How to do pas in choreography. Dance Positions: Choreography Lessons

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Positions in dances are the basic position of the body, arms and legs, from which most movements begin. There aren't many of them. But with the development of these provisions, the training of any dance begins - both classical and modern. In this article, we will analyze the main positions in detail.

Pose in classical dance: background

The school, like any dance direction, is based on basic positions, which are the beginning and base of the main steps.

And it still originated in the 17th century at the French ballet school at the Royal Academy of Music. Here the terminological base began to be created, as well as the first dance positions, which later became classical. The founder of all this is Pierre Beauchamp, ballet master of Louis XIV. All developments were recorded by P. Rameau in the book "Master of Dances".

The position of the legs and arms in the choreography has not changed much since then. And Rameau's edition became a classic and was translated into almost all European languages.

Why is it necessary to master positions?

Correct execution directly depends on how well the classical positions are learned, since all movements begin from them.

Posture in classical dance is the most important. There is one rule for performing all positions - the dancer or dancer must stand straight, the stomach is pulled in, the muscles are collected, the posture is straight, and the buttocks are tucked up.

Mastering the initial poses is considered the beginning of the beginnings in choreography for the last two hundred years in all ballet and dance schools. No matter how easy it may seem to describe these positions, they are not as simple as at first glance. The execution technique is complex and requires physical fitness.

Leg positions

Basic dance positions are limited. There are not many of them - only six for the legs and three for the hands. We will talk about them in more detail later. However, information about this may differ slightly in different textbooks. For example, in some editions, the positions of the legs are five, not six, but we will stick to the classic version. Let us explain why there are discrepancies. There are six basic positions, but there are only five reversible ones.

Initially, the positions are studied in the middle of the hall and no attention is paid to the eversion of the legs. Especially if the students are small children or unprepared people. It is necessary that students stand firmly on their feet and do not sway, otherwise they will not be able to repeat a single action.

First

In another way, it is also called "heels together, socks apart." The legs are located on the same line, the center of gravity is distributed evenly throughout the foot. A very stable position in which the toes should be turned outward as much as possible, ideally being in line with the heel. No matter how simple the position may seem, it will not work to repeat it the first time without prior preparation.

Second

Positions in dances should be brought to automatism. They can be compared with the alphabet of those who have decided to dedicate their lives to choreography or have chosen it as their hobby. But back to the description.

In order to get into the second position, you need to put your feet on the width of your foot, and then turn them out as in the first position. That is, socks apart and in line with the heels. The main thing here is to make sure that the weight of the body was evenly distributed between the two legs, otherwise the position will be unstable.

Third

Dancing positions are universal. This is the main advantage. Having mastered them once, you can study various dance types and directions, ranging from classical to modern. All of them will be based on these simple poses.

Technique for performing the third position: the legs, as always, are straight. The heel of the right foot is attached to the middle of the left, while the socks look to the sides. A rather difficult position in which it is easy to lose balance, so it is better to lead the students to the barre and let them hold on to it.

Fourth

Our choreography lessons continue. Let's move on to the most difficult position to master and perform correctly. You need to start by putting your right foot in front of your left foot at the distance of your foot. Then both legs turn toes outward so that they are parallel to the heels. The most difficult pose to perform, therefore it is mastered after the others.

There are two options for this position. In the first, the heel of the right foot is located opposite the middle of the left foot. In fact, we perform the third position, spreading the legs. In the second case, the heel of the right foot should be parallel to the toe of the left, and the toe of the right should be parallel to the heel of the left foot. The last way to do it is a bit more difficult. It should be started only after mastering the first option.

Fifth

Your choreography lessons will definitely begin by learning these positions. Therefore, you can first familiarize yourself with the theory, in order to facilitate practice later.

So, in order to correctly stand in the fifth position, you need to firmly press the right and left feet, the socks of which are directed in different directions. That is, the heel of one foot closes with the toe of the other. This position is easiest to move from the third. And don't forget about weight distribution and maintaining a stable position. In the position you need to stand freely, as it is only the beginning of the dance movement.

sixth

The easiest pose to perform, which even beginners can easily repeat. To perform it, you just need to close your feet. In this case, the socks will look forward and tightly pressed against each other. Also, the pose is called "legs together."

