Technical Manual and Dictionary of Classical Ballet

Waltz. A ballroom dance in 3/4 time. It was first introduced in a ballet by Pierre Gardel in his La Dansomanie of 1800.
Warm-up. This is the term used by dancers for the exercises they perform in the wings before going on stage for a performance. These are usually bar exercises plus stretching and limbering. Dancers always warm up as a precaution against injury to the muscles and tendons and to make sure that the body is pliable and ready for the strain to be placed upon it.
Working leg. A term used by dancers and teachers to denote the leg that is executing a given movement while the weight of the body is on the supporting leg.
Wrapped position. This term of the Russian School refers to a position sur le cou-de-pied in which the foot is wrapped around the ankle. See Cou-de-pied, sur le (Russian School).

Illustrations

DIAGRAMMATIC FLOOR PLAN: DIRECTIONS OF BODY AND FEET
This plan shows the directions of the body and feet when using the right foot. When the left foot is used the directions croisé and effacé are reversed.
1. De face.
1a. En avant.
2. De face.
2a. En arrière.
3. À la seconde, or de côté.
4. Facing de côté.
5. Facing effacé or ouvert.
5a. Effacé or ouvert en avant.
6. Facing effacé or ouvert.
6a. Effacé or ouvert en arrière.
7. Facing croisé.
7a. Croisé en avant.
8. Facing croisé.
8a. Croisé en arrière.

ARABESQUES: CECCHETTI METHOD
(seep. 2)

ARABESQUES: FRENCH SCHOOL
(seep. 3)

ARABESQUES: RUSSIAN SCHOOL
(seep. 3)

ATTITUDES
(seep. 9)

POSITIONS DES BRAS: CECCHETTI METHOD
(seep. 23)

POSITIONS DES BRAS: FRENCH SCHOOL
(seep. 24)

POSITIONS DES BRAS: RUSSIAN SCHOOL
(seep. 25)

BASIC POSITIONS OF THE BODY: CECCHETTI METHOD
(seep. 91)

BASIC POSITIONS OF THE BODY: RUSSIAN AND FRENCH SCHOOLS
(seep. 91)

