Developpe'

Developing movement. Time movement. A movement in which the leg is drawn up to the knee of the supporting leg and slowly extended to an elongated, open position, with perfect control. The hips should be leveled and squared in the dancer's direction.

 

 

Enveloppe'

 

Enveloped. A term used to describe a rotation of the upper body turning en dedans on the supporting leg while the other leg enveopes or encircles it. Enveloppe' is used to give momentum to inward turns.

 

 

Pirouette

Whirl or spin. A complete turn of the body on one foot, on point or demi point. Pirouette are performed en dedans, turning inward on the supporting leg, or en dedors, turning outward in the direction the of the raised leg. The body ,must be well centered over the supporting leg with the back leg held strongly and the hips and shoulders aligned. The force of the momentum is finished with the arms, which remain immobile durning the turn. The head is the last thing to move as the body comes around to the spectator. "Spotting" is the use of the eyes while turning, and is very important.

 

 

 

 

Assemble'

 

Assembled, or joined together. A step in which the working foot slides well alone the ground before being swept into the air. As the foot goes into the air, the dancer pushes off the floor with the supporting leg, extending the toes. Both legs come to the ground simultaneously in fifth position.

 



Changement De Pieds

 A jump in which the positions of the feet changes. They are done in petit and grand.

Entrechat Quatre

A step of beating in which the dancer jumps into the air and rapidly crosses the legs before and behind.Starting from fifth position, right foot front, the dancer will will jump crossing his/her legs and beating first the right thigh on the back of the left thigh, than at the front of the left thigh, landing back in the same position.

http://www.youtube.com/watch?v=9VhxpHgPTy8

5 Classes of Jumps

Sissonne

A ballet jump from both feet onto one foot in a scissor like jump.

Jete'

A jump from one foot to the other. One leg seems to be "thrown" in the direction of the movement; similar to a leap.

 

 

Saute

 

Literally a Jump. Jumping with both feet and landing back onto both feet.

 

 



 

 

Assemble' 

 

A jump from one foot to both feet. It starts off in 5th position in a plie. Tandu to the side while pushing off the floor, pointing toes and landing with both feet touching the ground at the same time, ending in a plie.

 

 

Temps Leve'



Very basic and simple jump from one foot onto the same foot while the other foot raised.

 

 





Romeo and Juliet 20th Century - Balcony Scene
Alessandra Ferri
Julio Bocca

I really enjoyed this piece. Romeo and Juliet is a classic and very well known. I liked how I was able to see a more delicate and soft side. The meaning and story was still portrayed even though there was not any dialogue. The music and dance moves were so detailed and descriptive; it really was captivating to watch. The whole piece was very beautiful and touching. I liked how I could see the the dancers expression not only through their movement, but also their facial features. Although, their expressions were bigger than usual, they were not over the top. I felt all their actions and expressions had a purpose (not forced or fake).
I liked how the dancers were able to comment their thoughts and feelings about the piece. Here are a few things that stuck with me:

• Quality, not quantity
• Need courage
• Be a person  before a dancer
• Eye communication is key
• Practice = working the body (never perfection)
• 'I'm playing me as Juliet"

Comments on Dance:
Juliet starts to dance, but is always accompanied by Romeo (partner)
Alessandra (Juliet) dances with grace, is gentle and delicate.
I felt great chemistry between the two dancers. I feel that is very important because it produces a genuine feeling and relationship between the two, which results in a fabulous production.
I noticed Juliet does some point work and seems to always be turned out.
really enjoyed the end of the dance were the two dancers acted playful, and ended the piece with a kiss letting the audience know they are still longing for one another.