When performing all the above actions, follow the position of the body - the shoulders should be open, the legs should be extremely stretched, the weight is distributed over the entire foot. You can not focus only on the thumb. Otherwise, you will not be able to maintain balance and perform the position correctly.

Let's pay attention to the hands

The modern dance school, like the ballet school, includes the study of the basic positions of the hands. This is necessary because all modern directions of choreography are built on the foundations that were laid back in the 17th century.

So, it is believed that there are only three positions for the hands, and all the rest are their variations. This is the most common, although not the only version.

Let's start by describing the basic position. The shoulders are straightened, the arms are lowered down, both hands look inward, close to each other, but not touching. Elbows should be slightly rounded and a short distance from the body, that is, they should not be pressed against it. The arm should not be adjacent to the body, even under the armpits. The fingers should be closed, but free at the joints and soft. The thumb must touch the middle. The brush should continue the rounded line that began at the shoulder, in no case look like a broken one (bent at an acute angle).

If at the beginning of the movement the thumb and middle finger are open, then in the process of starting the movement, when attention switches to the work of the legs, they will diverge even more, and the look of the hand will become splayed and ugly. The position of the hands is very important. Make sure that the tips of the index fingers and little fingers are rounded. In this case, the hand should not be reduced from tension. At any moment, she should be ready to change, so do not strain your muscles.

First ballet position for hands

First you need to take the basic position described above. Hands need to be raised forward so that they are just above the waist. The elbows remain slightly bent, the rounded shape is maintained. No sharp corners. You need to stay as collected and free as possible. You must be prepared for the fact that the next minute you will need to start moving. In this case, the muscles of the hands should be tense.

Second hand position

The modern dance school is also based on the main positions. Therefore, any serious choreography lesson will begin with learning the basics.

So, as with all poses, the muscles should be tightened, the body should be even. It is important to watch the shoulders: they should not rise, fall or move back. Hands are in front of you, as in the “two” position, but slightly spread apart. The elbows are bent, but do not drop, the muscles should keep them well in one position. The forearm is at the same level with the elbow. In this position, the hand usually falls and becomes dangling, so it must be supported.

This pose is one of the best for the formation of the correct dance posture. At first, the position will have an artificial look, but gradually you will bring your actions to automatism, and the figure will look very natural. You will no longer need to think about whether you support your hands and elbows, your hands themselves will respond to the slightest movements of the body, gaining maximum expressiveness.

Third hand position

And finally, the last ballet position of the hands. It starts, as usual, with setting in a basic pose. Then the arms rise up, the elbows remain rounded, the hands are at eye level, close to each other, but do not touch. You should be able to see your hands without raising your head.

Usually hand poses are performed in motion. First you need to stand in the basic position, then go to the first, then to the second, third and return to the basic position. It is better to train the change of postures in dynamics, as students learn from the very beginning to work in motion, which is required in choreography.

You can break them down into separate movements only at the beginning, when the first steps are taken towards mastering.

So, we learned that the basic positions of the arms and legs are very important for choreography. In addition, it is imperative to monitor the position of the limbs, especially the hands and fingers. Dance is not only an art, but also a sport that requires hard and long practice of the most seemingly simple movements. Without this, it is impossible to achieve success, not to mention professional improvement.

To speak and write correctly, you need to know the rules of the language. The same is true in ballet. Only there instead of words - movements, and instead of spelling and syntax - the rules of classical dance. This name appeared in Russia at the end of the 19th century. Prior to this, ballet dance was called "serious", "noble", "academic".

The system of classical dance was formed over several centuries, the most expressive were taken from the many movements of folk dances and everyday dances. Gradually developed the positions of the legs and arms, the position of the body and head, and all dance movements received names.

It should be said that the 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 terms are French.

Sometimes you can hear that all classical ballets are similar: the same poses, the same movements and jumps. But this is not at all due to the limited possibilities of classical dance. Either the choreographer is to blame, who failed to compose a meaningful dance, or the artists who failed to convey all its subtleties.

Classical dance is just a system of movements. It still needs to be revived, spiritualized. The dance will always seem monotonous if it exists only for the sake of the dance itself. But as soon as he begins to reveal strong feelings, as, for example, in the ballets "Swan Lake" or "Romeo and Juliet", the impression changes.