Pas [pah]. Step. A simple step or a compound movement which involves a transfer of weight. Example: pas de bourrée. “Pas” also refers to a dance executed by a soloist (pas seul), a duet (pas de deux), and so on.
Pas allé [pah a-LAY]. Walking step. This is a simple walking step in which the whole foot is placed on the floor, not the toe first as in pas marché.
Pas assemblé [pah a-sahn-BLAY]. Assembled step. A basic step of allégro. See Assemblé.
Pas ballotté [pah ba-law-TAY]. Tossed step. See Ballotté.
Pas battus [pah ba-TEW]. Beaten steps. Any step done with a beat is called a pas battu. The pas battus include such steps as assemblé, jeté, ballonné, sissonne, échappé, saut de basque, jeté entrelacé, etc.
Pas brisé [pah bree-ZAY]. Breaking step. See Brisé.
Pas composé [pah kawn-poh-ZAY]. Compound step. A term of the French School for any of various combinations of steps. See Compound step; Enchaînement.
Pas coupé [pah koo-PAY]. Cutting step. See Coupé.
Pas couru [pah koo-REW]. Running step. Pas couru is a run in any direction and is composed of three or five running steps on the demi-pointes to gain momentum for such steps as grand jeté en avant, grand jeté pas de chat, etc. The demi-plié at the end of the pas couru is emphasized, followed by the step for which it serves as a springboard. The term is also used for a run on point in an unturned-out first position.
Pas d’action [pah dak-SYAWN]. Dance action. A scene in a ballet that expresses emotion or tells a story by means of mime and dance. Examples of pas d’action are to be found in Giselle, Act I, in Coppélia and in The Sleeping Beauty.
Pas de basque [pah duh bask]. Basque step. A characteristic step of the national dances of the Basques that has been adapted to ballet use. There are two types of pas de basque; pas de basque glissé, which is done close to the floor, and pas de basque sauté, which is jumped. The step is performed en avant, en arrière and en tournant.
Pas de basque battu (Cecchetti method) [pah duh bask ba-TEW]. Pas de basque, beaten. Fifth position R foot front. Demi-plié and spring off the L foot, raising the R foot a few inches off the floor, toward corner 1. While the body is in the air, beat the feet (from the base of the calves down) together, R foot front, and simultaneously interchange them. Land on the R foot in demi-plié and immediately close the L foot in demi-plié in the fifth position front.
Pas de basque en arrière, grand [grahn pah duh bask ah na-RYEHR]. Large pas de basque, traveling backward. To perform this, reverse the movements of grand pas de basque en avant (q.v.). It may also be performed eliminating the demi-grand rond de jambe en dedans, in which case the step begins with a jeté de côté at 90 degrees.
Pas de basque en avant, grand [grahn pah duh bask ah na-VAHN]. Large pas de basque, traveling forward. Fifth position croisé, R foot front. Demi-plié and execute a demi-grand rond de jambe en dehors to the second position at 90 degrees; spring to the right on the R foot, landing in demi-plié, and simultaneously execute a développé croisé devant with the L toe passing the R knee before extending forward at 90 degrees; step on the L demi-pointe croisé en avant and quickly bring the R foot to the fifth position back on demi-pointe, then demi-plié in fifth position croisé.
Pas de basque en descendant [pah duh bask ahn day-sahn-DAHN]. Pas de basque, coming down (stage). A term of the French School. Same as pas de basque en avant.
Pas de basque en détournant, grand [grahn pah duh bask ahn day-toor-NAHN]. A term of the French School. Same as grand pas de basque en tournant.
Pas de basque en remontant [pah duh bask ahn ruh-mawn-TAHN]. Pas de basque, going up (stage). A term of the French School. Same as pas de basque en arrière.
Pas de basque en tournant [pah duh bask ahn toor-NAHN]. Pas de basque, turning. This is a compound step consisting of a pas de basque en avant turning a half-turn en dedans, followed by a pas de basque en arrière turning a half-turn en dehors, to make one complete turn.
Pas de basque en tournant, grand [grahn pah duh bask ahn toor-NAHN]. Large pas de basque, turning. This is done like the grand pas de basque (en avant) but the first two movements are done with straight legs. Demi-plié in the fifth position. Execute a demi-grand rond de jambe en dehors at 90 degrees with the R leg, spring upward and execute a demi-grand rond de jambe en dedans at 90 degrees with the L leg. Alight in fondu on the R leg and close the L leg to the fifth position front, turning quickly en dedans on the balls of the feet. Finish in demi-plié in the fifth position R foot front.
Pas de basque glissé en arrière [pah duh bask glee-SAY ah na-RYEHR]. Pas de basque, gliding backward. To perform this, reverse the movements of pas de basque glissé en avant (q.v.). It may also be performed eliminating the demi-rond de jambe en dedans, in which case the step begins with a battement soutenu to the second position.
Pas de basque glissé en avant [pah duh bask glee-SAY ah na-VAHN]. Pas de basque, gliding forward. Fifth position croisé, R foot front. Demi-plié and slide the R foot croisé devant, pointe tendue, and immediately execute a demi-rond de jambe à terre en dehors; jump on the R foot in demi-plié without getting off the floor and extend the L foot pointe tendue to the second position; glide the L foot through the first position (the Cecchetti method glides through the fifth), allowing the knee to bend, to the fourth position front (croisé); the weight is then taken on the L foot and both knees straighten as the R foot is pointed in croisé derrière; the R foot then executes a coupé dessous or is closed to the fifth position croisé derrière in demi-plié.
Pas de basque par terre [pah duh bask par tehr]. Pas de basque on the ground. A term of the Russian School. Same as pas de basque glissé (en avant or en arrière).
Pas de basque sauté en avant [pah duh bask soh-TAY ah na-VAHN]. Pas de basque, jumping forward. This is done in the same manner as the pas de basque glissé en avant, but the legs are raised off the floor and the step is jumped. Execute the demi-rond de jambe en dehors slightly off the floor, then spring to the working foot and step forward to the fourth position croisé. Finish with a coupé dessous or close in the fifth position in demi-plié. Pas de basque sauté en arrière is done in the same manner, reversing the directions.
Pas de basque sur les pointes [pah duh bask sewr lay pwent]. Pas de basque on the points. A term of the Cecchetti method. Stand in the fourth position croisé R foot front, pointe tendue. Execute a demi-rond de jambe en l’air en dehors (demi-hauteur), springing onto the R point. Immediately bring the L foot to the fifth position front sur la pointe. Remaining on the points, turn the body to the right until it returns to the starting position, changing the feet so that the R foot is in front. Lower the heels and demi-plié in the fifth position, or fondu on the L leg, extending the R leg to the fourth position en l’air croisé (demi-hauteur). See Tour de basque.
Pas de batterie [pah duh bat-REE]. Beating steps. A term of the French School. See Battu.
Pas déboîté [pah day-bwah-TAY]. Disjointed step. See Déboîté.
Pas de bourrée [pah duh boo-RAY]. Bourrée step. Pas de bourrée is done dessous, dessus, devant, derrière, en avant, en arrière and en tournant en dedans and en dehors, on the point or demi-pointe.
Pas de bourrée bateau [pah duh boo-RAY ba-TOH]. Boat-like pas de bourrée. A term of the French School. This is a pas de bourrée en avant taken in an effacé direction and ending with the free foot extended à la demi-hauteur. This is immediately followed by a pas de bourrée en arrière taken in an effacé direction and ending with the free foot extended à la demi-hauteur. See Pas de bourrée en arrière; Pas de bourrée en avant.
Pas de bourrée changé sur les pointes [pah duh boo-RAY shahn-ZHAY sewr lay pwent]. Pas de bourrée, changing, on the toes. A series of quick little steps in place on the points or demi-pointes. Fifth position R foot front. Step on the L point crossed behind the R, take a tiny step on the R point to the right, then step on the L point crossed in front of the R. Repeat starting with the R foot. The step is done alternating sides as rapidly as possible and remaining sur place.
Pas de bourrée couru [pah duh boo-RAY koo-REW]. Pas de bourrée, running. A term of the French School. This is a progression on the points or demi-pointes by a series of small, even steps with the feet close together. It may be done in all directions or in a circle. Same as pas de bourrée suivi.
Pas de bourrée couru en cinquième [pah duh boo-RAY koo-REW ahn sen-KYEM]. Pas de bourrée, running, in the fifth position. A term of the French School. This pas de bourrée is done on the points or demi-pointes. The back foot should start the action and remain the leader throughout the duration of the step. Fifth position, R foot front. Take a tiny step to the right on the L point, then close the R point to the fifth position front; step to the right again with the L foot, and so on. When traveling to the left the L foot will be in front and the R foot will lead. This pas de bourrée may be taken in all directions and in a circle. See Pas de bourrée suivi.
Pas de bourrée couru en première [pah duh boo-RAY koo-REW ahn pruh-MYEHR]. Pas de bourrée, running, in the first position. This step travels en avant, en arrière and so on. The feet are in the first position on the points or demi-pointes, without a turn-out, and the step is done traveling with a series of tiny steps closing in the first position.
Pas de bourrée derrière [pah duh boo-RAY deh-RYEHR]. Pas de bourrée in back. Fifth position R foot front. Demi-plié and dégagé the R foot to the second position en l’air à la demi-hauteur. Bring the R foot to the fifth position back, rising on the demi-pointes, and immediately open the L foot to the second position, stepping on the demi-pointe. Bring the R foot in back of the L and lower both heels to the ground in the fifth position, demi-plié. The dégagé movement of this step may be started from the fifth position front or back.
The following will be an aid in remembering the four common pas de bourrée:
Pas de bourrée dessous: step behind, side, front.
Pas de bourrée dessus: step front, side, behind.
Pas de bourrée devant: step front, side, front.
Pas de bourrée derrière: step behind, side, behind.
All can be commenced with either the front or back foot.
Pas de bourrée dessous [pah duh boo-RAY duh-SOO]. Pas de bourrée under. Fifth position R foot back. Demi-plié and dégagé the R foot to the second position en l’air à la demi-hauteur. Bring the R foot to the fifth position back, rising on the demi-pointes, and immediately open the L foot to the second position, stepping on the demi-pointe. Bring the R foot in front of the L and lower both heels to the ground, demi-plié. This step may also be done bringing the free foot sur le cou-de-pied or to the knee on each step and finishing with the back foot sur le cou-de-pied. In this case the dégagé to the second position may be omitted. This step may also be done commencing with the R foot in the front. For a memory aid, see Pas de bourrée derrière.
Pas de bourrée dessous en tournant [pah duh boo-RAY duh-SOO ahn toor-NAHN]. Pas de bourrée under, turning. This pas de bourrée is done turning en dehors. Fifth position R foot front or back. Demi-plié and dégagé the R foot to the second position so that the point is a little off the ground. Step on the R demi-pointe in the fifth position back, rising on the L demi-pointe and making a half-turn en dehors to the right. Step on the demi-pointe of the L foot, completing the turn to face front, and demi-plié in the fifth position R foot front. The turn may also be done lifting the free foot sur le cou-de-pied on each step, as: L foot sur le cou-de-pied devant, R foot sur le cou-de-pied devant and finishing with the L foot sur le cou-de-pied derrière. The French School terms this step “pas de bourrée détourné.” See Pas de bourrée en tournant en dehors.