 





 

Don Quxitoe - late 19 Century (Pas De Deux)
Paloma Herrera - 21 Years old
Angel Corella

I really got into this piece. I saw it transition into different movements, all unique and interesting to watch. I liked the costumes of the dancers, there were very beautiful and elaborate.I liked the different levels and colors that took place as the dance continued. I could see the passion and the strength in the dancers as this piece was danced. I noticed Paloma danced with grace and incredible strength. She held a lot of her poses which showed me her amazing balance. She  performed point work at some moments in the dance as well as a lot of repetition. The dance was done with passion and personality. The dance was broken up into sections were the dancers danced as a couple and than broke up into individual work were Paloma would do a solo exit and Angle would do a solo and than exit. This happened once more and made me feel as though they were trying to "one up" one another as they danced the the piece as well as show off as it continued on. As the couple danced together it was powerful and beautiful. There were a lot of lifts, in sync movements, turns, etc. When Angel danced his solo he did jumps, turns and hand gestures as big, powerful music played in the background. Yet, when Paloma came out to dance there was girlie, pretty music playing while she did jumps, turns, upbeat steps, happy, elegant movements, and used a fan prop. The dance was eye captivating and made me feel engaged. It was entertaining and fun to watch.

Brunch Violin Concerto 20th Century
3rd Movement

This piece is an ensemble, done with men and women in matching outfits. This particular video showed them wearing green costumes, while the main couple in the beginning wore a pretty purple matching outfit. I felt like the dance incorporated the main dancers as well as the ensemble nicely throughout the dance. I enjoyed watching the symmetry of the dance come together. I could see their was a set pattern and shape to the piece. During some parts of the piece the main couple would have the spotlight as they danced in the middle while the ensemble froze in the background. I thought that was a cool effect because everyone was still present, but not distracting the audience from what was happening. The group as a whole tried to be in sync; moving at the same pace, performing lifts, turns, ad point here an there. Although it is extremely difficult to get 16 ballet dancers to move at exactly together at the same time. The dance in general was eye appealing and different from the other two dances I saw. As the piece continued on, there were more main couples appearing. Altogether I believe there was four different main couples in their own matching colored outfits at the end of the piece. I did like how they incorporated the different color themes in this piece as well as the flow of it as a whole. I could clearly tell what was going on, and who to focus on most at certain parts of the dance due to their outfits.

One thing that stood out to me though was the quick interview / Q&A after the clip where the dancers (at random) were throwing out words that describes dance qualities. Here are a few I liked:

 

• Determination
• Personality
• Freedom
• Sense of humor
• passion

La Vivan Diere (1846)
Aurthur: St Leon
Choreographer: Steno

Ann Hutchinson Guest
Ivor Guest

This piece was very cute and warming as I watched it. It was also an ensemble group, but a much smaller one of only one male and 4 girls. The costuming in this piece reminded me of village people back in the day. The dance started off just with the women until the man entered. They as a whole performed a lot of in sync movements that really meshed together well and looked as one. If you think about it, It is much easier to get 5-6 people to be perfectly in sync compared to 16 or higher. The dance involved a lot of group work: holding of the hands, and a ton of intertwining between one another. The woman who appeared to be the female solo looked happy, upbeat, performed jumps, point work, hand gestures as well as repetition. The feel of the dance was joyful and happy. Although this dance was not as flashy as the Don Quixtoe, it still required great technique, talent, making it just as challenging and difficult. The man soloist part requires great strength, good technique and is actually very hard. The dance as a whole was put together very nicely and had a fun, airy feel to it. One thing that was mentioned in this clip was that each dance is planned and set to start off with, but it is the rehearsal that takes it to were it needs to be (next level).

TENDU CROISE' DEVANT:
Stretched, crossed in front (one out of eight directions of the body). The dancer stands angled toward the audience, facing one of the two front corner's of the room. The right leg (closest to the audience) is in forth position pointed. The arms are placed at different levels. The right arm on the side of the body with the extended, pointed foot is gently out to the side where as the left arm is up over head. In addition, the body and the head are slightly inclined to the low right arm.

TENDU CROISE' DERRIE'RE:
This position is similar to the tendu croise devant. The torso is held erect and the arms are reversed so that the high, right arm is over the extended right leg. The head is turned and inclined toward the low left arm.





 

 

TENDU EFFACE' DEVANT:

The dancer stands at an oblique angle to the audience. The right leg farthest from the audience is pointed in fourth position. The arms are placed en attitude, the right arm being low. The body is slightly leans back from the waist, while the head in inclined toward the high arm (left arm) with eyes looking at the audience.