And now we will very briefly explain the basic terms of classical dance. Note that the stress in French is always on the last syllable.

Adagio(Italian) - slowly, calmly. 1. Designation of a slow pace. 2. Dance duet using lifts. 3. A complex of movements in exercise.

Allegro(Italian) - cheerful, joyful. 1. Fast, lively musical tempo. 2. Part of the classical dance lesson, consisting of jumps. 3. Classical dance, a significant part of which is based on jumping and finger techniques. All virtuoso dances (entre, variations, coda) are composed in allegro tempo.

Antrasha(French) - crossed. A jump during which the legs are spread several times and quickly crossed. Antrasha demonstrates the technical virtuosity of the performer.

Antre(French) - entrance. 1. Dance appearance on stage by one or more performers. 2. The first part of such classical dance forms as pas de deux and pas de trois.

Aplomb(French) - balance, self-confidence. 1. Confident, free style of performance. 2. The ability to keep all parts of the body in balance.

Arabesque(French) - Arabic. One of the main poses of classical dance is the leg raised back with the knee extended. In the Russian school of classical dance, four types of arabesque are accepted.

attitude(French) - posture, position. One of the main poses of classical dance, the main feature of which is the bent knee of the raised and laid back leg.

Balloon(French) - balloon, ball. The ability to elastically, like a ball, push off the floor before high jumps, as well as the ability to hang in the air during a jump, maintaining a pose.

Batman(French) - beating. Group of movements of the working leg. There are many forms of batman in classical dance - from the simplest to the most complex. Each pa certainly contains an element of batman, therefore, in the exercise, it is given great importance. With the help of batmans, certain skills are developed: stretching the leg in a straight line, clearly performing various movements.

Bourre, pas de bourre(French) - to stuff. Small dance steps.

Gran(French) - big. Denotes the most pronounced essence of movement. For example, grand plie - deep squat, grand batman jette - throwing the leg to the highest possible height.

Demi(French) - half, half. This term refers to the execution of only half of the movement. For example, demi plie - half squat.

Double(French). - double. The term indicates a double execution of pas.

Cabriole(French) - jump. One of the difficult jumps in classical dance, when one foot hits the other from the bottom up one or more times.

coda(Italian) - tail. 1. The final part of many dance forms. 2. The finale of the act with the participation of all the characters, the corps de ballet, representing, as a rule, a general dance.

Croiset(French) - crossed. One of the main positions of classical dance, in which the lines cross.

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

Par terr(French) - on the ground. A term indicating that a movement is performed on the floor.

Pa(French) - step. 1. Designation of one of the types of dance steps. 2. Separate expressive movement. 3. Multi-part form classical ballet- grand pas, pas de deux, pas de trois.

pas de basque(French) - Basque step. Type of jump from one foot to another.

Pas de sha(French) - step of a cat. A jumping motion that mimics the light, graceful jump of a cat.

pas de siso(French) - "scissors". A jump from one foot to the other, during which both extended legs alternately are thrown high forward, for a moment join in the air, and then one of them is abruptly brought back.

pas de deux(French) - dance together. Perhaps the most famous complex pair dance, consisting of an entre, adagio, dancer's variation, dancer's variation and coda. Every classical ballet has a pas de deux danced by the main characters of the performance.

pas de trois(French) - threesome dance. One of the varieties of classical dance, in which three performers participate.

Pa march(French) - to walk. A dance step in which, unlike the natural step, the foot comes to the floor with the toe extended rather than the heel.

Passe(French) - to pass. The path of the working leg when moving from one pose to another.

Petit(French) - small. A term used to refer to small movements.

Pirouette(French) - Yula. One turn around its axis of a dancer standing on one leg. Two or three turns are two or three pirouettes, respectively, and so on. In women's dance, all types of rotations are called "tour".

Plie(French) - bend. Squatting on two or one leg. Grand plie - deep squatting to the limit, with the heel off the floor; demi plie - without taking your heels off the floor.

preparation(French) - cooking. Preparatory movements for the performance of pirouettes, jumps and other difficult steps.

relevé(French) - to raise. 1. Rise on half-fingers or fingers. 2. Raising the outstretched leg in various directions and positions of classical dance.

