as slowly lowers to the starting position (through the batman tandu). As it is mastered, the height also increases, as in Grand Batman up and up.

RONDDE DE JAMBE PARTERRE (CIRCULATORY MOVEMENT OF THE TOE ON THE FLOOR)

The main objective of the exercise is to develop and strengthen the hip joint and the necessary “turnout” of the legs.

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

An deor(outside)

From the first position, a sliding movement forward onto the toe (batman tandu), maintaining maximum “turnout” and tension of the legs, is transferred by sliding to the second position to the right position to the side on the toe, then, maintaining “turnout” and tension, it is carried back to the toe (batman tandu) and returns by sliding to the starting position

An dedan(inside)

When performing the exercise backwards (an dedan), the leg from the first position is sliding back onto the toe, then sliding to the side onto the toe (to the second position), from the second position sliding to the right position forward on the toe (batman tandyu) and sliding back to the starting position. position

The center of gravity of the body is maintained on the supporting leg. The working leg should move “inverted” through all the main positions of the legs on the toes 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.

Musical size 3/4, 4/4, average tempo.

PORT DE BRAS (EXERCISES FOR THE TORSO AND ARMS)

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

Here is one of the forms of por de bras, which consists of bending the torso forward and straightening 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 a facing position (en face) or in a half turn (croise, hilt). Before starting the exercise, the hands are transferred from the preparatory position through the first to the second.

Fifth position of legs, second position of arms

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

Fifth position of legs, third position of arms

Port de bras forward, arms in third position (torso tilted forward, arms up, rounded at the elbow and wrist joints).

Fifth position of legs, first position of arms

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

Port de bras back, third hand position

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

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

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

Position the foot on the ankle (sur le cou de pied) to perform batman frappe, batman fondue, petit batman, botu. The right one, bent with a slightly straightened foot, is located above the ankle of the other leg, touching it with the outer part of the foot. Fingers are pulled back.

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

Sur le cou de pied

(basic position of the foot is on the ankle in front)

Sur le cou de pied

(basic position of the foot is on the back of the ankle)

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

First, the exercise is learned by extending the leg 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 flexion and extension of the leg in all three directions is mastered, the leg flexion will be performed from the beat with an emphasis on leg extension.

Musical size – 2/4, the pace is average.

First, only the position sur le cou de pied in front and behind is learned. The leg from fifth position is fixed above the ankle of the other leg and lowered again to fifth position. It is recommended to practice this exercise facing the support. It is necessary to monitor the maximum “turnout” of the leg in the hip, knee and ankle joints, maintaining correct posture and the center of gravity of the body on the supporting leg.

As you master the position of the foot on the ankle in front and behind, you learn to change the position in front and behind at a slow pace, and as you master it, at a fast pace. To learn double frappe in groups UTG-3, UTG-4 on half-toes and in combination with demi-plie poses.

The position of the foot on the ankle (sur le cou de pied) to perform batman fondue. This exercise consists of bending the leg into a sur le cou de pied position with an extended “lift”, a simultaneous half-squat on the supporting leg and extension of the working leg to the toe or downwards in one of three directions.

Sur le cou de pied

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

Sur le cou de pied

from behind (conditional position of the foot on the ankle behind)

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

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

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

PASSE (TRANSLATIONS – “EVERYTHING” POSITION OF THE BENT LEG IN FRONT, TO THE SIDE AND BACK, TOE AT THE KNEE).

DEVELOPMENT (FLEXION AND EXTENSION OF THE LEG 90° AND HIGHER)

The exercise develops “turnout” in the hip, knee and ankle joints and is a lead-in exercise for performing development.

Passe to perform development forward

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

Passe to perform development back

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

Passe to perform development aside

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

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

Then the working leg slides upward along the supporting leg (but without touching it) and opens in the required direction. If the leg is extended to the side, then, without bringing the toe slightly to the knee of the supporting leg, it must be moved to the inside of the supporting leg and then straightened.

When performing, it is necessary to monitor the “turnout” of the hip, the tension of the instep and fingers.