 

 

TENDU EFFACE DERRIE'RE:

The dancer stands at an oblique angle to the audience. The right leg sweeps forward becoming closest to the audience where it is pointed in fourth position. The arms are placed in attitude, the right arm being high while the body is leaning slightly over the supporting left leg. The head is turned toward the high right hand while the eyes follow and look into the palm of the hand.

 



 

EN FACE - RIGHT FOOT IN FRONT THIRD POSITION:

Opposite; facing the audience

 

TENDU ECARTE' DEVANT:

Ecarte' front

The dancer faces the one of the front two corners of the room with the right leg (closest to the audience) is pointed in second position. While the right leg is extended, the dancer stands at an oblique angle to the audience. The right arm is up over head with a slight cure, still in line of vision. The left arm is in demi-seconde position, while the body leans to the left side with the head turned to the right side, looking at the right hand.



 

TENDU ECARTE' DERRIE'RE:

E'carte' back 

The dancer faces either one of the two front corners of the room. The right leg (farthest from the audience) pointed in second position, while the dancer stands at an oblique angle toward the audience. The right arm is curved over head, still in sight and having the left arm in demi-seconde position, while the body leans to the left side and the head turns toward the left and the eyes follow looking at the extended left arm.



 

 

TENDU A' LA QUATRIEME DEVANT:

To the forth position front;

In this position the dancer faces forward toward the audience while arms are in second position and either foot is pointed in forth position front. 

 

TENDU A' LA QUATRIEME DERRIE'RE:

To the forth position back;

In this position the dancer faces forward toward the audience while the arms are in second position and either foot is pointed in forth position back.  

 

 

TENDU A' LA SECONDE:

To the second, a term implying the foot be placed in second position, or that the movement is to be made to the second position. Movement is done to the side.



 







                            8 movements of the body

 

 

http://www.youtube.com/watch?v=rzbDcpPAsZw

TENDU: Stretched, also meaning "pulled" in French

 

 

DE'GAGE': The lifting/ raising of the working leg off the floor from a movement or position. It is not a transfer of weight. Extended leg with an arched pointing foot. 

 

 

ROND DE JAMBE A' TERRE: An exercise done at the bar, in which one leg preforms circular motions/movements on the ground. The movement must come from the hip while both legs remain perfectly straight at all times. While performing this exercise, the working toe does not lift off the ground or go past fourth position. Rond de jambe a' terre helps to turn the legs out from the hip as well as loosen the hips.

 

EN DEHORS: The outward circular motion                    EN DEDANS: The inward circular motion

 

 

POSITIONS OF THE FEET

1st position: feet and legs turned out sharply, heels should be touching.

2nd position: feet should be turned out slightly about a little more than shoulder length apart.

3rd position: feet and legs should be crossed, one foot slightly ahead of the other.

4th position: OPEN- Keep a good distance between your feet, both legs and feet turned outwards with heels lined up. CLOSED- both feet are sharply turned outward, while one foot is directly in front of the other.

5th position: feet should be fully crossed, pressed together and turned outwards.

 

 

PORT DE BRAS: Carriage of the arms. Two Meanings:

1. A movement of series of movements made by the arm(s) passing through a series of movements.

2. A term for a group of exercises designed to make the arms move gracefully and harmoniously.

CAMBRE': Arched. The body is bent from the waist, backward of sideways, the head following the movement of the body.

PLIE' : The bending of the knee or knees. It is applied to help develop a sense of balance and help the muscles, joints and tendons soften and become more flexible. There are two types of plie's : Grand plie' and demi plie'. The grand plie' is the full bending of the knees - knees should be bent till thighs are horizontal. In this plie' heels do come off the ground. The demi plie' on the other hand is the half bending of the knees, where feet are planted into the floor and heels do not rise. Plie's are done at the bar and in all five foot positions. To have a correct plie', all plie's must have the legs well turned out and the body weight well distributed throughout the body, having both feet planted firmly into the floor. http://www.youtube.com/watch?v=1To1WWo1Oo0