Suivi(French) - consistent, connected. Pas de bourre suivie - continuous small steps from one foot to the other on the fingers, which contribute to smooth movement around the stage.

Tour(French) - turn, turn. Rotation of the body around the vertical axis by 360 degrees. There are many varieties. In the women's dance, the tour is the same as the pirouette in men. In men's - the turn of the dancer around its axis while jumping in the air.

Fuete(French) - whip. The term refers to a series of dance steps resembling the movements of a whip, twisting or sharply straightening in the air. Most often, a fouette is a virtuoso rotation on the fingers, which culminates in a pas de deux.

Chasse(French) - hunt, chase. A jump with advancement, during which one leg seems to catch up with the other.

Ecarte(French) - to push apart. A classical dance pose in which the dancer's body is turned diagonally and the leg is raised to the side.

exercise(French) - exercise. The first part of the classical dance lesson is exercises at the barre and in the middle of the hall, which develop the professional qualities necessary for performing dance techniques: eversion and strength of the leg muscles, correct positioning of the body, arms and head, stability, coordination of movements. From the elementary movements that make up the exercise, various forms of classical dance are composed.

elevation(French) - rise, elevation. The natural ability of a dancer to perform high jumps with movement in space (span) and fixation in the air of one or another pose.

Epfase(French) - to smooth. One of the basic positions in classical dance. It is determined by the open, unfolded nature of the posture, movement.

When a throw is made with the foot forward or backward, the head looks to the side (center of the class), and when the foot is thrown to the side, the head looks straight.
With battement tendu, the foot is brought forward with the heel. In general, where the heel is directed is very important. For if you send it in the wrong direction, there will be no sense in the movement. I tried it myself last night.
When jumping, it is important to jump as high as possible and hang in the air for as long as possible. Only then can you have time to change position in the air from 5 to 2, from 5 to 5, etc.
Preparation for jumping (plié) must be very active so that the mortal, heavy and loose body is still pushed up.
According to the rules of classical graphics, you need to end the movement in the same position in which you started. With rare exceptions, which must be negotiated.
Demi plie(demiplie)- semi-squats (Fig. 8). It is important to achieve maximum bending of the legs in the knee joints without separating the heels from the floor. The weight of the body is evenly distributed on both feet without "blockage" on the big toe. The knees and feet keep the eversion position all the time, without violating the correct positions. The back is kept straight. The exercise is performed in I, II, III positions, less often and only at the support - in V, IV positions.

Grand plie (grand plie). When performing the exercise (Fig. 9), you should keep your heels on the floor as long as possible - the movement is performed through demi plie. When straightening your legs, you need to put your heels on the floor as early as possible. It is necessary to rise on half-toes and put the heels on the floor at the same time with both legs. Throughout the exercise, the maximum eversion of the hips and feet is maintained. The weight of the body is evenly distributed on both legs, without "blockage" on the big toes.

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

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

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

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

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

Batman tandyu jete pointe (battement tendu jete pointe). In principle, this movement does not differ from the batman tandyu jet, however, after the abduction, the leg does not close into position, but is placed with the toe on the floor. The exercise can be performed 2-3 times in a row, then the leg is closed in the III position (Fig. 13). When the movement becomes more difficult, the leg is transferred along a low arc from the right (left) position in front, behind on the toe (IV position) to the side to the toe and back or “cross”.

Double batman tandu(double battement tendu) is a kind of batman tandu. It is performed with lowering the heel to the floor in position II: with one, two or three or more lowering (Fig. 14). At the moment of lowering the heel to the floor, the center of gravity remains on the supporting leg. The emphasis of the movement coincides with the lowering of the heel to the floor.

Batman frappe(battement frappe)- flexion and extension of the lower leg at an angle of 45 ° (Fig. 15). Before starting to study the movement, the position of the leg is mastered. sur le cou de pied(sur le coup-de-pied) (Fig. 16) . In gymnastics, the forward position (conditional) is used - the leg is bent at the knee, the toe is in front at the ankle of the supporting leg, the thigh is turned backwards - the toe is pressed from behind at the ankle of the supporting leg. Batman frappe consists in quickly bending the lower leg from and. n. right (left) to the side in the position of sur le cou de pied in front or behind with a light blow on the supporting leg, followed by extension forward, sideways, back. The exercise is performed with a sharp, strong movement. In this case, the hip and knee retain the eversion position. Since the exercise starts from I.P. leg to the side, then before the start, the leg from I, III positions through the batman tandyu opens to the side, while the arm rises from the preparatory position through I to II position.

