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71-442: There are many types of turns, which are differentiated by a number of factors. The performer may be supported by one or both legs or be airborne during a turn. When supported by one leg, that leg is known as the supporting leg and the other as the free , raised , or working leg. During airborne turns, the first leg to leave the floor is the leading leg. Trunk, arm and head positions can vary, and in turns with one supporting leg,

142-413: A natural turn is a clockwise revolution of dance partners around each other, and its mirrored counterpart is the counter-clockwise reverse turn . In some dance genres and dance notation systems (e.g., Labanotation ), a turn in which the performer rotates without traveling is known as a pivot . Pivots may be performed on one or on both feet; the latter is sometimes called a twist turn . Spotting

213-487: A reverse illusion . Illusions are commonly performed in jazz dance and rhythmic gymnastics. A piqué turn is begun by stepping directly onto the ball of a relevé (or en pointe ) foot, followed by a complete rotation while supported by the relevé (or en pointe) foot before returning to plié position. The working leg is often held in retiré position, but may be held in a variety of other positions, either with or without turnout. A pirouette (literally "whirl" or "spin")

284-470: A ballet company in Italy. French word meaning a ballet performance, a ballet work, a ballet company and possibly the ballet dance genre, although the expression danse classique also exists for the latter meaning, is less equivocal and is more commonly used when referring to the learning of this dance. The foundational principles of body movement and form used in ballet. A ballet fan or enthusiast. The word

355-418: A ballet company in Italy. French word meaning a ballet performance, a ballet work, a ballet company and possibly the ballet dance genre, although the expression danse classique also exists for the latter meaning, is less equivocal and is more commonly used when referring to the learning of this dance. The foundational principles of body movement and form used in ballet. A ballet fan or enthusiast. The word

426-541: A bell.') Refers to brushing through first position from fourth devant or fourth derrière to the opposite fourth with the upper body held upright. Can be done continuously, as is often done with grands battements and attitudes . Similar to Balançoire , which additionally allows seesaw like upper-body shifting in counterpoint to the legs. The Vaganova system may refer to en cloche as "passé la jambe" or "battement passé la jambe". ( Italian pronunciation: [ˈkoːda] ); literally 'tail'). The concluding segment of

497-541: A bell.') Refers to brushing through first position from fourth devant or fourth derrière to the opposite fourth with the upper body held upright. Can be done continuously, as is often done with grands battements and attitudes . Similar to Balançoire , which additionally allows seesaw like upper-body shifting in counterpoint to the legs. The Vaganova system may refer to en cloche as "passé la jambe" or "battement passé la jambe". ( Italian pronunciation: [ˈkoːda] ); literally 'tail'). The concluding segment of

568-458: A confident, accomplished dancer. In dance (particularly ballet), arabesque (French: [aʁabɛsk]; literally, "in Arabic fashion") is a body position in which a dancer stands on one leg (the supporting leg) with the other leg (the working leg) extended, straight, behind the body. The arm positions can vary and are generally allongé. The foot of the supporting leg may be flat on the floor, on the ball of

639-405: A confident, accomplished dancer. In dance (particularly ballet), arabesque (French: [aʁabɛsk]; literally, "in Arabic fashion") is a body position in which a dancer stands on one leg (the supporting leg) with the other leg (the working leg) extended, straight, behind the body. The arm positions can vary and are generally allongé. The foot of the supporting leg may be flat on the floor, on the ball of

710-418: A dancer stands on one leg (the supporting leg) while the other leg ( working leg) is raised and turned out with knee bent to form an angle of approximately 90° between the thigh and the lower leg. The height of the knee versus the foot and the angle of the knee flexion will vary depending on the techniques. The working leg can be held behind ( derrière ), in front ( devant ), or to the side ( à la seconde ) of

781-418: A dancer stands on one leg (the supporting leg) while the other leg ( working leg) is raised and turned out with knee bent to form an angle of approximately 90° between the thigh and the lower leg. The height of the knee versus the foot and the angle of the knee flexion will vary depending on the techniques. The working leg can be held behind ( derrière ), in front ( devant ), or to the side ( à la seconde ) of