Pas de bourrée dessus [pah duh boo-RAY duh-SEW]. Pas de bourrée over. Fifth position R foot front. Demi-plié and dégagé the R foot to the second position en l’air à la demi-hauteur. Bring the R foot to the fifth position front, rising on the demi-pointes, and immediately open the L foot to the second position, stepping on the demi-pointe. Bring the R foot in back of the L in the fifth position and lower both heels to the ground and demi-plié. This step may also be done bringing the free foot sur le cou-de-pied or to the knee on each step and finishing with the front foot sur le cou-de-pied. In this case the dégagé to the second position may be omitted. The step may also be done commencing with the R foot in the back. For a memory aid, see Pas de bourrée derrière.
Pas de bourrée dessus en tournant [pah duh boo-RAY duh-SEW ahn toor-NAHN]. Pas de bourrée over, turning. This pas de bourrée is done turning en dedans. Fifth position R foot back. Demi-plié and dégagé the R foot to the second position so that the point is a little off the ground. Step on the R demi-pointe in the fifth position front, rising on the L demi-pointe and making a half-turn en dedans to the left. Step on the demi-pointe of the L foot, completing the turn to face front, and demi-plié in the fifth position R foot back. The turn may also be done lifting the free foot sur le cou-de-pied on each step, as: L foot sur le cou-de-pied derrière, R foot sur le cou-de-pied derrière and finishing L foot sur le cou-de-pied devant. The French School terms this step “pas de bourrée enveloppé en tournant.” See Pas de bourrée en tournant en dedans.
Pas de bourrée détourné [pah duh boo-RAY day-toor-NAY]. A term of the French School. Same as pas de bourrée dessous en tournant.
Pas de bourrée devant [pah duh boo-RAY duh-VAHN]. Pas de bourrée in front. Fifth position R foot back. Demi-plié and dégagé the R foot to the second position en l’air à la demi-hauteur. Bring the R foot to the fifth position front, rising on the demi-pointes, and immediately open the L foot to the second position, stepping on the demi-pointe. Bring the R foot in front of the L and lower both heels to the ground in the fifth position, demi-plié. The dégagé movement of this step may be started from the fifth position front or back. For a memory aid, see Pas de bourrée derrière.
Pas de bourrée emboîté [pah duh boo-RAY ahn-bwah-TAY]. Pas de bourrée “boxed.” A term of the Russian School. See Emboîté sur les pointes.
Pas de bourrée en arrière [pah duh boo-RAY ah na-RYEHR]. Pas de bourrée backward. Fifth position R foot front. Demi-plié and dégagé the R foot to the fourth position front en l’air à la demi-hauteur. Bring the R foot to the fifth position front, rising on the demi-pointes, and immediately open the L foot to the fourth position back, stepping on the demi-pointe. Bring the R foot in front of the L and lower both heels to the floor in the fifth position or extend the L leg à la quatrième derrière à la demi-hauteur. May be taken croisé en arrière or effacé en arrière.
Pas de bourrée en avant [pah duh boo-RAY ah na-VAHN]. Pas de bourrée forward. Fifth position R foot back. Demi-plié and dégagé the R foot to the fourth position back en l’air à la demi-hauteur. Bring the R foot to the fifth position back, rising on the demi-pointes, and immediately open the L foot to the fourth position front, stepping on the demi-pointe. Bring the R foot in back of the L foot and lower both heels to the ground in demi-plié in the fifth position or extend the L leg forward à la quatrième devant à la demi-hauteur. May be taken croisé en avant or effacé en avant.
Pas de bourrée en tournant en dedans [pah duh boo-RAY ahn toor-NAHN ahn duh-DAHN]. Pas de bourrée, turning inward. The general construction of this step is the same as the pas de bourrée dessus en tournant.
Pas de bourrée en tournant en dehors [pah duh boo-RAY ahn toor-NAHN ahn duh-AWR]. Pas de bourrée, turning outward. The general construction of this step is the same as the pas de bourrée dessous en tournant.
Pas de bourrée enveloppé en tournant [pah duh boo-RAY ahn-vuh-law-PAY ahn toor-NAHN]. Pas de bourrée enveloped, turning. A term of the French School. Same as pas de bourrée dessus en tournant.
Pas de bourrée jeté en tournant [pah duh boo-RAY zhuh-TAY ahn toor-NAHN]. Pas de bourrée thrown, turning. A compound step consisting of a pas de bourrée dessus en tournant, making three-quarters of a turn, and a jeté en avant, completing the turn.
Pas de bourrée piqué [pah duh boo-RAY pee-KAY]. Pas de bourrée pricked. The free foot is picked up sharply sur le cou-de-pied or en retiré on each step. Pas de bourrée piqué may be done on the points or demi-pointes, dessous, dessus, en tournant en dedans and en tournant en dehors.
Pas de bourrée piqué dessous [pah duh boo-RAY pee-KAY duh-SOO]. Pas de bourrée piqué under. Fifth position croisé, R foot front. Fondu on R, raising L foot to retiré derrière. Piqué on the L point or demi-pointe, raising the R foot sharply to retiré devant. Step on the R point or demi-pointe to a small second position, raising the L foot to retiré devant. Coupé dessus on the L foot (croisé) with a good fondu, raising the R foot to retiré derrière. Pas de bourrée piqué may also be finished in the fifth position on the points or demi-pointes.
Pas de bourrée renversé [pah duh boo-RAY rahn-vehr-SAY]. Pas de bourrée upset. This is a pas de bourrée en tournant en dehors executed with a back-bend. See Renversé.
Pas de bourrée suivi [pah duh boo-RAY swee-VEE]. Pas de bourrée followed or connected. A term of the Russian School. This is a series of very small steps on the points. It may be done in all directions. There are two forms of pas de bourrée suivi, one done in the fifth position and one done in the first position. See Pas de bourrée couru en cinquième; Pas de bourrée couru en première.
Pas de bourrée suivi en tournant [pah duh boo-RAY swee-VEE ahn toor-NAHN]. Pas de bourrée connected, turning. This is a series of very small steps on the points in the fifth position, turning in place.
Pas de bourrée suivi in fifth position [pah duh boo-RAY swee-VEE]. Fifth position R foot front. Demi-plié and relevé to points. Step on the L point crossed behind the R foot, then close the R foot to the fifth position front; step to the right again on the L foot, and so on. Pas de bourrée suivi in fifth position may be taken in all directions. See Pas de bourrée couru en cinquième.
Pas de bourrée suivi in first position (pas couru) [pah duh boo-RAY swee-VEE; pah koo-REW]. This step is always executed without a turnout (knees straight forward). It is done traveling forward or backward. See Pas de bourrée couru en première.
Pas de chat, grand [grahn pah duh shah]. Large cat’s-step. The step owes its name to the likeness of the movement to a cat’s leap. In the Cecchetti method pas de chat is done from fifth to fifth and travels obliquely forward. Fifth position R foot back. Raise the R toe in retiré to the side of the L knee and demi-plié on the L leg; spring upward and to the side on the R foot in a diagonal direction, bringing the L toe to the side of the R knee. The landing is made almost simultaneously; first the R foot lands in demi-plié, followed by the L foot, which closes in the fifth position front, bending the knee. If the pas de chat is petit, the jump is smaller and the free foot is raised sur le cou-de-pied instead of en retiré. See Saut de chat.
Pas de chat, grand (Russian School) [grahn pah duh shah]. This step is started from an auxiliary step such as a glissade or pas couru. After the preliminary step (to the right), the R leg is thrown forward as in grand jeté en avant (body effacé) with the L leg up and back. Quickly bend the R knee, bringing the R foot to the L knee, then land on the R foot in demi-plié and glide the L foot through the first position to the fourth position front in croisé, L leg in demi-plié. This pas de chat requires a long, high jump.
Pas de chat russe, grand [grahn pah duh shah rewss]. Large Russian pas de chat. Same as grand pas de chat (Russian School).
Pas de chat (Russian School) [pah duh shah]. In the Russian School, pas de chat is done in a different manner from the Cecchetti method. Fifth position croisé R foot back. Demi-plié and brush the R leg in a half-bent position à la quatrième derrière croisé (demi-hauteur). The L leg follows, being thrown back in a half-bent position in effacé to meet the R leg. There is a moment when both legs are in the air passing each other. The landing is made in demi-plié on the R leg, followed by the L leg, which passes forward into the fourth position croisé, body facing croisé. The L foot may also be closed in the fifth position. There should be a forward movement during the spring and the back should be arched when both feet are in the air.
Pas de cheval [pah duh shuh-VAL]. Horse’s-step. This step is so called because it resembles the movement of a horse pawing the ground. From the fourth position devant pointe tendue, brush the pointed foot inward toward the knee of the supporting leg. Without stopping the movement, execute a développé, finishing pointe tendue à terre in the fourth position devant. The step may also be performed with a hop on the supporting foot as the working leg performs the développé and points on the floor. It is usually performed in a series on alternating feet on the points or demi-pointes.
Pas de ciseaux [pah duh see-ZOH]. Scissors step. A term of the Russian School. Pas de ciseaux is similar to a cabriole devant, except that the legs do not beat but pass over each other. Fourth position croisé derrière, R foot back, pointe tendue. Demi-plié on the L leg, thrusting the R leg forward in effacé with a grand battement, bending the torso back. Spring off the L, throwing it forward so that it passes the R in the air. The L leg, well extended, is immediately thrown backward through the first position into first arabesque, as the R leg descends in demi-plié.
Pas de deux [pah duh duh]. Dance for two.
Pas de deux, grand [grahn pah duh duh]. Grand dance for two. It differs from the simple pas de deux in that it has a definite structure. As a general rule the grand pas de deux falls into five parts: entrée, adage, variation for the danseuse, variation for the danseur, and the coda, in which both dancers dance together.
Pas dégagé [pah day-ga-ZHAY]. Disengaged or disengaging step. See Dégagé.
Pas d’élévation [pah day-lay-va-SYAWN]. See Élévation, pas d’.
Pas de papillon [pah duh pa-pee-YAWN]. Butterfly step. Same as jeté passé en arrière.
Pas de poisson [pah duh pwah-SAWN]. Fish step. Same as temps de poisson.
Pas de polka [pah duh pawl-KA]. Polka step. Fifth position R foot front. Temps levé on the L foot and execute a petit développé à la quatrième devant with the R leg. Step forward on the R foot and place the L foot slightly behind the R, then step forward on the R foot. Repeat on alternate feet. This step may be done sur les demi-pointes or sur les pointes traveling en avant, en arrière or in any direction.
Pas de quatre [pah duh KA-truh]. A dance for four. The most famous pas de quatre in ballet history took place in London on July 12, 1845, at a command performance for Queen Victoria, when the four greatest ballerinas of the nineteenth century, Marie Taglioni, Carlotta Grisi, Fanny Cerrito and Lucile Grahn, appeared together.
Pas de trois [pah duh trwah]. A dance for three. Similarly, a pas de cinq is a dance for five people; a pas de six is a dance for six people; etc.
Pas de valse [pah duh valss]. Waltz step. Done with a graceful swaying of the body with various arm movements. May be done facing or en tournant. The step is like a balancé, but the feet do not cross.
Pas emboîté [pah ahn-bwah-TAY]. “Boxed” step. See Emboîté.
Pas failli [pah fah-YEE]. Giving-way step. See Failli.