When the passé is well mastered, the second part of the movement is introduced - extension of the leg in one of three directions forward, sideways, backward. First, the developer learns to the side, then forward and later back. Sideways and backward leg extension is learned facing the machine. The movement is performed smoothly. It is necessary to monitor the “turnout” of the leg during its extension and return to its original position. The musical size is 3/4, 4/4, the tempo is slow. When performed in the middle, various rotations of the torso and positions of the arms can be given. The passé position can also be used when moving the leg from one pose to another.

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

Choreography: Classical dance

Classical dance is the basis of choreography. Classics allow you to learn all the subtleties of ballet art, feel the harmony of movements and music. Many will think, why bother with the “old” when there are many new modern trends. But you need to understand that everything new originates from the dances of past centuries. Thus, the classics absorbed all the most elegant movements from folk and everyday dances of several centuries, gradually improving the positions of the arms and legs, the positions of the head and body. All dance movements in classical dance have names in French, so dancers from different countries can easily understand each other. Classical dance classes allow you to develop flexibility, coordination of movements, strengthen the musculoskeletal system, contribute to the development of endurance, physical and intellectual development, and also teach control your body. Various combinations allow you to dance beautifully and elegantly, even if it is simple movements of the hand, foot or head. In children engaged in classics, correct posture is corrected and established, and some cases of spinal curvature are corrected. Often, even experienced dancers of various dance styles continue to practice classical dance, because its fundamentals are universal.. In classical dance classes, they teach the basic positions of the arms and legs, the correct positioning of the body, introduce professional terminology and the history of the development of ballet, cultivate musicality, develop stability and coordination, and They also prepare small classical performances in the form of etudes, adagios or various variations. All movements in classical dance are based on turnout - one of the most important qualities in classical dance, which is simply necessary for any stage dance. Turnout and development of the step are necessary regardless of the height to which the leg is raised; turnout seems to hold the leg, leading it to the desired position, promoting the purity of plastic movements and smoothing out the angles formed by the heels when lifting the legs. Insufficiently flexible knee, ankle and instep restrict the free movement of the legs, making them cramped and unexpressive. Based on turnout, there are five foot positions in classical dance. Moreover, in all these positions, not only the feet are turned out, but the entire legs, starting from the hip joint. Regular long-term flexibility and endurance training allows you to take the necessary positions without much effort.

When starting to practice, you need to remember about the stance, because nothing will work if you do not stretch your body vertically, avoiding a bent or arched spine, and do not distribute the weight between your legs. Developing correct posture requires a lot of patience and time. You should never forget about your posture - neither during classical classes, nor during independent training, nor on any other day. Classical dance, like many others, is not only a set of movements, it needs to be revived, emotions and feelings must be put into it. And as soon as strong feelings are revealed in the dance, the impression of it changes significantly; it fascinates with its plastic expressiveness, leaving complete aesthetic pleasure.
In the 17th century (1701), the Frenchman Raoul Feuillet created a system for recording elements of classical dance. These terms are recognized by experts in the field of world choreography even today. Knowledge of special terms speeds up the learning process. This is the international language of dance, the opportunity to communicate with choreographers, understanding of specialized literature, the ability to briefly record training combinations, lessons, etudes, floor exercises, compositions.