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852-531: A leg and picks it up(the leg in front). Then the bent leg is straighted on the floor and the straight leg is picked off the floor and bent. These steps are repeated over and over again. The dancer looks as if he or she is flying across the floor. ( French pronunciation: [kabʁijɔl] ; meaning 'caper.') An allegro step in which the extended legs are beaten in the air. Cabrioles are divided into two categories: petite, which are executed at 45 degrees, and grande, which are executed at 90 degrees. The working leg

923-531: A leg and picks it up(the leg in front). Then the bent leg is straighted on the floor and the straight leg is picked off the floor and bent. These steps are repeated over and over again. The dancer looks as if he or she is flying across the floor. ( French pronunciation: [kabʁijɔl] ; meaning 'caper.') An allegro step in which the extended legs are beaten in the air. Cabrioles are divided into two categories: petite, which are executed at 45 degrees, and grande, which are executed at 90 degrees. The working leg

994-400: A performance or suite of dances comprising a grand pas (e.g., grand pas de deux ). A particularly large or complex coda may be called a grand coda . If a large group of dancers participate, the terms coda générale or grand coda générale may be used. The ensemble of a ballet company, especially the ensemble apart from the featured dancers. Being a part of the corps means one is neither

1065-400: A performance or suite of dances comprising a grand pas (e.g., grand pas de deux ). A particularly large or complex coda may be called a grand coda . If a large group of dancers participate, the terms coda générale or grand coda générale may be used. The ensemble of a ballet company, especially the ensemble apart from the featured dancers. Being a part of the corps means one is neither

1136-405: A soloist nor a principal dancer. ( French pronunciation: [kɔʁife] ) In some systems, a dancer of higher rank than a member of the corps de ballet, performing in small ensembles and small solo roles but not ranked as a soloist. ( French pronunciation: [də kote] ; 'sideways.') A movement traveling to the side. ( French pronunciation: [ku də pje] ; 'neck of

1207-405: A soloist nor a principal dancer. ( French pronunciation: [kɔʁife] ) In some systems, a dancer of higher rank than a member of the corps de ballet, performing in small ensembles and small solo roles but not ranked as a soloist. ( French pronunciation: [də kote] ; 'sideways.') A movement traveling to the side. ( French pronunciation: [ku də pje] ; 'neck of

1278-488: A step is done "à la seconde", it is done to the side. 'Second position'. It can also be a balance extending one foot off the ground in ‘Second Position’. ( French pronunciation: [a la katʁijɛm] ) One of the directions of body, facing the audience ( en face ), arms in second position, with one leg extended either to fourth position in front ( quatrième devant ) or fourth position behind ( quatrième derrière ). ( French pronunciation: [a tɛʁ] ) Touching

1349-410: Is French for "whipped") to the side and then, once extended to maximum turnout, bent and pulled in to a passe or retiré position. The foot beats behind the knee and then to the front of the knee of the supporting leg before extending back out to the front. At the same time, the supporting foot transitions to relevé (heel raised), in ballet often rising to en pointe (on toe tips). These movements create

1420-461: Is a technique that is often used when executing turns, in which a performer executes a periodic, rapid rotation of the head that serves to fix the performer's gaze on a single spot, thus giving the impression that the head is always facing forward. Spotting prevents dizziness by allowing the head to remain stable during most of the turn. This helps the performer maintain balance and, when executing traveling turns such as tours chaînés and piques, it helps

1491-552: Is a tool, not a necessary item to dance. An alternating side-to-side movement of the working (non-supporting) leg. Typically performed in multiples, quickly and in rapid succession so that the working foot appears to be fluttering or vibrating. ( French pronunciation: [batʁi] ) A general term for jumps in which the legs open slightly sideways and close (crossed in fifth position) multiple times, alternating feet. (See "Battu.) ( French pronunciation: [baty] ; meaning 'beaten') A movement with an extra beating of