Pas glissé [pah glee-SAY]. Gliding step. Any step that glides on the floor. Example: battement glissé.
Pas jeté [pah zhuh-TAY]. Thrown or throwing step. See Jeté.
Pas marché [pah mar-SHAY]. Marching step. This is the dignified, classical walk of the ballerina and the premier danseur. The step is commenced with a petit développé R with a strongly arched instep, followed by a fondu on the supporting L leg. Step forward on the R foot in the fourth position croisé so that the toe reaches the ground first, then lower the R heel with the foot slightly turned out, transferring the weight forward. Repeat on alternate feet.
Passé [pa-SAY]. Passed. This is an auxiliary movement in which the foot of the working leg passes the knee of the supporting leg from one position to another (as, for example, in développé passé en avant) or one leg passes the other in the air (as in jeté passé en avant) or one foot is picked up and passes in back or in front of the supporting leg (as in chassé passé).
Passé par terre [pa-SAY par tehr]. Passed on the ground. This is an auxiliary movement in which the foot of the working leg is passed from the position pointe tendue in fourth devant to the position pointe tendue in fourth derrière, or vice versa.
Passe-pied [pahss-PYAY]. This is a term of the French School for a sort of petits jetés finished piqués à terre. Passe-pied is done devant, derrière and de côté on the point or demi-pointe. Fifth position R foot front; demi-plié and jump into the air, at the same time executing a dégagé with the R foot à la demi-hauteur to the fourth position front. Come to the ground on the L foot in demi-plié, pointing the R foot on the ground in the fourth position front. In this position jump into the air, dégagé the L foot to the fourth position front and land on the R foot in demi-plié. The movement is repeated with alternate feet as many times as desired.
Passer la jambe [pa-SAY lah zhahnb]. Pass the leg. The pointed foot of the extended leg is brought in to pass the side of the supporting knee and is then opened in a développé in the opposite direction or to the second position en l’air.
Pas seul [pah suhl]. Solo dance.
Pas sissonne [pah see-SAWN]. Sissonne step. See Sissonne.
Pas tombé [pah tawn-BAY]. Falling step. Pas tombé is used as a preparatory step. It is a movement falling forward or backward on one foot in a demi-plié, transferring the weight of the body. It is used with such steps as développé, ballonné and so on. See Sissonne tombée.
Penché, penchée [pahn-SHAY]. Leaning, inclining. As, for example, in arabesque penchée (q.v.).
Petit, petite [puh-TEE, puh-TEET]. Little, small. As, for example, in petit battement. (To find terms starting with “petit,” look up the second word of the term.)
Pied à demi [pyay a duh-MEE]. Foot at the half. Another name for sur la demi-pointe. See Demi-pointes, sur les.
Pied à pointe [pyay a pwent]. Foot on the point. Another name for sur la pointe. See Pointes, sur les.
Pied à quart [pyay a kar]. Foot on the quarter-point. See Positions of the foot on the floor.
Pied à terre [pyay a tehr]. Foot on the ground. A term of the Cecchetti method for a position of the foot in which the entire base of the foot rests on the ground. See Plat, à.
Pied à trois quarts [pyay a trwah kar]. Foot on the three-quarter point. See Positions of the foot on the floor.
Pied dans la main [pyay dahn lah men]. Foot in the hand. A term of the French School. This is a class exercise done at the barre in which the dancer grasps the sole of the foot or heel from the inner side; the leg is then straightened and carried to the second position in the air, the foot still held with the hand. See Détiré.
Pieds, cinq positions des [sen paw-zee-SYAWN day pyay]. Five positions of the feet. See illustrations, p. 139. There are five basic positions of the feet in classical ballet, and every step or movement is begun and ended in one or another of these positions, which were established by Pierre Beauchamp, maître de ballet of the Académie Royale de Musique et de Danse from 1671 to 1687.
First position (Première position): In this position the feet form one line, heels touching one another.
Second position (Seconde position): The feet are on the same line but with a distance of about one foot between the heels.
Third position (Troisième position): In the third position one foot is in front of the other, heels touching the middle of the other foot.
Fourth position (Quatrième position): In the fourth position the placement of the feet is similar to that in the third position, the feet being parallel and separated by the length of one foot. This is the classical fourth position but it may also be done with the feet in the first position, only separated by the space of one foot. The former is known as quatrième position croisée (crossed fourth position), while the latter is called quatrième position ouverte (open fourth position). Today quatrième position croisée is done with the feet placed as in the fifth position, parallel and separated by the length of one foot, instead of the third position.
Fifth position (Cinquième position): In the fifth position, Cecchetti method, the feet are crossed so that the first joint of the big toe shows beyond either heel. In the French and Russian Schools the feet are completely crossed so that the heel of the front foot touches the toe of the back foot and vice versa.
Pieds, positions des, à terre [paw-zee-SYAWN day pyay a tehr]. When the entire base of both feet touches the ground the feet are said to be in a position à terre. All the positions described in the entry “Pieds, cinq positions des” are positions à terre.
Pieds, positions des, en l’air [paw-zee-SYAWN day pyay ahn lehr]. If either foot is placed in the second or fourth position pointe tendue and raised to the side in the second position or forward or backward in the fourth position so that the leg is at right angles to the hip of the supporting leg, the foot is said to be in the second or fourth position en l’air. Also termed à la hauteur, as in quatrième position à la hauteur.
Pieds, positions des, en l’air (demi-position) [paw-zee-SYAWN day pyay ahn lehr (duh-MEE-paw-zee-SYAWN)]. When a foot is raised in the second or fourth position to a position halfway between the position à terre and the same position en l’air, it is said to be raised in a position en l’air (demi-position). Also termed demi-hauteur, as in seconde position demi-hauteur.
Pieds, positions des, pointe tendue [paw-zee-SYAWN day pyay pwent tahn-DEW]. If, in the second or fourth positions, the heel of either foot is raised so that the foot rests on the tip of the toes, the foot is said to be in the second or fourth position pointe tendue. Also termed “piqué à terre.”
Piétiner [pyay-tee-NAY]. To stamp the feet. A term of the French School applied to accented movements sur les pointes.
Piqué [pee-KAY]. Pricked, pricking. Executed by stepping directly on the point or demi-pointe of the working foot in any desired direction or position with the other foot raised in the air. As, for example, in piqué en arabesque, piqué développé and so on.
Piqué à terre [pee-KAY a tehr]. Piqué on the ground. This is a term of the French School to denote a position of the foot in the second or fourth position with the heel raised and only the tip of the toes touching the ground, the weight of the body being supported on the other foot. Piqué à terre is done devant, derrière or en seconde. Same as pointe tendue.
Piqué ballonné [pee-KAY ba-law-NAY]. Bouncing piqué. Stand on the R foot with the L foot sur le cou-de-pied derrière; piqué on the L point behind the R, extending the R foot to the second position at 45 degrees. Demi-plié on the L foot and cut the R foot behind the L calf. Repeat on alternate feet.
Piqué détourné [pee-KAY day-toor-NAY]. Piqué turned aside. Fifth position, R foot back. Demi-plié and dégagé the R foot to the second position at 45 degrees and step on the R point or demi-pointe; immediately step on the L point or demi-pointe crossed behind in the fifth position and pivot toward the back foot. The turn finishes with the L foot in the fifth position front.
Piqué en arabesque [pee-KAY ah na-ra-BESK]. Piqué in arabesque. Fifth position R foot front. Demi-plié and dégagé the R leg à la demi-hauteur and step forward directly onto the point of the R foot, raising the L leg in an arabesque position.
Piqué en arrière [pee-KAY ah na-RYEHR]. Piqué backward. Fifth position R foot back. Demi-plié and raise the R foot en raccourci derrière, or dégagé the R foot à la quatrième derrière demi-hauteur. Step directly onto the point or demi-pointe of the R foot with the L foot sur le cou-de-pied or en raccourci devant.
Piqué en avant [pee-KAY ah na-VAHN]. Piqué forward. Fifth position R foot front. Demi-plié and raise the R foot en raccourci devant or dégagé the R foot à la quatrième devant, demi-hauteur. Step directly onto the point or demi-pointe of the R foot with the L foot sur le cou-de-pied or en raccourci derrière.
Piqué enveloppé [pee-KAY ahn-vuh-law-PAY]. Piqué enveloped. A term of the French School. See Piqué tour en dehors; Tour dégagé.
Piquer la pointe [pee-KAY lah pwent]. To prod the toe. The working foot performs a battement dégagé to the second or fourth position, then strikes the floor lightly with the pointed toes. See Battement piqué, petit; Battement tendu jeté pointé.
Piqué sur la pointe [pee-KAY sewr la pwent]. See Piqué.
Piqué tour [pee-KAY toor]. Piqué, turning. This is a pirouette in which the dancer steps directly onto the point or demi-pointe with the raised leg sur le cou-de-pied devant or derrière, in attitude, arabesque or any given position. This turn is executed either en dedans or en dehors (see following entries).
Piqué tour en dedans [pee-KAY toor ahn duh-DAHN]. Piqué turning inward. Fifth position croisé R foot front; demi-plié and dégagé the R leg to the second position en l’air, demi-hauteur. Step onto the point or demi-pointe of the R foot, turning en dedans to the right with the L foot placed en raccourci derrière or sur le cou-de-pied derrière. After completing the turn, fall on the L foot in demi-plié (coupé dessous) with the R leg sur le cou-de-pied devant or extended in the fourth position en l’air, demi-hauteur. During the turn the L foot may be placed in front of the R leg instead of at the back. The turn may be single or double and may be done in a series traveling diagonally or in a circle. The head “spots.”
Piqué tour en dehors [pee-KAY toor ahn duh-AWR]. Piqué turning outward. Fifth position R foot front; demi-plié and dégagé the L leg to the second position en l’air, demi-hauteur. Bring the L leg in front of the R leg and step directly onto the point or demi-pointe of the L foot, turning en dehors to the right with the R foot placed en raccourci devant or sur le cou-de-pied devant. After completing the turn, fall on the R foot in demi-plié (tombé) with the L leg extended in the second position en l’air, demi-hauteur. The movement is then continued to the same side. The turns may be single or double and the head “spots.”
Pirouette [peer-WET]. Whirl or spin. A complete turn of the body on one foot, on point or demi-pointe. Pirouettes are performed en dedans, turning inward toward the supporting leg, or en dehors, turning outward in the direction of the raised leg. Correct body placement is essential in all kinds of pirouettes. The body must be well centered over the supporting leg with the back held strongly and the hips and shoulders aligned. The force of momentum is furnished by the arms, which remain immobile during the turn. The head is the last to move as the body turns away from the spectator and the first to arrive as the body comes around to the spectator, with the eyes focused at a definite point which must be at eye level. This use of the eyes while turning is called “spotting.” Pirouettes may be performed in any given position, such as sur le cou-de-pied, en attitude, en arabesque, à la seconde, etc.
