ARABESQUE
(ara-besk)
A frequently used classical position. The weight of the body is supported on one
leg while the other is extended in back, the knee straight. The arabesque may be
varied in many ways by changing the position of the arms, then angle of the body
and the height of the leg in the air.
ATTITUDE
A classical position similar ot the arabesque, except that the knee of the
raised leg is bent.
BARRE (bar)
A long wooden pole attached to the walls of a dance studio. Dancers
traditionally do warm-up exercises at the barre.
BATTEMENT (baht-mahn)
An extension of the leg.
BOURREE (boo-ray)
A rapid run, like a trill on the pointes of the toes, with the feet in fifth
position. The feet move so quickly that the transfer weight is almost
imperceptible. The ballerina seems to skim across the stage.
CENTER
Exercises done freely in the center of the room. Opposite of exercises done in
one place with the support of the barre.
CHAINE (sheh-nay)
A series of turns, executed in a line or in a circle, in which the feet remain
close to the floor and the weight is transferred rapidly and almost
imperceptibly from one foot to the other as the body revolves.
CHASSE (shah-say)
A slide in which the weight is transferred from two feet to one, or form one to
another.
DEVELOPPE (day-vel-oh-pay)
A smooth, gradual unfolding of the leg toward the front, side or back.
EN POINTE (on point)
The ballerina rises as far from the floor as she possibly can by dancing on the
tips of her toes. Originally dancers did this in soft slippers, but today toe
shoes are blocked across the front to give added support.
ENTRECHAT (ahn-treh-shah)
A jump beginning and ending in fifth position. While the body is in the air, the
feet are rapidly crossed.
FOUETTE (fweh-tay)
One of the most brilliant steps in ballet. The dancer turns on one foot (usually
on pointe) while at each revolution the working leg whips sharply into second
position en lair (in the air).
GLISSADE (GLIH-SAHD)
A sliding step, beginning and ending in fifth position.
JETE (zheh-tay)
A jump from one foot to the other.
PAS DE DEUX (pah deh duh)
Literally step for two. A duet, often in several sections.
PASSE (pah-say)
A passing position or movement.
PIROUETTE (Pee-ro-wet)
A turn in place, on one foot. A good dancer can execute four or five continuous
revolutions. A virtuosos, as many as a dozen.
PLIE (plee-ay)
A bend of the knees.
ROND DE JAMBE (rohn deh jahm)
A circular movement of the leg, accomplished either with the toe on the floor or
with the working leg raised.
TECHNIQUE
The detailed craft of dancing, built through repetition of exercises.
TOUR EN LAIR (tour ahn le-air)
A complete single, double or triple turn in the air, usually beginning from and
ending in fifth position. It is almost always executed by male dancers.
TUTU
The traditional ballet skirt, usually made of many layers of gathered tulle. The
length of the tutu varies according to the period or style of the ballet being
performed.