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1562-552: Is a tool, not a necessary item to dance. An alternating side-to-side movement of the working (non-supporting) leg. Typically performed in multiples, quickly and in rapid succession so that the working foot appears to be fluttering or vibrating. ( French pronunciation: [batʁi] ) A general term for jumps in which the legs open slightly sideways and close (crossed in fifth position) multiple times, alternating feet. (See "Battu.) ( French pronunciation: [baty] ; meaning 'beaten') A movement with an extra beating of

1633-482: Is a type of dance turn on one foot. It is performed with turnout (legs rotated outward at hips) in ballet, and typically without turnout in gymnastics and many other genres of dance, such as jazz and modern. It is often executed by starting with one or both legs in plié (knees bent) and then rising onto demi pointe (heels raised) as the turn commences, or in the case of ballet dancers, en pointe (on toe tips). Pirouettes may be executed singly or in multiple rotations;

1704-442: Is a type of two-step turn that is executed repeatedly while the performer travels along a line or curved (often circular or elliptical) path. It is performed quickly on alternating feet and results in a complete rotation for every two steps taken. It is commonly used in ballet, modern, and ballroom dancing. In the first half-turn, one foot is stepped out to the dancer's side in the direction of travel and placed in releve or en pointe;

1775-438: Is both a step and action. It is commonly executed from cou-de-pied front to cou-de-pied back or vice versa. It may also be done from an extended leg position into fondu or directly through fifth position (as in concluding a jeté ). Coupé can only be performed through a closed leg position. The Vaganova School rarely uses the term coupé except as the preparation for specific allegros. Rather, "tombé through fifth position"

1846-438: Is both a step and action. It is commonly executed from cou-de-pied front to cou-de-pied back or vice versa. It may also be done from an extended leg position into fondu or directly through fifth position (as in concluding a jeté ). Coupé can only be performed through a closed leg position. The Vaganova School rarely uses the term coupé except as the preparation for specific allegros. Rather, "tombé through fifth position"

1917-530: Is commonly performed in jazz dance and is often immediately preceded by a chaînés in a deep plié (bend of the knees). A barrel roll turn , or simply barrel roll , is a turn that involves casting the arms up and leaping into the air and rotating 360 degrees while airborne. While airborne, the performer's back may be arched and the head may be cast back. It starts and ends with the performer facing forward. Barrel roll turns are commonly used in tap, jazz, and contemporary dance. Chaînés ( French , meaning "chain")

1988-457: Is conversely a movement towards the back. For example, a step travelling en avant moves forwards towards the audience, as in sissonne en avant . ( French pronunciation: [ɑ̃n aʁjɛːʁ] ; meaning 'backwards') A movement towards the back, as opposed to en avant. ( French pronunciation: [balɑ̃se] ; "balanced") A rocking sequence of three steps— fondu , relevé , fondu (down, up, down)—executed in three counts. Before

2059-457: Is conversely a movement towards the back. For example, a step travelling en avant moves forwards towards the audience, as in sissonne en avant . ( French pronunciation: [ɑ̃n aʁjɛːʁ] ; meaning 'backwards') A movement towards the back, as opposed to en avant. ( French pronunciation: [balɑ̃se] ; "balanced") A rocking sequence of three steps— fondu , relevé , fondu (down, up, down)—executed in three counts. Before

2130-695: Is more commonly used. In the United States, "coupé" may be used to denote the position cou-de-pied, not unlike "passé" is used to denote the position retiré in addition to the action of passing through retiré. ( French pronunciation: [kuʁy] ; 'run,' past participle, as in 'making small quick steps.') In most cases, this holds the calves together and the feet in a tight fifth position en pointe or demi-pointe and travels forward, backward, or to either side. E.g. pas de bourrée couru (also called bourrée for short). ( French pronunciation: [kʁwɑze] ; meaning 'crossed.') One of