Pirouette, grande [grahnd peer-WET]. Large pirouette. This is a series of turns on one foot with the raised leg held in the second position en l’air, in attitude or arabesque, or in a combination of poses. The body turns en dehors and a relevé is made on the supporting foot with each turn. The series may also include small hopping turns in which the dancer pivots on the ball of the foot while quickly shifting the heel with tiny, sharp movements. The grande pirouette is concluded with multiple turns sur le cou-de-pied. It is usually performed to 16 or 32 measures of a galop. See Pirouette à la seconde, grande; Pirouette sautillée, grande.
Pirouette, supported [(supported) peer-WET]. This is a pirouette in which the dancer is supported and steadied by her male partner as she turns. There are several kinds of supported pirouettes, such as pirouettes en dehors, fouettés ronds de jambe en tournant (finger turns), pirouettes en dedans taken from a preparation enveloppé, and so on.
Pirouette à la seconde, grande [grahnd peer-WET a lah suh-GAWND]. Large pirouette in the second position. This pirouette is usually performed by male dancers. It is a series of turns on one foot with the free leg raised to the second position en l’air at 90 degrees. Demi-plié in the second position (R arm curved in front of the body, L arm in second); spring onto the L demi-pointe, throwing the R leg to the second position and turning en dehors. At the completion of the first turn, the supporting heel is lowered in demi-plié, then immediately pushes from the floor to demi-pointe, and the turn is repeated. After a series of 8 or 16 turns, grande pirouette is usually concluded with multiple pirouettes sur le cou-de-pied. The force for the first turn is taken by the R arm, which opens to the second position. The arms remain in the second position during the series of turns, then close in the first position for the concluding pirouettes. The head turns and the eyes “spot,” providing additional force for the turns.
Pirouette en arabesque [peer-WET ah na-ra-BESK]. Pirouette in arabesque.
En dedans: Fourth position croisé R foot front with the weight on the R leg, which is in demi-plié. The R arm is curved in front of the body and the L arm is held in the second position. Push off with both heels (the L leg remains stretched) and relevé on the R foot, turning the body to face the right wall, at which time the first arabesque position is taken. One or two turns are executed, with the R arm providing the force. The eyes follow the R hand.
En dehors: Fourth position croisé R foot back. The L arm is extended to the second position, R arm curved in front of the body or extended forward. The center of weight is on the L leg with the R leg stretched in back. Push off with both heels (the R leg remains stretched) and relevé on the L leg, raising the R leg to the third Russian arabesque, and make a complete turn to the right. The L arm and hand give a push to the right while remaining in the arabesque position. The head remains immobile, with the eyes following the R hand.
Pirouette en attitude [peer-WET ah na-tee-TEWD]. Pirouette in attitude. The turn is performed either en dedans or en dehors and the preparation is taken from the fourth position.
En dedans: Fourth position croisé R foot front; weight on the R leg, which is in demi-plié; L arm held in the second position, R arm curved in front of the waist. Push off with both heels and relevé on the R foot, establishing the pose attitude effacée immediately, then turn one or more turns to the right. The force is taken with the R arm, which is thrust to the side while the L arm swings above the head in the line of vision. The head does not “spot.”
En dehors: Fourth position croisé R foot back, R arm extended forward (or curved in front of the waist), L arm extended to the side. Demi-plié and push off with both heels into a relevé on the L foot, establishing the pose attitude croisée derrière immediately, then turn one or more turns to the right. The head does not “spot.”
Pirouette en dedans [peer-WET ahn duh-DAHN]. Pirouette, turning inward. The body turns toward the supporting leg; that is, if the turn is made on the right foot, the dancer will turn to the right. See Pirouette sur le cou-de-pied.
Pirouette en dehors [peer-WET ahn duh-AWR]. Pirouette, turning outward. The body turns toward the raised foot; that is, if the turn is made on the right foot, the dancer will turn to the left. See Pirouette sur le cou-de-pied.
Pirouette from a grand plié [peer-WET; grahn plee-AY]. This turn is used in adagio exercises in the classroom. When the extreme point of the plié is reached, the leg upon which the pirouette is to be done should be immediately extended and the desired number of turns executed on the demi-pointe, with the free foot sur le cou-de-pied. The turn is done en dedans or en dehors.
Pirouette piquée [peer-WET pee-KAY]. Pricked pirouette. A term of the French School. Same as piqué tour en dedans.
Pirouette renversé [peer-WET rahn-vehr-SAY]. Pirouette upset. This pirouette is performed en dedans with the raised leg held in retiré devant. Execute one or two pirouettes in this position, then, at the beginning of the last turn, bend the body to the side of the raised leg; at the end of the turn, bend the body forcefully to the side of the supporting leg, while throwing the raised leg in a développé à la seconde. See Renversé en écarté.
Pirouette sautillée, grande [grahnd peer-WET soh-tee-YAY]. Large hopping pirouette. A term of the Russian School. This pirouette is done with the supporting leg in demi-plié while turning en dehors with tiny hops on the whole foot, the heel barely leaving the floor. The working leg is held in the second position en l’air at 90 degrees.
Pirouette sur le cou-de-pied [peer-WET sewr luh koo-duh-PYAY]. Pirouette on the ankle. This is a complete turn of the body on point or demi-pointe with the free foot raised sur le cou-de-pied devant or retiré devant. The higher position with the foot pointed in front of the knee is usually used by girls, while boys usually keep the foot sur le cou-de-pied. The turn is done either en dedans or en dehors and may be single, double, triple, etc. The preparation for the turn is taken from the fifth, fourth or second position. As a rule, all pirouettes en dedans finish in front of the supporting leg, while all pirouettes en dehors finish behind the supporting leg.
En dehors (from the fifth position): Demi-plié in the fifth position R foot front with the R arm curved in front of the body and the L arm in the second position. Push off with both heels, relevé on the L foot with the R foot sur le cou-de-pied devant and make a complete turn to the right. The force for the turn is provided by the L arm, which comes in to meet the R arm in front of the waist. After one or more turns, finish in demi-plié in the fifth position R foot back, opening the arms slightly forward of the second position. The knees are then straightened.
En dedans (from the fifth position): Demi-plié in the fifth position R foot front with the R arm curved in front of the body and the L arm in the second position. Push off with both heels, relevé on the R foot and immediately bring the L foot sur le cou-de-pied devant, making a complete turn to the right. The force is provided by the L arm, which comes in to meet the R arm in front of the waist. After one or more turns, finish in demi-plié in the fifth position L foot front, opening the arms slightly forward of the second position.
En dehors (from the fourth position): There are two accepted stances for a pirouette en dehors from the fourth position. In one, both knees are bent in demi-plié with the weight equally distributed on both feet, while in the other the front knee is bent in demi-plié with the back leg stretched, the whole foot on the floor and the center of weight on the front leg. In the Russian School, the preparation with the weight on the forward leg is preferred. Fourth position croisé L foot front, R arm curved in front of the body and the L arm in the second position. Demi-plié on both legs, push off with both heels and relevé on the L foot, raising the R foot sur le cou-de-pied devant while making a complete turn to the right. The force for the turn is provided by the L arm, which comes in to meet the R arm in front of the waist. After one or more turns, finish in demi-plié in either the fourth or fifth position croisé, R foot back. The arms open slightly forward of the second position. If the pirouette is taken from the lunge position with the weight on the forward leg, the R arm is stretched forward and the L arm is held in the second position with both palms down. A quick demi-plié is taken on both feet with the center of weight over the front foot. The force for the turn is provided by the L arm.
En dedans (from the fourth position): Fourth position croisé R foot front with the weight on the R leg and the L leg stretched back with the whole foot on the floor. The R arm is curved in front of the body and the L arm is in the second position. Raise the back leg slightly and carry it to the second position en l’air at 45 degrees and open the R arm to the second position; immediately relevé on the R foot, bring the L foot sur le cou-de-pied devant and make a complete turn to the right. The L arm provides the force and both arms meet in front of the waist. Finish in demi-plié in the fifth position croisé L foot front. In the Russian School when this turn is done on point, the working foot is brought directly to sur le cou-de-pied devant on the relevé.
En dehors (from the second position): This preparation is usually used by male dancers. Demi-plié in the second position with the R arm curved in front of the body and the L arm in the second position; push off with both heels and spring on the L demi-pointe, raising the R foot sur le cou-de-pied devant and making a complete turn to the right. The force for the turn is provided by the L arm, which comes in to meet the right in front of the waist. After one or more turns, finish in demi-plié in the fifth position R foot back. The arms open to slightly forward of the second position.
En dedans (from the second position): This is done in the same manner but the turn is done to the right on the R leg. Finish in demi-plié in the fifth position L foot front.
Pistolet [peess-taw-LAY]. “Pistol.” Same as ailes de pigeon.
Placé [pla-SAY]. Placed. A term to describe the correct placing of the dancer’s body, arms, legs and head in any of the dancing positions either à terre or en l’air.
Place, sur [sewr plahss]. In place. Term used to indicate that the dancer, in executing a step, stays in one spot—in other words, does not travel in any direction.
Placement, placing. A dancer is said to be well-placed when he or she has learned to hold body, head, arms and legs in their proper alignment to each other, has acquired the turn-out of the legs, a well-poised head, level hips and a stright spine in all steps and poses.
Plané [pla-NAY]. Soaring. As, for example, in temps plané. This term applies to such steps as the temps de poisson, in which the dancer tries to remain stationary in mid-air for a moment.
Plat, à [a pla]. On the flat. A term of the French School to denote that the entire sole of the foot rests flat on the floor. See Pied à terre.