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

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

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

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

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

Gran Batman Jete Balance(grand battement jet balance) - swings in the direction forward and backward by 90 ° and above through the I position (Fig. 19). The movement can be performed to the side: in I.P. facing the support or in the middle of the hall alternately with one and the other foot. Perhaps a combination with a tilt of the body, lifting on half-toes, half-squats.

Grand Batman Jete Pointe(grand battement jete pointe) performed like a grand batman jet, but until the toe touches the floor (Fig. 20).

Grand Batman Jete Passe(grand battement jete passe) performed according to the rules of Grand Batman Jete, but with the transfer of the leg from one direction to another using the technique passe (passe)(Fig. 21): the leg is bent, the thigh is turned out, the knee is to the side, the toe is at the supporting knee, without touching it. Runs forward and backward. Musical size 2/4.

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

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

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

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

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

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

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

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

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

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

Arabesque (arabesque ) - a pose whose name comes from the style of Arabic frescoes.
Attitude (attitude ) - posture, body position; raised leg half-bent.
passe (passe ) - from Ch. "to pass, to pass"; linking movement, holding or moving the leg.
Sur le cou-de-pied (sur le cou de pied ) - the position of one leg on the ankle of the other, supporting.
Tire-bounchon (Tyr bouchon ) - “twist, curl”; the raised leg is in a half-bent position forward.

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

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

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

I have been trying for the last few days to portray something similar at home. So far, it’s not so hot (because there are no Czechs, parquet and machine tools). Let's see what happens in a month...

Choreography: Classical dance

Classical dance is the basis of choreography. Classics allows you to learn all the subtleties of ballet art, to feel the harmony of movements and music. Many will think why do the “old” when there are many new modern trends. But you need to understand that everything new originates from the dances of past centuries. So 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 position of the head and body. All dance moves in classical dance are named in French, so the dancers different countries they can understand each other without any problems 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 you how to control your body. Various combinations allow you to dance beautifully and elegantly, even if it is simple moves hand, foot or head. In children involved in the classics, the correct posture is corrected and laid, some cases of spinal curvature are corrected. Often, even experienced dancers of various dance styles continue to practice the classics, because its foundations are universal. they also prepare small classical productions in the form of etudes, adagios or various variations. All movements in classical dance are based on eversion - one of the most important qualities in the classics, which is simply necessary for any stage dance. Turnout and step development are necessary regardless of the height to which the leg is raised, turnout seems to hold the leg, leads it to the desired position, contributing to the purity of plastic movements and smoothing the angles formed by the heels when lifting the legs. Insufficiently flexible knee, ankle and instep hamper the free movements of the legs, making them constrained and inexpressive. Based on turnout, there are five foot positions in classical dance. Moreover, in all these positions, not only the feet are twisted, but the legs completely, 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 the body vertically, avoiding a bent or arched spine, and do not distribute the weight between the legs. It takes a lot of patience and time to develop correct posture. You should never forget about your posture - neither during classical lessons, 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 to a large extent, it fascinates with its plastic expressiveness, leaving complete aesthetic pleasure.
In the 17th century (1701), the Frenchman Raul Feyet created a system for recording the elements of classical dance. These terms are recognized by experts in the field of world choreography at the present time. Knowledge of technical terms speeds up the learning process. This is the international language of dance, the ability to communicate with choreographers, understanding of special literature, the ability to briefly record training combinations, lessons, sketches, floor exercises, compositions.