2201-632: Is more commonly used. In the United States, "coupé" may be used to denote the position cou-de-pied, not unlike "passé" is used to denote the position retiré in addition to the action of passing through retiré. ( French pronunciation: [kuʁy] ; 'run,' past participle, as in 'making small quick steps.') In most cases, this holds the calves together and the feet in a tight fifth position en pointe or demi-pointe and travels forward, backward, or to either side. E.g. pas de bourrée couru (also called bourrée for short). ( French pronunciation: [kʁwɑze] ; meaning 'crossed.') One of

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2272-401: Is of Russian origin c. 1930, with the suffix -mane coming from maniya ( mania ). Showing lightness of movement in leaps and jumps. A dancer exhibiting ballon will appear to spring effortlessly, float in mid-air, and land softly like a balloon. In classical ballet, the term ballonné is a step where the leg is extended (can be front, side, or back) at 45 degrees. The knee is then bent and

2343-401: Is of Russian origin c. 1930, with the suffix -mane coming from maniya ( mania ). Showing lightness of movement in leaps and jumps. A dancer exhibiting ballon will appear to spring effortlessly, float in mid-air, and land softly like a balloon. In classical ballet, the term ballonné is a step where the leg is extended (can be front, side, or back) at 45 degrees. The knee is then bent and

2414-429: Is stepped out again to begin another turn. In ballet, chaînés turns are usually performed at a very fast tempo, with each turn lasting one half or one quarter of a music beat. They can be performed outwards (en dehors), or inwards (en dedans). A fouetté turn (or fouetté en tournant ) begins with the performer standing on one flat foot in plié (with knee bent). The working leg is extended and whipped around ( fouetté

2485-420: Is thrust into the air, the underneath leg follows and beats against the first leg, sending it higher. The landing is then made on the underneath leg. Cabriole may be done devant, derrière and à la seconde in any given position of the body such as croisé, effacé, écarté, and so on. ( French pronunciation: [kɑ̃bʁe] ; literally 'arched.') A bending at the waist in any direction, forward, backward, or to

2556-420: Is thrust into the air, the underneath leg follows and beats against the first leg, sending it higher. The landing is then made on the underneath leg. Cabriole may be done devant, derrière and à la seconde in any given position of the body such as croisé, effacé, écarté, and so on. ( French pronunciation: [kɑ̃bʁe] ; literally 'arched.') A bending at the waist in any direction, forward, backward, or to

2627-649: The French language . ( French pronunciation: [a la səɡɔ̃d] ) (Literally "to second") If a step is done "à la seconde", it is done to the side. 'Second position'. It can also be a balance extending one foot off the ground in ‘Second Position’. ( French pronunciation: [a la katʁijɛm] ) One of the directions of body, facing the audience ( en face ), arms in second position, with one leg extended either to fourth position in front ( quatrième devant ) or fourth position behind ( quatrième derrière ). ( French pronunciation: [a tɛʁ] ) Touching

2698-408: The air and brings the second foot to meet it in the back before switching to the front to land, creating a beating action with the legs. In a brisé en arrière, the process is reversed, with the front leg brushing to the back and beating to land in front. ( French pronunciation: [bʁa kʁwaze] ; literally 'crossed arms') Arm placement in which one arm is extended in second position away from

2769-408: The air and brings the second foot to meet it in the back before switching to the front to land, creating a beating action with the legs. In a brisé en arrière, the process is reversed, with the front leg brushing to the back and beating to land in front. ( French pronunciation: [bʁa kʁwaze] ; literally 'crossed arms') Arm placement in which one arm is extended in second position away from

2840-445: The angular momentum needed for one turn, which is executed by rotating in place on the supporting foot. In classical ballet , particular significance is attached to the successful completion of 32 consecutive fouettés, a feat first performed publicly by Italian ballerina Pierina Legnani in 1893 and since incorporated into the grand pas of Swan Lake and other 20th-century ballets. Jeanne Devereaux , an American prima ballerina in