Plié [plee-AY]. Bent, bending. A bending of the knee or knees. This is an exercise to render the joints and muscles soft and pliable and the tendons flexible and elastic, and to develop a sense of balance. There are two principal pliés: grand plié or full bending of the knees (the knees should be bent until the thighs are horizontal) and demi-plié or half-bending of the knees. Pliés are done at the bar and in the centre in all five positions of the feet. The third position is usually omitted. When a grand plié is executed in either the first, third or fourth position croisé (feet in the fifth position but separated by the space of one foot) or the fifth position, the heels always rise off the ground and are lowered again as the knees straighten. The bending movement should be gradual and free from jerks, and the knees should be at least half-bent before the heels are allowed to rise. The body should rise at the same speed at which it descended, pressing the heels into the floor. In the grand plié in the second position or the fourth position ouverte (feet in the first position but separated by the space of one foot) the heels do not rise off the ground. All demi-pliés are done without lifting the heels from the ground. In all pliés the legs must be well turned out from the hips, the knees open and well over the toes, and the weight of the body evenly distributed on both feet, with the whole foot grasping the floor.
Plier [plee-AY]. To bend. One of the seven movements in dancing.
Pointes, sur les [sewr lay pwent]. On the points. The raising of the body on the tips of the toes. Also used in the singular, “sur la pointe.” First introduced in the late 1820s or early 1830s at the time of Taglioni. There are three ways of reaching the points, by piqué, relevé or sauté.
Pointes, temps de [tahn duh pwent]. See Temps de pointes.
Pointe shoes. The satin ballet shoes used by dancers when dancing sur les pointes. The ballet shoes of Marie Taglioni, the first major ballerina to dance on her points, were not blocked but were padded with cotton wool. Later (about 1862) the toes of the ballet slippers were stiffened (blocked) with glue and darned to give the dancer additional support. Today the toes of pointe shoes are reinforced with a box constructed of several layers of strong glue in between layers of material. Professional dancers usually darn the tip of the pointe shoe to obtain a better grip of the shoe on the floor and thus prevent slipping.
Pointe tendue [pwent tahn-DEW]. Point stretched. When the leg is extended with the heel raised and the instep forced outward so that only the tip of the toes rests on the floor, the position is said to be pointe tendue. See Dégagé; Piqué à terre.
Poisson [pwa-SAWN]. Fish. A position of the body in which the legs are crossed in the fifth position and held tightly together with the back arched. This pose is taken while jumping into the air or in double work when the danseuse is supported in a poisson position by her partner. See Fish dive; Temps de poisson.
Polka. A dance in 2/4 time which was first danced in Bohemia in the 1830s. It later spread from Prague throughout Europe and over into America. It became the national dance of the Czechs.
Polka-mazurka. A Polish dance in 3/4 time derived from the polka and from the mazurka.
Polonaise. A processional dance in 3/4 time with which the court ballets of the seventeenth century were opened. It may be seen today in such ballets as The Sleeping Beauty and Swan Lake. The polonaise is a march in which two steps are taken forward on the demi-pointes and then the third step is taken flat with the supporting knee bent in fondu and the other leg raised in front.
Port de bras [pawr duh brah]. Carriage of the arms. The term port de bras has two meanings: (1) A movement or series of movements made by passing the arm or arms through various positions. The passage of the arms from one position to another constitutes a port de bras. (2) A term for a group of exercises designed to make the arms move gracefully and harmoniously. In the Cecchetti method there are eight set exercises on port de bras.
In the execution of port de bras the arms should move from the shoulder and not from the elbow and the movement should be smooth and flowing. The arms should be softly rounded so that the points of the elbows are imperceptible and the hands must be simple, graceful and never flowery. The body and head should come into play and a suggestion of épaulement should be used. In raising the arms from one position to another the arms must pass through a position known in dancing as the gateway. This position corresponds to the fifth position en avant, Cecchetti method, or the first position, French and Russian Schools. In passing from a high position to a low one, the arms are generally lowered in a line with the sides. Exercises on port de bras can be varied to infinity by combining their basic elements according to the taste of the professor and the needs of the pupil.
Port de bras, grand [grahn pawr duh brah]. Large port de bras. This is a circular movement of the arms combined with cambré. There are several varieties of grand port de bras, of which the following is an example: Stand on the R foot in attitude croisée à terre. Lower the L toe to demi-pointe and demi-plié on both legs, bending the body and head forward. The rounded L arm almost touches the floor and the R arm is carried downward to meet the L arm. Lower the L heel to the floor and transfer the weight to the L foot, then rise upward with a circular movement to the left. The torso, head and arms swing to the left, then the body bends back and the R arm is raised above the head and the L arm extended to the side, R foot pointed forward. The body is then straightened and the circular movement completed by moving the R arm to the second position and the L arm above the head, head and torso inclined to the right. The dancer then does a demi-plié in the fourth position, lowering the arms to the fifth position en bas. The knees are then straightened and the dancer stands on the R foot in attitude croisée à terre.
Porté, portée [pawr-TAY]. Carried. Refers either to a step which is traveled in the air from one spot to another (such as assemblé dessus porté) or to the carrying of a danseuse by a danseur.
Porteur [pawr-TUHR]. Carrier. A term used during the latter half of the nineteenth century for a male ballet performer who did no dancing, but whose sole function was to support and lift the ballerina in various poses and leaps.
Pose [pohz]. Pose, posture. Any position held for any length of time such as an attitude or arabesque.
Posé [poh-ZAY]. Poised. A term of the Cecchetti method. This is a movement in which the dancer steps from one foot to the other with a petit développé onto the demi-pointe or point in any desired position. It is preceded by a fondu on the supporting leg and may be performed en avant, en arrière and de côté, in arabesque, in attitude, etc. See Piqué.
Posé en tournant [poh-ZAY ahn toor-NAHN]. Poised, turning. A term of the Cecchetti method. Same as piqué tour.
Poser [poh-ZAY]. To place. To place the foot on the ground. May be done en avant, en arrière, de côté, devant and derrière.
Poser derrière [poh-ZAY deh-RYEHR]. To place behind. To bring one foot in back of the other in the third or fifth position à terre.
Poser devant [poh-ZAY duh-VAHN]. To place in front. To bring one foot in front of the other in the third or the fifth position à terre.
Position fermée [paw-zee-SYAWN fehr-MAY]. Closed position. A position in which the feet touch each other. The first, third and fifth positions of the feet are positions fermées. See Fermé.
Position ouverte [paw-zee-SYAWN oo-VEHRT]. Open position. A position in which the feet are separated. The second and fourth positions of the feet are positions ouvertes. See Ouvert.
Positions of the arms. See Bras, positions des.
Positions of the body, basic, Cecchetti method (See illustrations, p. 134). There are eight positions of the body in the Cecchetti method. These positions are in themselves a study in line and perspective and their precepts should be applied to other movements in dancing: (1) Croisé devant (crossed in front). (2) À la quatrième devant (to the fourth front). (3) Écarté (thrown wide apart, separated). (4) Effacé (shaded). (5) À la seconde (to the second). (6) Épaulé (shouldered). (7) À la quatrième derrière (to the fourth back). (8) Croisé derrière (crossed in back).
Positions of the body, basic, Russian and French Schools (See illustrations, p. 136). In the Russian and French Schools there are eleven basic positions of the body. All these positions may be taken à terre or en l’air. They are as follows:
(1) Croisé devant. (2) Croisé derrière.
(3) À la quatrième devant. (4) À la quatrième derrière.
(5) Écarté devant. (6) Écarté derrière.
(7) Effacé devant. (8) Effacé derrière.
(9) À la seconde.
(10) Épaulé devant. (11) Épaulé derrière.
Positions of the foot on the floor. There are five levels at which the foot may be placed on the floor. (1) Pied à terre, or foot on the ground. The entire sole of the foot rests on the ground. See Plat, à. (2) Pied à quart, or foot on the quarter-point. The heel is barely raised off the floor. (3) Pied à demi, or foot on the half-point. The dancer stands with the weight on the ball of the foot with the heel raised off the floor. (4) Pied à trois quarts, or foot on the three-quarter point. The dancer stands with the weight high on the ball of the foot and on the toes with the heel raised off the floor. (5) Sur la pointe, or on the full point. The dancer stands on the tips of the toes.
Positions of the feet. See Pieds, cinq positions des.
Positions of the hand (Cecchetti method). In the Cecchetti method there are three positions of the hand which are used during the exercises at the bar, the exercises in the centre and in arabesque.
(1) The position of the hand at the bar: The first and fourth fingers are somewhat curved while the second and third are held together and curved, so that the thumb rests on the first joint of the second finger and touches the inside first joint of the first finger. The wrist is curved inward and bent slightly downward to give a curved line of the arm from the shoulder to the fingertips. When this position is assumed during the initial exercises, the pupil learns to hold the fingers in a soft, natural manner and eliminates a common tendency of beginners to spread their fingers.
(2) The position of the hand during the exercises in the centre: The hand is held as above but with the second and third fingers less curved, so that all four fingers are open but not spread.
(3) The position of the hand in arabesque: The hand is held as in (2) but with the palm turned down and the wrist bent, so that the hand is turned in an outward direction from the wrist.
Positions of the head (Cecchetti method). In the Cecchetti method there are five principal positions of the head: (1) Head erect. (2) Head inclined to one side; this can be done to either side. (3) Head turned to one side; this can be either side. (4) Head raised. (5) Head lowered.
Positions of the leg in the air. See Angle of the leg in the air; Positions soulevées.
Positions soulevées [paw-zee-SYAWN sool-VAY]. Raised positions. This is a term of the French School and refers to the positions of the feet: pointe tendue and en l’air. The positions soulevées are as follows: From second position: piqué à terre, à la demi-hauteur, à la hauteur. From the fourth position: devant or derrière, piqué à terre, à la demi-hauteur, à la hauteur. These positions are taken en face, croisé or ouvert (effacé). See Pieds, positions des, en l’air; Pieds, positions des, pointe tendue.
Premier, première [pruh-MYAY, pruh-MYEHR]. First.
Première, en [ahn pruh-MYEHR]. In or through the first position.
Préparation [pray-pay-ra-SYAWN]. Preparation. The movement with which the dancer prepares for the execution of a step or turn.
Promenade, en [ahn prawm-NAD]. In a walk.
Promenade, tour de [toor duh prawm-NAD]. Turn in a walk. A term of the French School used to indicate that the dancer turns slowly in place on one foot by a series of slight movements of the heel to the required side while maintaining a definite pose such as an arabesque or attitude. The turn may be performed either en dedans or en dehors. In a pas de deux, the ballerina on point holds her pose and is slowly turned by her partner who walks around her holding her hand. See Tour lent.