Choreographic terminology is a system of special names intended to designate exercises or concepts that are difficult to briefly explain or describe.
Exercise at the support or in the middle - This is a set of training exercises in ballet that promote the development of muscles, ligaments, and the development of coordination of movements in the dancer. Exercises are performed at the “bench” (attached with brackets to the wall) and in the middle of the training room every day. Exercises consist of the same elements.
1.demi plie - (demi plie) - incomplete “squat”.
2.grand plie - (grand plie) - deep, large “squat”.
3.relevé- (relevé) - “lifting”, lifting into a toe-stand with lowering into the IP in any position of the legs.
4.battement tendu - (batman tandu) - “extended” sliding movement of the foot into the position of the leg on the toe forward, to the side, back with a sliding movement returning to the IP.
5.battement tendu jeté - (batman tandu jeté) “throw”, swing to a downward position (25°, 45°) with a cross.
6.demi rond - (demi rond) - incomplete circle, semicircle (toe on the floor, at 45ana 90° and above).
7.rond dejamb parterre - (rond de jamb par ter) - circle with the toe on the floor; circular movement of the toe on the floor.
8.rond de jamb en l "air - (rond de jamb en leer) - circle with the leg in the air, stand on the left to the right to the side, circular movement of the shin outward or inward.
9.en dehors - (andeor) - circular movement away from oneself, circular movement outward in the hip or knee joint, as well as turns. 10.en dedans - (andedan) - circular movement towards oneself, circular movement inward.
11.sur le cou de pied - (sur le cou de pied) - the position of the foot on the ankle (in the narrowest place of the leg), the position of the bent leg on the ankle joint in front or behind.
12.battement fondu - (batman fondue) - “soft”, “melting”, simultaneous flexion and extension of the legs at the hip and knee joints.
13.battement frappe - (batman frappe) - “kick” - a short blow with the foot on the ankle joint of the supporting leg, and rapid extension of the knee joint (25°, 45°) to the toe or downward position.
14.petit battement - (petit batman) - “small kick” - alternately small, short kicks with the foot in the cou-de-pied position in front and behind the supporting leg.
15.battu- (botyu) - “hit” continuously, small, short blows to the ankle joint only in front or behind the supporting leg.
16.double- (double) - “double”, battement tendu - double heel press battement fondu - double half-squat battement frapper - double blow.
17.passe-(passe) - “to carry out”, “to pass”, the position of a bent leg, toe at the knee: in front, to the side, behind.
18.relevelent- (relevant) - “raise” slowly, smoothly slowly on a count of 1-4 1-8 raising the leg forward, to the side or back and higher.
19.battement soutenu-(batman with a hundred) - “fused” - from stoics on toes with a half squat on the left, sliding the right one forward onto the toe (back or to the side) and sliding back to IP.
20.développe-(develop) - “opening”, “unfolded”, from a stoic position to the left and right with a sliding movement to a bent position (toe at the knee) and straightening it in any direction (forward, sideways, backward) or higher.
21.adajio - (adagio) - slowly, smoothly includes grand plie, development, leveller, all types of balances, pirouettes, turns. Joint bundle for 32, 64 counts.
22.attitude - (attitude) - pose with the leg bent at the back, stand on the left, right to the side - back, shin to the left.
23.terboushon- (terbushon) - a pose with a bent leg in front (attitude in front) of a stoic on the left, right forward, shin down to the left.
24.degaje-(degazhe) - “transition” from the stand on the left to the right forward on the toe, step forward through a half-squat in the 4th position, straightening up, stand on the right, left back, on the toe. From the stand on the left, right to the side on the toe, step to the side through a half-squat in the 2nd position, stand on the right, left to the side on the toe.
25.grand battement-(grand batman) - “big throw, swing” 90° and higher through the position of the foot on the toe.
26.tombée-(tombe) - “fall” from a stand on the toes in the fifth position, lunge forward (to the side, back) with a sliding movement returning to IP.
27.picce-(picke) - “stabbing”, stand on the left right forward to the bottom, quickly touch the floor with the toe repeatedly.
28.pounte-(pointe) - “on the toe”, “touching the toe” from a stoic position on the left, right forward, to the side or back on the toe swing in any direction with a return to IP.
29.balance - “swinging”, pendulum movement of the legs forward up - back down, forward - back, forward - back up.
30.allongée-(allange) - “reaching out”, completing the movement with the arm, leg, torso.
31.pordebras - (por de bras) - “bends of the body”, bending forward, backward, to the side. The same goes for stretching.
32.temps lie-(tan lie) - small adagio, 1 - half squat on the left, 2 - right forward on the toe, 3 - shift the center of gravity to the right, left back on the toe, 4-IP 5. the same to the side and back.
33.failli-(fay) - “flying”, IP - 5th position right in front. Push 2 jump up, lowering into a cross lunge with the left to the side, left hand up, right hand back - push with the left and swing the right back downwards jump up 2 hands down. 34.allegro-(allegro) - “cheerful”, “joyful”, part of the lesson consisting of jumps, performed at a fast pace.