Choreographic terminology is a system of special names designed to denote 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 contribute to the development of muscles, ligaments, and the development of coordination of movements in the dancer. Exercises are performed at the “machine” (attached to the wall with brackets) and in the middle of the training hall, daily Exercises consist of the same elements.
1.demi plie - (demi plie) - incomplete "squat".
2.grand plie - (grand plie) - deep, big "squat".
3.relevé- (relevé) - “lifting”, lifting into a rack on toes with lowering into the IP in any position of the legs.
4. battement tendu - (batman tandyu) - "stretched" sliding movement of the foot to the position of the foot on the toe forward, to the side, back with a sliding movement returning to the IP.
5.battement tendu jeté- (batman tandyu jeté) “throw”, swing to the 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)-toe circle 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 foot in the air, stand on the left right to the side, circular movement of the lower leg out or in.
9.en dehors - (andeor) - a circular movement away from oneself, a circular movement outward in the hip or knee joint, as well as turns. 10.en dedans - (andedan) - a circular movement towards oneself, a circular movement inward.
11.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 on the ankle joint in front or behind.
12.battement fondu - (batman fondue) - "soft", "melting", simultaneous flexion and extension of the legs in the hip and knee joints.
13. battement frappe - (batman frappe) - “hit” - a short kick with the foot on the ankle joint of the supporting leg, and quick extension in the knee joint (25 °, 45 °) to the toe or downward position.
14. petit battement - (petit batman) - “little blow” - alternately small, short foot strikes in the cou de pied position in front and behind the supporting leg.
15.battu- (botyu) - “beat” continuously, small, short blows to the ankle joint only in front or behind the supporting leg.
16.double- (double) - “double”, battement tendu - double heel pressure battement fondu - double squat battement frapper - double blow.
17.passe- (passe) - “to pass”, “to pass”, the position of the bent leg, the toe at the knee: in front, to the side, behind.
18. relevelent- (relevant) - “raise” slowly, smoothly slowly at the expense of 1-4 1-8 raising the legs forward, sideways or back and higher.
19. battement soutenu - (batman for a hundred) - "solid" - from a stoic on toes with a half-squat on the left, right, sliding forward to the toe (back or to the side) and sliding back to the IP.
20.développe- (develope) - “opening”, “deployed”, from the stoic to the left, right with a sliding movement to a bent position (toe at the knee) and unbending it in any direction (forward, side, back) or higher.
21.adajio - (adagio) - slowly, smoothly includes grand plie, develope, revelant, all kinds of balances, pirouettes, turns. A fused bundle for 32, 64 accounts.
22.attitude-(attitude) - posture with the position of the bent leg behind, standing on the left, right to the side - back, lower leg to the left.
23.terboushon- (terboushon) - posture with the position of the bent leg in front (attetyud in front) stoic on the left, right forward, shin down to the left.
24. degaje- (degaje) - "transition" from the rack to the left right forward to the toe, step forward through the semi-squat in IV position, straightening up, the rack is 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 the semi-squat in II position, stand on the right, left to the side on the toe.
25.grand battement - (grand batman) - "big throw, swing" 90 ° and above through the position of the foot on the toe.
26.tombée- (tombé) - “fall” from a toe stand in the fifth position lunge forward (to the side, back) with a sliding motion returning to the SP.
27.picce-(pikke) - “stabbing”, standing on the left right forward to the bottom, quick multiple touches with the toe of the floor.
28.pounte- (pointe) - “on the toe”, “touching the toe” from the stoic on the left, right forward, to the side or back on the toe, swing in any direction with a return to the IP.
29.balance- (balance) - “swaying”, pendulum movement of the legs forward up - back down, forward - back, forward - back up.
30.allongée- (allange) - "stretching", the final movement of the arm, leg, torso.
31.pordebras-(por de bras) - “bends of the body”, tilt 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 to the toe, 4-IP 5. the same to the side and back.
33.failli- (fai) - “flying”, IP - 5th position right in front. Push 2 jump up, dropping into a cross lunge left to the side, left hand up, right back - push left and swing right back down 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 located en face, and the "working" leg is open to the side by 90 °.
ALLONGE, ARRONDIE [alonge, arondi] - the position of a rounded or elongated arm.