Écart, grand [grahn tay-KAR]. Large écarté. The split.
Écarté [ay-kar-TAY]. Separated, thrown wide apart. Écarté is one of the eight directions of the body, Cecchetti method. In this position the dancer faces either one of the two front corners of the room. The leg nearer the audience is pointed in the second position à terre or raised to the second position en l’air. The torso is held perpendicular. The arms are held en attitude with the raised arm being on the same side as the extended leg. The head is raised slightly and turned toward the raised arm so that the eyes look into the palm of the hand. See illustrations, p. 134.
Écarté derrière (Russian School) [ay-kar-TAY deh-RYEHR]. Écarté back. The dancer faces either one of the two front corners of the room (corners 2 or 8; see diagram p. 138) with the leg that is farther from the audience pointed in the second position à terre or raised to the second position en l’air. When the position is taken with the L leg extended, the dancer stands at an oblique angle to the audience, facing corner 8 with the L in second position pointe tendue à terre or raised to the second position en l’air pointing toward corner 6. The arms are held with the L arm curved over the head in the line of vision and the R arm held in demi-seconde position. The body leans to the right with the head turned to the right and the eyes looking down at the extended R arm. See illustrations, p. 137.
Écarté devant (Russian School) [ay-kar-TAY duh-VAHN]. Écarté front. The dancer faces either one of the two front corners of the room (corners 2 or 8; see diagram, p. 138) with the leg that is closer to the audience pointed in the second position à terre or raised to the second position en l’air. When this position is taken with the R leg extended, the dancer stands at an oblique angle to the audience, facing corner 8 with the R leg in the second position pointe tendue à terre or raised to the second position en l’air pointing toward corner 2. The arms are held with the R arm curved over the head in the line of vision and the L arm held in demi-seconde position. The body leans to the left with the head turned to the right and the eyes looking up at the R hand. See illustrations, p. 137.
Écarté en l’air [ay-kar-TAY ahn lehr]. Separated, thrown wide apart in the air. The dancer springs into the air, throwing both legs to a wide second position, then lands with the feet closed. The jump may also be done throwing one leg forward and one back. See Ciseaux.
Échappé [ay-sha-PAY]. Escaping or slipping movement. An échappé is a level opening of both feet from a closed to an open position. There are two kinds of échappés: échappé sauté, which is done with a spring from the fifth position and finishes in a demi-plié in the open position, and échappé sur les pointes, or demi-pointes, which is done with a relevé and has straight knees when in the open position. In each case échappés are done to the second or fourth position, both feet traveling an equal distance from the original center of gravity.
Échappé, double [doob lay-sha-PAY]. Double échappé. A term of the Russian School. This is an échappé on the points with a relevé in the open position before closing the feet in the fifth position. It is done to the second position or to the fourth position, either croisé or effacé.
Échappé battu [ay-sha-PAY ba-TEW]. Échappé beaten. Demi-plié in the fifth position R foot front; spring into the air and open the legs to the second position. Come to the floor in the second position in demi-plié. Again spring into the air and beat the R leg in front of the L leg. Finish in demi-plié, fifth position R foot back. The actual beat is performed on the calves and both legs beat. Échappé battu may also be finished on one leg, with the other leg sur le cou-de-pied either devant or derrière.
Échappé changé [ay-sha-PAY shahn-ZHAY]. Échappé changing. This is an échappé to the second position, either sauté or relevé, in which the position of the feet changes on the closing in the fifth position.
Échappé royale [ay-sha-PAY rwah-YAL]. Échappé with royale. Performed the same as échappé battu except that before the legs open into the second position they are beaten together.
Échappé sans changer [ay-sha-PAY sahn shahn-ZHAY]. Échappé without change. This is an échappé to the second position, either sauté or relevé, with no change of feet on the closing in the fifth position.
Échappé sauté [ay-sha-PAY soh-TAY]. Échappé, jumping or springing. This échappé is done to either the second or fourth position. The direction of the body can be en face or facing any of the directions. Échappé sauté is done either grand or petit.
Échappé sauté, grand [grahn tay-sha-PAY soh-TAY]. Big échappé, jumping. After a deep demi-plié in the fifth position the dancer springs into the air as high as possible, extending the legs in the fifth position. This closed position is maintained until the height of the jump is reached, then the legs are thrown apart into second position in the air and the dancer alights in demi-plié in the second position. On the return jump to fifth position, the dancer springs into the air with the legs extended in the second position until the top of the spring, then the feet are closed in the fifth position in the air and the dancer alights in demi-plié in the fifth position. This échappé may also be finished landing on one foot in a big pose such as attitude, arabesque, etc.
Échappé sauté, petit [puh-TEE tay-sha-PAY soh-TAY]. Little échappé, jumping. Fifth position R foot front. Demi-plié, push off the floor with extended toes and straightened knees and immediately open the legs to the second position in the air, then land in demi-plié in the second position. Again spring into the air in the same manner and return to the fifth position in demi-plié. The step may be repeated with the same foot in front or executed alternately front and back. In the Cecchetti method, the knees are bent and the feet drawn up on the return jump from the second position. Échappé sauté may also be done to the fourth position croisé or effacé. Échappé may also be done finishing on one foot on the return from the second or fourth position with the other foot held sur le cou-de-pied either devant or derrière.
Échappé sauté en tournant [ay-sha-PAY soh-TAY ahn toor-NAHN]. Échappé, jumping and turning. Petit échappé and grand échappé sauté are done with quarter or half-turns. The jump from the fifth position to the second position is done turning, then the jump returning to the fifth position is done in place.
Échappé sur les pointes [ay-sha-PAY sewr lay pwent]. Échappé on the points or toes. Fifth position R foot front. Demi-plié and, with a little spring, open the feet to the second or fourth position sur les pointes. The feet should glide rapidly to the open position and both feet must move evenly. On reaching the open position both knees must be held taut. With a little spring return to the fifth position in demi-plié. If the échappé is done in the second position the R foot may be closed either front or back. In échappé to the fourth position facing en face, croisé or effacé, the movement is done from the fifth position to the fourth position without change. Échappés may also be done en croix.
Échappé to second position finishing on on leg. A term of the Russian School. Fifth position R foot front. Demi-plié and échappé sur les pointes to the second position; demi-plié in the second position, then spring on the L pointe, taking the R foot sur le cou-de-pied derrière; demi-plié in the fifth position, R foot back. The step may also be done finishing on one leg with the free foot sur le cou-de-pied devant.
École [ay-KAWL]. School. As in école française, école russe.
Effacé, effacée [eh-fa-SAY]. Shaded. One of the directions of épaulement, in which the dancer stands at an oblique angle to the audience so that a part of the body is taken back and almost hidden from view. This direction is termed “ouvert” in the French method. Effacé is also used to qualify a pose in which the legs are open (not crossed). This pose may be taken devant or derrière, either à terre or en l’air.
Effacé derrière (Russian School) [eh-fa-SAY deh-RYEHR]. Effacé in back. This position is the exact opposite of effacé devant. The dancer stands at an oblique angle to the audience, facing either one of the two front corners of the room. The leg closer to the audience is pointed in the fourth position back à terre or raised to the fourth position en l’air. The arms are placed en attitude, the arm that is high being on the same side as the leg that is extended. The body leans slightly forward over the supporting leg. The head is turned toward the high arm with the eyes looking into the palm of the hand. In the French School this pose is termed “quatrième ouverte derrière.” See illustration, p. 137.
Effacé devant [eh-fa-SAY duh-VAHN]. Effacé in front. Effacé devant is one of the eight directions of the body, Cecchetti method. In this position the dancer stands at an oblique angle to the audience, facing either one of the two front corners of the room. The leg farther from the audience is pointed in the fourth position front à terre or raised to the fourth position en l’air. The arms are placed en attitude, the arm that is low being on the same side as the leg that is extended. The body leans slightly back from the waist. The head is inclined toward the high arm with the eyes looking out to the audience. In the French School this pose is termed “quatrième ouverte devant.” See illustration, p. 134.
Effacé en arrière [eh-fa-SAY ah na-RYEHR]. Effacé moving backward. A direction in which a given step is executed. The French School term is “ouvert en arrière.” See floor plan, p. 125.
Effacé en avant [eh-fa-SAY ah na-VAHN]. Effacé moving forward. A direction in which a given step is executed. The French School term is “ouvert en avant.” See floor plan, p. 125.
Élan [ay-LAHN]. Attack. Pertains to the manner in which a dancer attacks a step, both emotionally and physically.
Élancé, élancée [ay-lahn-SAY]. Darting. When this term is used with a step it indicates that the step is to be done in a darting manner. Any jump performed élancé is done just above the surface of the floor with one or both legs strongly stretched and toes well pointed. For example, an assemblé dessus traveled to the side would be an assemblé élancé.
Élancer [ay-lahn-SAY]. To dart. One of the seven movements in dancing.
Élévation [ay-lay-va-SYAWN]. Élévation is the ability of a dancer to attain height in dancing. It is a term used to describe the height attained in springing steps such as entrechats, grands jetés and so on, combined with ballon, so that the dancer jumps with a graceful elasticity like the bouncing movement of a rubber ball which touches the ground a moment and then rebounds into the air. The elevation is reckoned by the distance between the pointed toes of the dancer in the air and the ground. In alighting after a pas d’élévation the tips of the toes should reach the ground first, quickly followed by the sole and then the heel. All steps of elevation begin and end with a demi-plié.
Élévation, pas d’ [pah day-lay-va-SYAWN]. Step of elevation. Any movement which involves a jump or spring.
Élève [ay-LEV]. Pupil, student. The apprentice dancers at the Paris Opéra are known as “les élèves” or “les petits rats.”
Emboîté [ahn-bwah-TAY]. Fitted together, “boxed.” The name is derived from the close fitting of the feet like a lid upon a box. It is a type of jeté done without a brush of the working foot. Fifth position R foot back. Demi-plié, spring into the air, bringing the R foot forward with knee slightly bent; land in demi-plié on the L foot with the R foot in front of the L ankle. The step is then done to the other side by springing on the R foot and landing with the L foot in front of the R ankle. The step travels en avant and alternates from one leg to the other. The bent leg must move beyond the supporting leg during each change. The movement may also be executed en arrière by bringing the free leg from front to back on each change. The term emboîté as described above is used in the Russian School and the Cecchetti method. The French School terms this step “petit jeté.” The French emboîté is done only sur les pointes or demi-pointes. See Emboîté sur les pointes.
Emboîté, grand [grahn tahn-bwah-TAY]. Large or big emboîté. Executed the same as emboîté except that the leg is thrown up higher and is less bent at the knee.
Emboîté en descendant [ahn-bwah-TAY ahn day-sahn-DAHN]. A term of the French School. Emboîtés en descendant are a series of emboîtés done moving downstage toward the audience. See Emboîté sur les pointes.
Emboîté en reculant [ahn-bwah-TAY ahn ruh-kew-LAHN]. A term of the French School for a series of emboîtés done moving upstage away from the audience. See Déboîté.
Emboîté en tournant [ahn-bwah-TAY ahn toor-NAHN]. Emboîté, turning. These are quick jumping turns done either in a straight line or in a circle. The jumps are not high but should have a light elastic quality. Emboîté en tournant is done the same as simple emboîté but a complete turn is done with each two emboîtés. Fifth position R foot front. Demi-plié and spring into the air toward the right, bringing the L leg forward in a bent position, crossing the foot close to the supporting ankle and turning so that the landing is made in demi-plié on the R foot with the back to the audience. Spring off the R foot, still traveling to the right and completing the turn so that the landing is made en face with a demi-plié on the L foot, R foot forward in a bent position crossing close to the L ankle.
Emboîté en tournant en dedans (Cecchetti method) [ahn-bwah-TAY ahn toor-NAHN ahn duh-DAHN]. See Emboîté en tournant.
Emboîté en tournant en dehors (Cecchetti method) [ahn-bwah-TAY ahn toor-NAHN ahn duh-AWR]. Emboîté, turning outward. Fifth position R foot front. Demi-plié and spring upward into the air with the R foot sur le cou-de-pied devant or retiré devant, making a complete turn to the right (en dehors). The landing is made on the L foot in demi-plié, then the R foot is closed in demi-plié in the fifth position front.
Emboîté en tournant sur les pointes [ahn-bwah-TAY ahn toor-NAHN sewr lay pwent]. Emboîté, turning on the points. These turns are done traveling in a diagonal or in a circle. Fifth position croisé R foot front. Demi-plié and dégagé the R foot to the second position at 45 degrees; piqué on the R foot, turning one half-turn en dedans with the L foot sur le cou-de-pied devant; step on the L point in fifth position, turning one half-turn en dehors with the R foot sur le cou-de-pied devant. To continue the series of turns, step on the R point to the second position.
Emboîté sur les pointes [ahn-bwah-TAY sewr lay pwent]. Emboîté on the points. In the French School emboîté is done only on the points or demi-pointes. It is done with a movement forward on the points or demi-pointes moving from fifth to fifth. The back foot swishes out to the side in a small seconde en l’air with the toe pointed, then is brought in and closed in the fifth position front. Both knees are kept taut. The movement is then repeated with the other foot. The movement is also done moving backward, closing the front foot to the back on each step. It is then termed “déboîté.”
En [ahn]. In; while. For all expressions beginning with “en,” see the following word. For instance, for the definition of “En arrière” see “Arrière, en.”
Enchaînement [ahn-shen-MAHN]. Linking. A combination of two or more steps arranged to fit a phrase of music.
En-dehors [ahn duh-AWR]. A term of the French School for turn-out (q.v).
Enlèvement [ahn-lev-MAHN]. Carrying off. The male dancer lifts his partner in the air in a step or pose.
Entrechat [ahn-truh-SHAH]. Interweaving or braiding. A step of beating in which the dancer jumps into the air and rapidly crosses the legs before and behind each other. Entrechats are counted from two to ten according to the number of crossings required and counting each crossing as two movements, one by each leg; that is, in an entrechat quatre each leg makes two distinct movements.
Entrechats are divided into two general classes: the even-numbered entrechats, or those which land on two feet—deux, quatre, six, huit and dix—and the odd-numbered entrechats, or those which land on one foot—trois, cinq, sept and neuf. In all entrechats both legs beat equally. Even-numbered entrechats are done en face or en tournant, while odd-numbered entrechats are done devant, derrière, en tournant, de côté or de volée. In the Cecchetti method, entrechats are done with the knees bent and the feet drawn up so that one foot beats against the other from the base of the calf downward.
Entrechat cinq [ahn-truh-SHAH senk]. Five crossings. Entrechat cinq is similar to entrechat quatre (q.v), except that the landing is made on one foot, the other being placed sur le cou-de-pied either devant or derrière.
Entrechat cinq devant: Fifth position R foot front. Demi-plié and with a small jump open the legs slightly, beat the calves together with the R leg in the back, open the legs and land on the L foot with the R foot sur le cou-de-pied devant.
Entrechat cinq derrière: Fifth position R foot back. Demi-plié and with a small jump open the legs slightly, beat the calves together with the R leg in the front, open the legs and land on the L foot with the R foot sur le cou-de-pied derrière.
Entrechat cinq de volée [ahn-truh-SHAH senk duh vaw-LAY]. Fifth position R foot back. Glissade derrière, thrust the R leg out to the second position en l’air, pushing from the ground with the L foot. The L leg meets the R leg, beating it in the back, then the legs open, R leg beats in back of L, legs open, and the landing is made in demi-plié in the fifth position R foot front. The Russian School (Vaganova) terms this “entrechat six de volée.” The French School terms this “entrechat cinq de volée.” The Cecchetti method term is “entrechat six de côté.”
Entrechat cinq fermé [ahn-truh-SHAH senk fehr-MAY]. This is a term of the French School. It is composed of an entrechat quatre commenced from the second position and finished in the fifth position. See Royale fermée.
Entrechat cinq ouvert [ahn-truh-SHAH senk oo-VEHR]. This is a term of the French School. It is composed of an entrechat quatre completed in the air, with the landing then made in the second position. See Royale ouverte.
Entrechat cinq ramassé [ahn-truh-SHAH senk ra-ma-SAY]. This step is also known as “sissonne fermée battue,” as it is really a sissonne fermée with the beat of an entrechat quatre. It is usually done in a series, en avant, en arrière or de côté. See Sissonne fermée battue.
Entrechat deux [ahn-truh-SHAH duh]. Two crossings. An entrechat deux is a changement de pieds. See Changement. To execute changement battu, see Royale.
Entrechat de volée [ahn-truh-SHAH duh vaw-LAY]. Flying entrechat. Entrechat de volée is done in flight in any direction and is usually preceded by a demi-contretemps or a glissade. The landing is made in the fifth position.
Entrechat dix [ahn-truh-SHAH deess]. Ten crossings.
Entrechat huit [ahn-truh-SHAH weet]. Eight crossings. Same as entrechat six (q.v), except that another crossing is added. If the R foot starts in the fifth position front it will finish in the fifth position front.