Addition: A LA SECONDE [a la segond] - a position in which the performer is positioned en face, and the “working” leg is open to the side at 90°.
ALLONGE, ARRONDIE [alonge, arondi] - the position of a rounded or elongated arm.
ARABESQUE [arabesque] - a classical dance pose in which the leg is pulled back “toe to the floor” by 45°, 60° or 90°, the position of the torso, arms and head depends on the shape of the arabesque.
ARCH [atch] - arch, bending of the torso back.
ASSEMBLE [assemble] - a jump from one leg to two is performed with abduction of the leg in a given direction and gathering the legs together during the jump.
ATTITUDE [attitude] - the position of the leg, lifted off the floor and slightly bent at the knee.
BATTEMENT AVELOPPE [batman avloppe] - the opposite movement to battement developpe, the “working” leg from the open position through passe is lowered to a given position.
BATTEMENT DE VELOPPE [batman devloppe] - taking the leg forward, backward or to the side by sliding the “working” leg along the supporting leg.
BATTEMENT FONDU [batman fondue] - a movement consisting of simultaneous bending of the knees, at the end of which the “working” leg comes into a position sur le cou-de-pied in front or behind the supporting leg, followed by a simultaneous extension of the knees and the “working” leg opens forward, sideways or backward. Modern jazz dance also uses the fondu form from the folk stage dance lesson.
BATTEMENT FRAPPE [batman frappe] - a movement consisting of a quick, energetic flexion and extension of the leg, the foot is brought to the sur le cou-de-pied position at the moment of flexion and opens with the toe to the floor or to a height of 45 ° at the moment of extension forward, to the side or back.
BATTEMENT RELEVE LENT [batman releve lan] - a smooth lift of the leg through sliding along the floor 90° forward, sideways or backward.
1 When learning vocabulary, it is necessary to remember that the movements of classical dance, borrowed from modern jazz dance, are very often modified. This is especially true for the inverted and parallel positions. In this regard, the dictionary gives the terminology of classical ballet without changes (see All about ballet // With the author E.Ya. Surits. M., 1966, Encyclopedia "Ballet". M., 1981, etc.), and the change in provisions depends on the context of the lesson. There is often a terminological overlap between English and French terminology, for example, temps leve is similar to hop, battement tendu is similar to brack, kick corresponds to grand battement developpe, etc. In this case, it is necessary to use a movement depending on the specific exercise.
BATTEMENTRETIRE [batman retire] - transfer through sliding of the “working” leg, through passe from the V position in front to the V position behind.
BATTEMENT TENDU [batman tandu] - movement of the leg, which is moved forward, backward or to the side with a sliding movement. In modern jazz dance it is also performed in parallel positions.
BATTEMENT TENDU JETE [batman tandu jete] - differs from battement tendu by actively throwing the leg into the air at a height.
BODY ROLL [body roll] - a group of torso tilts associated with alternate movement of the center of the body in the lateral or frontal plane (synonymous with “wave”).
BOUNCE [bounce] - springboard rocking up and down, mainly occurs either due to bending and straightening of the knees, or pulsating tilts of the torso.
BRUCH [brush] - sliding or brushing the entire foot across the floor before opening the leg into the air or when closing into a position.
CONTRACTION [contract] - compression, reduction of the volume of the body and rounding of the spine, begins in the center of the pelvis, gradually capturing the entire spine, performed while exhaling.
CORKSCREW TURN [corkscrew turns] - “corkscrew” turns in which the performer increases or decreases the level of rotation.
COUPE [coupe] - a quick substitution of one leg for another, serving as an impetus for a jump or other movement.
CURVE [curf] - bending of the upper part of the spine (to the “solar plexus”) forward or to the side.
DEEP BODY BEND [deep body bend] - bending the torso forward below 90°, maintaining a straight line of the torso and arms.
DEEP CONTRACTION [deep contraction] - strong compression into the center of the body, in which all joints participate, i.e. This movement includes the arms, legs and head.
DE GAGE ​​[degage] - transferring the weight of the body from one leg to another in the second position (right, left) and in the fourth position of the legs (forward, backward), can be performed both with demi-plie and with outstretched legs.
DEMI-RYO [demi-plie] - a half-squat in which the heels do not come off the floor.
DEMIROND [demi rond] - a semicircle with the toe of the foot on the floor forward and to the side, or back and to the side.
DROP [drop] - falling of the relaxed torso forward or to the side.
ECARTE [ecarte] - a classical dance pose (a la seconde), deployed diagonally forward or backward, the body is slightly tilted away from the raised leg.
EMBO1TO [ambuate] - successive transitions from foot to foot on half-toes, fingers and with a jump. Emboite jumps - alternately throwing your legs bent at the knees forward or 45°.
EN DEDANS [an dedan] - the direction of movement or turning towards oneself, inward.
EN DEHORS [an deor] - the direction of movement or rotation away from oneself or outward.
EPAULMENT [epolman] - the position of the dancer turned 3/4 in t. 8 or t. 2; there is a difference between epaulement croise (closed) and epaulement efface (erased, open),
FLAT BACK [flat back] - tilting the torso forward, to the side (90°), back with a straight back, without bending the torso.
FLAT STEP [flat step] - a step in which the entire foot is simultaneously placed on the floor.
FLEX [flex] - shortened foot, hand or knees.
FLIK [flick] - a stroke of the foot along the floor towards the supporting leg.
FOUETTE [fouette] - a turning technique in which the performer’s body turns towards a leg fixed in a certain position (on the floor or in the air).
FROG-POSITION [frog-position] - a sitting position in which the legs bent at the knees touch each other with the feet, the knees should be maximally open to the sides,
GLISSADE [glissade] - a ground sliding jump without lifting off the floor, moving left-right or forward-backward.