ARABESQUE [arabesque] - a pose of classical dance, in which the leg is retracted "toe to the floor" at 45 °, 60 ° or 90 °, the position of the torso, arms and head depends on the shape of the arabesque.
ARCH [atch] - arch, back deflection of the torso.
ASSEMBLE [aseamble] - a jump from one leg to two is performed with the legs moving in a given direction and collecting the legs during the jump together.
ATTITUDE [attitude] - the position of the leg, torn off the floor and slightly bent at the knee.
BATTEMENT AVELOPPE [batman avloppe] - the opposite battement developpe movement, the "working" leg from the open position through the passe is lowered to a given position.
BATTEMENT DE VELOPPE [batman devloppe] - taking out the legs forward, backward or to the side by sliding the "working" leg along the supporting one.
BATTEMENT FONDU [batman fondue] - a movement consisting of simultaneous bending of the knees, at the end of which the "working" leg comes to the position sur le cou-de-pied in front or behind the supporting leg, and then the simultaneous extension of the knees follows and the "working" leg opens forward, sideways or backward. In modern jazz dance, the fondu form from the folk stage dance lesson is also used.
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 relevé lan] - smooth leg lift through sliding along the floor 90 ° forward, sideways or backward.
1 When learning the vocabulary, it is necessary to remember that the movements of classical dance, borrowed by modern jazz dance, are very often modified. This is especially true of the eversion and parallel position. In this regard, the terminology of classical ballet is given in the dictionary without changes (see All about ballet//S left by E.Ya. Surits. M., 1966, Encyclopedia "Ballet". M., 1981, etc.), and the change depends on the context of the lesson. Often there is terminological overlap between English and French terminology, for example, temps leve is the same as hop, battement tendu is the same as brack, kick is the same as grand battement developpe, etc. In this case, it is necessary to use the movement depending on the specific exercise.
BATTEMENTRETIRE [batman retreat] - transfer through the sliding of the "working" leg, through the passe from the V position in front to the V position behind.
BATTEMENT TENDU [batman tandu] - the movement of the leg, which is retracted to the toe forward, backward or to the side with a sliding motion. In modern jazz dance, it is also performed in parallel positions.
BATTEMENT TENDU JETE [batman tandyu jet] - differs from battement tendu by actively throwing the leg into the air to a height.
BODY ROLL [body roll] - a group of torso tilts associated with the alternate movement of the center of the body in the lateral or frontal plane (synonymous with "wave").
BOUNCE [bounce] - springboard swaying up and down, mainly occurs either due to flexion and extension of the knees, or pulsating tilts of the torso.
BRUCH [brush] - sliding or smearing the entire foot on the floor before opening the leg into the air or when closing into position.
CONTRACTION [kontrakpsh] - 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, is performed on exhalation.
CORKSCREW TURN [korskru 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 the upper part of the spine (to the "solar plexus") forward or to the side.
DEEP BODY BEND [deep body band] - torso forward tilt below 90 °, while maintaining a straight line of the torso and arms.
DEEP CONTRACTION [deep contraction] - a strong compression in the center of the body, in which all joints participate, i.e. this movement includes arms, legs and head.
DE GAGE ​​[degaje] - 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 extended legs.
DEMI-RYO [demi-plié] - semi-squatting, 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 a relaxed torso forward or to the side.
ECARTE [ekarte] - a pose of classical dance (a la seconde), turned diagonally forward or backward, the body is slightly deviated from the raised leg.
EMBO1TE [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 °.
EN DEDANS [an dedan] - the direction of movement or turning towards oneself, inward.
EN DEHORS [an deor] - the direction of movement or turn from oneself or outward.
EPAULMENT [epolman] - the position of the dancer, turned in 3/4 in p. 8 or p. 2; differs epaulement croise (closed) and epaulement efface (erased, open),
FLAT BACK [flat back] - tilt of the torso forward, to the side (by 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 foot stroke on the floor to the supporting leg.
FOUETTE [fuette] - a turn technique in which the performer's body turns to 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 opened to the sides,
GLISSADE [glissade] - parterre sliding jump without leaving the floor moving right-left or forward-backward.
GRAND BATTEMENT [grand batman] - a leg throw 90 ° and higher forward, backward or to the side.
GRAND JETE [grand jet] - a jump from one foot to another moving forward, backward or sideways. The legs open up to the maximum and take the “split” position in the air.