2911-454: The audience while the other is curved in first position (Cecchetti fourth position en avant or RAD/French third position). ( Italian pronunciation: [braˈvuːra] ) A flashy, showy and elaborate style of dance that involves a lot of elaborate steps and style to similar music. Usually during a key solo. Quick movement of the feet, can be performed on pointe or on demi-pointe. The dancer straightens one leg (the leg in back) and bends

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2982-454: The audience while the other is curved in first position (Cecchetti fourth position en avant or RAD/French third position). ( Italian pronunciation: [braˈvuːra] ) A flashy, showy and elaborate style of dance that involves a lot of elaborate steps and style to similar music. Usually during a key solo. Quick movement of the feet, can be performed on pointe or on demi-pointe. The dancer straightens one leg (the leg in back) and bends

3053-494: The body. The alignment of the thigh compared to the midline in Attitude derrière will vary depending on the techniques. The foot of the supporting leg may be flat on the floor, en demi-pointe (ball of the foot), or en pointe (tips of the toes). The standing leg can be straight or bent ("fondu"). ( French pronunciation: [ɑ̃n avɑ̃] ; meaning 'forwards') A movement towards the front, as opposed to en arrière , which

3124-438: The body. The alignment of the thigh compared to the midline in Attitude derrière will vary depending on the techniques. The foot of the supporting leg may be flat on the floor, en demi-pointe (ball of the foot), or en pointe (tips of the toes). The standing leg can be straight or bent ("fondu"). ( French pronunciation: [ɑ̃n avɑ̃] ; meaning 'forwards') A movement towards the front, as opposed to en arrière , which

3195-409: The dancer then rotates 180° on the placed foot while lifting the other foot so that it crosses over the placed foot. As this happens, the arms are brought together away from the chest and spotting technique is employed so that the dancer's head faces the direction of travel as much as possible. The second half-turn is executed with the feet together. Upon completion of the second half-turn, the first foot

3266-475: The feet change positions in the air. For example, beginning in fifth position with the right foot front, plié , jump switching the right leg to the back, and land in fifth position with the left foot front. In the Vaganova vocabulary, petit changement de pieds indicates a changement where the feet barely leave the floor. (Literally 'chased.') ( French pronunciation: [ɑ̃ klɔʃ] ; meaning 'like

3337-419: The feet change positions in the air. For example, beginning in fifth position with the right foot front, plié , jump switching the right leg to the back, and land in fifth position with the left foot front. In the Vaganova vocabulary, petit changement de pieds indicates a changement where the feet barely leave the floor. (Literally 'chased.') ( French pronunciation: [ɑ̃ klɔʃ] ; meaning 'like

3408-413: The feet included, as in jeté battu . ( French pronunciation: [bʁize] ; literally 'broken') A jump consisting of an assemblé traveling either forward (en avant) or backward (en arrière), with an extra beat that "breaks" the jump in its travel. To execute a brisé en avant, the dancer demi-pliés in fifth position and brushes the back leg (through first position) to the front, then springs into

3479-413: The feet included, as in jeté battu . ( French pronunciation: [bʁize] ; literally 'broken') A jump consisting of an assemblé traveling either forward (en avant) or backward (en arrière), with an extra beat that "breaks" the jump in its travel. To execute a brisé en avant, the dancer demi-pliés in fifth position and brushes the back leg (through first position) to the front, then springs into

3550-550: The first count, one foot extends in a dégagé to second position ( balancé de côté ) or to the front ( balancé en avant ) or rear ( balancé en arrière ). The second foot in the sequence (in any direction) assembles behind the first to relevé in fifth or fourth position. ( French pronunciation: [balɑ̃swaʁ] ; "swing [children's toy]") Swinging the working leg between front (devant) and back (derrière) through first position , usually in conjunction with grands battements or attitudes and involving seesaw like shifting of

3621-550: The first count, one foot extends in a dégagé to second position ( balancé de côté ) or to the front ( balancé en avant ) or rear ( balancé en arrière ). The second foot in the sequence (in any direction) assembles behind the first to relevé in fifth or fourth position. ( French pronunciation: [balɑ̃swaʁ] ; "swing [children's toy]") Swinging the working leg between front (devant) and back (derrière) through first position , usually in conjunction with grands battements or attitudes and involving seesaw like shifting of