GRAND BATTEMENT [grand batman] - throw a leg 90° or higher forward, backward or to the side.
GRAND JETE [grand jete] - a jump from one leg to the other, moving forward, backward or to the side. The legs open as much as possible and take a “split” position in the air.
GRAND PLIE [grand plie] - full squat.
HIGH RELEASE [high release] - high expansion, a movement consisting of lifting the chest with a slight bend back.
HINGE [hinch] - a dancer’s position in which the straight, without bending, torso leans back to the maximum distance, knees bent, feet on half toes,
HIP LIFT [hip lift] - lifting the hip up.
NOR [hop] - step-hop, the “working” leg is usually in the “knee” position.
JACK KNIFE [Jack Knife] - the position of the body in which the torso leans forward, the back is straight, support is on the hands, the knees are extended, the legs are in the second parallel position, the heels do not come off the floor.
JAZZ HAND [jazz hand] - a position of the hand in which the fingers are tense and spread apart.
JELLY ROLL [jelly roll] - movement of the pelvis, consisting of a small muscle contraction with a simultaneous slight rotation of the pelvis to the right and left (synonym - pelvis neck.)
JERK-POSITION [jerk position] - a position of the arms in which the elbows are bent and slightly pulled back behind the chest, the forearms are parallel to the floor.
JUMP [jump] - jump on two legs.
KICK [kick] - throw of the leg forward or to the side at 45° or 90° through removal using the developpe technique,
LAY OUT - a position in which the leg, open 90° to the side or back, and the torso form one straight line.
LEAP [liip] - jump from one leg to the other moving forward or to the side.
WCOMOTOR [locomotor] - circular movement of the arms bent at the elbows along the torso.
LOW BACK [low back] - rounding of the spine in the lumbar-thoracic region.
PAS BALANCE [on balance] - pa, consisting of a combination of tombe and times de Ъоуггее. It is performed moving from side to side, less often - back and forth.
PAS CHASSE [pa chasse] - an auxiliary jump with advancement in all directions, during which one leg “catches up” with the other at the highest point of the jump.
PAS DE BOURREE [pas de bourre] - a dance auxiliary step consisting of alternating steps from one foot to the other ending on demi-plle. Synonymous with step pas de bourree. In modern jazz dance, during pas de bourgeois, the position sur le cou-de-pied is not fixed.
PAS DE CHAT [pas de sha] - a cat's limiting jump. The legs bent at the knees are thrown back.
PAS FAILLJ [pa faille] - a connecting step consisting of passing the free leg through the passing demlplie in the first position forward or backward, then the weight of the body is transferred to the leg with some deviation from the vertical axis.
PASSE [passe] - a passing movement, which is a connecting movement when moving the leg from one position to another, can be performed in the first position on the floor (passepar terre), or at 45° or 90°.
PIQUE [pique] - a light prick with the tips of the toes of the “working” leg on the floor and raising the leg to a given height.
PIROUTTE [pirouette] - rotation of the performer on one leg en dehors or en dedans, the second leg in the position sur le cou-de-pied.
PLIE RELEVE [plie releve] - position of the legs on half toes with bent knees.
POINT [point] - extended position of the foot.
PRANCE [price] - a movement for developing foot mobility, consisting of a quick change of position “on the half-toes” and point.
PREPARATION [preparation] - a preparatory movement performed before the start of an exercise.
PRESS-POSITION [press position] - a position of the arms in which the arms bent at the elbows and the palms touch the hips in front or on the sides.
RELEASE [release] - expansion of body volume that occurs during inhalation.
RELEVE [releve] - lifting onto half toes.
RENVERSE [ranverse] - a sharp bending of the body, mainly from an atitude croise pose, accompanied by a pas de bouree en tournant.
ROLL DOWN [roll down] - a spiral tilt down and forward, starting from the head.
ROLL UP [roll an] - reverse movement associated with the gradual unwinding and straightening of the torso to the starting position.
ROND DE JAM BE PAR TERRE [ron de jambe par terre] - circle with an outstretched leg, touching the floor with your toes.
ROVD DE JAM BE EN L "AIR [ron de jambe enler] - circular movement of the lower leg (ankle) with a fixed hip, abducted to the side to a height of 45° or 90°.
SAUTE [saute] - a classical dance jump from two legs to two legs in I, II, IV and V positions.
SHIMMI [shimmy] - spiral, twisting movement of the pelvis to the right and left,
SIDE STRETCH [side stretch] - lateral stretching of the torso, tilting the torso to the right or left.
SISSON OUVERTE [sisson overt] - a jump with flying forward, backward or to the side; upon landing, one leg remains open in the air at a given height or in a given position.
SOUTENU EN TQURNANT [soutenu en turnan] - a turn on two legs, starting with retracting the “working* leg into the fifth position.
SQUARE [square] - four steps in a square: forward-to the side-back-to the side.
STEP BALL CHANGE [step ball change] - a connecting step consisting of a step to the side or forward and two steps on half toes (synonymous with step pa de hour,
SUNDARI [zundari] - movement of the head, consisting in the displacement of the cervical vertebrae to the right and left and back and forth.
SURLE COU-DE-PIED [sur le cou-de-pied] - the position of the extended foot of the “working” leg on the ankle of the supporting leg in front or behind.
SWING - swinging any part of the body (arm, leg, head, torso) in a special jazz rhythm.
THRUST [fast] - a sharp jerk of the chest or pelvis forward, to the side or backward.
TILT [tilt] - an angle, a posture in which the torso deviates to the side or forward from a vertical position, the “working” leg can be open in the opposite direction by 90° and above.
TOMBYO [tombe] - fall, transfer of the weight of the body to the open leg forward, to the side or back on the demi-plie,
TOUCH - side step or half-toe step without transferring the weight of the body.
TOUR CHA^NES [tour shene] - performed on two legs diagonally or in a circle on high half-toes, half turns following one another, in modern jazz dance can be performed on a full foot and in demi-plie.