GRAND PLIE [gran plie] - full squat.
HIGH RELEASE [high release] - high expansion, a movement consisting of lifting the chest with a slight bend back.
HINGE [hinch] - the position of the dancer, in which the straight, without bends, the torso deviates back to the maximum distance, the knees are bent, the feet are on half-toes,
HIP LIFT [hip lift] - lifting the hip up.
NOR [hop] - step-jump, 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, resting 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] - the position of the hand, in which the fingers are tense and spread apart.
JELLY ROLL [jelly roll] - a pelvis movement, consisting of a small muscle contraction with a simultaneous slight turn of the pelvis to the right and left (synonymous - pelvis shake.)
JERK-POSITION [jerk-position] - the position of the hands, in which the elbows are bent and slightly retracted behind the chest, the forearms are parallel to the floor.
JUMP [jump] - jump on two legs.
KICK [kick] - throw the leg forward or to the side by 45 ° or 90 ° through the take-out by the developpe technique,
LAY OUT [lay out] - a position in which the leg, open 90 ° to the side or back, and the torso form one straight line.
LEAP [liip] - a jump from one foot to another moving forward or to the side.
WCOMOTOR [locomotor] - a circular movement of arms bent at the elbows along the torso.
LOW BACK [low back] - rounding of the spine in the lumbar-thoracic region.
PAS BALANCE [on the balance] - pa, consisting of a combination of tombe and raz de roiggee. It is performed with the advancement 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 bourree] - an auxiliary dance step, consisting of alternating steps from one foot to the other, ending in demi-plle. Synonym for step pas de bourree. In modern jazz dance, the position of sur le cou-de-pied is not fixed during pas de bourree.
PAS DE CHAT [pas de sha] - a jump that limits the cat's jump. Legs bent at the knees are thrown back.
PAS FAILLJ [pa fail] - a connecting step, consisting of passing the free leg through the passing demlplie in I 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 link when transferring the legs from one position to another, can be performed in the first position on the floor (passepar terre), or at 45 ° or 90 °.
PIQUE [peak] - a light prick with the fingertips of the "working" leg on the floor and lifting 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] - the position of the legs on half-toes with bent knees.
POINT [point] - the extended position of the foot.
PRANCE [price] - a movement for the development of foot mobility, consisting of a quick change of position "on the half-lalse" and point.
PREPARATION [preparation] - a preparatory movement performed before the start of the exercise.
PRESS-POSITION [press position] - the position of the hands, in which the arms bent at the elbows with their palms touch the hips in front or on the side.
RELEASE [release] - expansion of the volume of the body, which occurs on inspiration.
RELEVE [relevé] - lifting on half-fingers.
RENVERSE [ranverse] - a sharp bending of the body, mainly from the atitude croise position, accompanied by pas de bouree en tournant.
ROLL DOWN [roll down] - a downward-forward spiral tilt, starting from the head.
ROLL UP [roll an] - a reverse movement associated with a gradual unwinding and straightening of the torso to its original position.
ROND DE JAM BE PAR TERRE [ron de jamb par terre] - a circle with an outstretched leg, touching the floor with your fingers.
ROVD DE JAM BE EN L "AIR [ron de jamb anler] - a circular movement of the lower leg (ankle) with a fixed hip laid aside to a height of 45 ° or 90 °.
SAUTE [saute] - classical dance jump from two legs to two legs in I, II, IV and V positions.
SHIMMI [shimmy] - a spiral, twisting movement of the pelvis to the right and left,
SIDE STRETCH [side stretch] - lateral torso stretch, torso tilt 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 [sutenu an turnan] - a turn on two legs, starting with retracting the "working * leg" into the fifth position.
SQUARE [skvea] - four steps in a square: forward-to-side-back-to-side.
STEP BALL CHANGE [step ball change] - a connecting step, consisting of a step to the side or forward and two steps on the half-toes (synonymous with step pa de hour her,
SUNDARI [zundari] - movement of the head, which consists 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 [frast] - a sharp jerk of the chest or pelvis forward, to the side or back.
TILT [tilt] - angle, posture at which the torso deviates to the side or forward from the vertical position, the "working" leg can be open in the opposite direction by 90 ° and more.
TOMBYO [tombe] - fall, transfer of the weight of the body to the open leg forward, to the side or back to the demi-plie,
TOUCH - an attached step or a 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 following one after another half-turns, in modern jazz dance can be performed on a full foot and in demi-plie.