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3692-408: The first half of the 20th century, held the world record of 16 triple fouettés (48 total). An illusion turn (or simply illusion ) is performed by keeping the working leg aligned with the torso while, simultaneously, a 360 degree spin is executed while the torso pivots down and then back up at the hip. An illusion can be performed by turning toward or away from the working leg; the latter is known as

3763-448: The floor; on the floor. Italian, or French adage , meaning 'slowly, at ease.' ( Italian pronunciation: [alˈleːɡro] ; meaning 'happy') ( French pronunciation: [alɔ̃ʒe] ; meaning 'elongated.') Refers to a foot and leg position when the toes and knees are extended and elongated, rather than forming the usual soft curve. Can also refer to a similar arm position. The apparent elegance and precision exhibited by

3834-448: The floor; on the floor. Italian, or French adage , meaning 'slowly, at ease.' ( Italian pronunciation: [alˈleːɡro] ; meaning 'happy') ( French pronunciation: [alɔ̃ʒe] ; meaning 'elongated.') Refers to a foot and leg position when the toes and knees are extended and elongated, rather than forming the usual soft curve. Can also refer to a similar arm position. The apparent elegance and precision exhibited by

3905-437: The foot (demi-pointe/relevé), or on the tips of the toes (en pointe). ( French pronunciation: [aʁɔ̃di] ; meaning 'rounded') A position of the hand. Rounded, in contrast with allongé ('stretched out', as in arabesque). ( French pronunciation: [asɑ̃ble] ; literally 'assembled') Sometimes also pas assemblé . A jump that takes off from one foot and lands on two feet. When initiated with two feet on

3976-437: The foot (demi-pointe/relevé), or on the tips of the toes (en pointe). ( French pronunciation: [aʁɔ̃di] ; meaning 'rounded') A position of the hand. Rounded, in contrast with allongé ('stretched out', as in arabesque). ( French pronunciation: [asɑ̃ble] ; literally 'assembled') Sometimes also pas assemblé . A jump that takes off from one foot and lands on two feet. When initiated with two feet on

4047-559: The foot brought to a sur le cou-de-pied position. This can also be done as a relevé or jump. A ballotté is a jumping step in classical ballet that consists of coupé dessous and small developpés performed with a rocking and swinging movement. The step can be performed with the leg extensions at 45 or 90 degrees. A sturdy horizontal bar, approximately waist height, used during ballet warm-up exercises and training. Fixed barres are typically mounted on -covered walls; portable barres can be relocated as needed. Used for balance, not support. A barre

4118-559: The foot brought to a sur le cou-de-pied position. This can also be done as a relevé or jump. A ballotté is a jumping step in classical ballet that consists of coupé dessous and small developpés performed with a rocking and swinging movement. The step can be performed with the leg extensions at 45 or 90 degrees. A sturdy horizontal bar, approximately waist height, used during ballet warm-up exercises and training. Fixed barres are typically mounted on -covered walls; portable barres can be relocated as needed. Used for balance, not support. A barre

4189-483: The foot.') Position of the arched working foot raised to, and resting on, the ankle. This could be in front (["conditional"] devant ), behind ( derrière ), or wrapped ( sur le cou-de-pied : arch of the foot wrapped around the ankle with the heel in front of the ankle and the toes behind, often interchangeable with the devant/conditional position), depending on the activity and the school/method of ballet. ( French pronunciation: [kupe] ; meaning 'cut.') Coupé

4260-483: The foot.') Position of the arched working foot raised to, and resting on, the ankle. This could be in front (["conditional"] devant ), behind ( derrière ), or wrapped ( sur le cou-de-pied : arch of the foot wrapped around the ankle with the heel in front of the ankle and the toes behind, often interchangeable with the devant/conditional position), depending on the activity and the school/method of ballet. ( French pronunciation: [kupe] ; meaning 'cut.') Coupé