A grandfather is walking down the street. I'll meet a punk. His grandfather asks him:
- Son, how can I get to Lenin Street?
- So, grandfather. From here you go straight to Intourist. After him, turn left. There will be a stop in two blocks. The eighth bus will arrive, but don’t get on it. You take the fourth tram and go to the final one. There's an underground passage nearby. In the transition, on the left and on the right hand - the entrance to the metro. You go left. In the metro, wait for the train and sit in the first or at least the second car, there are fewer people there. You'll go through eight stations, get out, and go upstairs. There is a monument to Marx to the left of the metro exit, a couple of blocks away. You turn left with him. Then you will reach the market. But don't go there, everything there is expensive. You go around the market and turn into the alley. Grandmothers sit there and trade. Buy a turkey from them and go back to the metro. You will reach the Vokzal station. There you will take the fifth or twelfth train. You will reach the Gribkino station. You go out - there are two roads, one asphalt, the other dirt. Don't walk on asphalt. Walk along the dirt road. If you go, in half an hour there will be a forest. You go through the forest, there will be a pond and near the pond there is an old construction site. Go to a construction site, there is a truck with bricks overturned. You go behind her and take off your pants. Then take a turkey and smash his head with a brick, and collect his brains. And fuck the turkey’s brains, but I don’t need it, grandfather, because you’re standing on Lenin Street.