4331-434: The free leg may be straight or bent. Turns can begin in various ways as well. For example, ballet turns may begin by rising to relevé (supported on the ball of the foot ) or by stepping directly onto relevé. Some turns can be executed in either of two directions. In ballet, a turn in the direction of the raised leg is said to be en dehors whereas a turn in the opposite direction is en dedans . In ballroom dancing ,

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4402-417: The ground (e.g. from fifth position) the working leg performs a battement glissé / dégagé , brushing out. The dancer launches into a jump, with the second foot then meeting the first foot before landing. A petit assemblé is when a dancer is standing on one foot with the other extended. The dancer then does a small jump to meet the first foot. ( French pronunciation: [atityd] ) A position in which

4473-417: The ground (e.g. from fifth position) the working leg performs a battement glissé / dégagé , brushing out. The dancer launches into a jump, with the second foot then meeting the first foot before landing. A petit assemblé is when a dancer is standing on one foot with the other extended. The dancer then does a small jump to meet the first foot. ( French pronunciation: [atityd] ) A position in which

4544-403: The latter is commonly performed in the adagio part of a grand pas de deux . There are many variations of pirouettes. A pirouette can be executed beginning from fifth or fourth position in ballet, whereas artistic gymnasts usually start from fourth position. In ballet, the working leg can be held in retiré position or in attitude , arabesque , or second position . The performer may return to

4615-407: The performer control the direction of travel. An attitude turn is performed with the working leg held in attitude position. In ballet, the performer may be assisted by a partner so that the turn can be performed slowly. An axel is a turn in which the performer leaps into the air and, while airborne, tucks both legs underneath and rotates. It is usually executed while traveling across the floor. It

4686-453: The positions of the body or épaulement . Facing one of the corners of the stage, the body presents at an oblique angle to the audience, such that the audience can see still both shoulders and hips. The working leg may be crossed to the front (devant) or to the back (derrière). En pointe Because ballet became formalized in France, a significant part of ballet terminology is in

4757-486: The side. ( French pronunciation: [ʃɛne] ; 'chained', plural.) Also known as "chaînés turns", a common abbreviation for tours chaînés déboulés , a series of quick, 360 degree turns that alternate the feet while traveling along a straight line or in a circular path. Each foot performs a half turn, with feet held in a tight first position en pointe or demi-pointe . ( French pronunciation: [ʃɑ̃ʒmɑ̃] ; literally 'change, changing.') A jump in which

4828-486: The side. ( French pronunciation: [ʃɛne] ; 'chained', plural.) Also known as "chaînés turns", a common abbreviation for tours chaînés déboulés , a series of quick, 360 degree turns that alternate the feet while traveling along a straight line or in a circular path. Each foot performs a half turn, with feet held in a tight first position en pointe or demi-pointe . ( French pronunciation: [ʃɑ̃ʒmɑ̃] ; literally 'change, changing.') A jump in which

4899-402: The starting position, finish in arabesque or attitude, or proceed otherwise. A pirouette is most often performed en dehors but can also be performed en dedans . Relev%C3%A9 (dance) Because ballet became formalized in France, a significant part of ballet terminology is in the French language . ( French pronunciation: [a la səɡɔ̃d] ) (Literally "to second") If

4970-441: The upper body in opposition to the legs. Similar to en cloche . (Italian) A principal female ballet dancer in a ballet company. Ballerinas get more lead roles, which are referred to as principal roles as they are generally danced by principal dancers. Soloists also often dance in principal roles, but most of the time not in the first cast of the show (i.e. the cast that performs the most shows) An informal term for male dancers in

5041-441: The upper body in opposition to the legs. Similar to en cloche . (Italian) A principal female ballet dancer in a ballet company. Ballerinas get more lead roles, which are referred to as principal roles as they are generally danced by principal dancers. Soloists also often dance in principal roles, but most of the time not in the first cast of the show (i.e. the cast that performs the most shows) An informal term for male dancers in

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