Cabriole [ka-bree-AWL]. 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 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, etc.
Cabriole, double [DOO-bluh ka-bree-AWL]. Double cabriole. This is a cabriole in which one leg strikes the other in the air two or more times before landing.
Cabriole, grande [grahnd ka-bree-AWL]. Big cabriole. A step of elevation with the leg thrust high into the air at 90 degrees.
Cabriole, petite [puh-TEET ka-bree-AWL]. Little cabriole. A small cabriole executed at 45 degrees with little elevation.
Cabriole à la seconde [ka-bree-AWL ah la suh-GAWND]. Cabriole to the second position. Cabriole à la seconde follows the same principle as for devant and derrière. The leg which opens to the side may be either the backward or forward one according to the preceding step.
Cabriole derrière [ka-bree-AWL deh-RYEHR]. Cabriole behind. This cabriole is done in either croisé or effacé, and follows the same technique as cabriole devant, but the back leg opens to the desired position and is therefore on top and is beaten from below by the supporting leg. The position of the body is en arabesque.
Cabriole devant [ka-bree-AWL duh-VAHN]. Cabriole in front. This cabriole may be done facing either croisé or effacé. The most widely used cabriole is the cabriole devant in effacé. Fifth position R foot front. Demi-plié and open the R leg forward in effacé. Leap upward off the L foot. While the body is in the air the L leg is drawn to the R and beats it with the calf, sending the R leg higher. The legs must be fully extended with the knees taut and the toes well pointed. The landing is made on the L foot in demi-plié. If the cabriole is ouverte the R leg remains in the air in effacé, but if the cabriole is fermée the R leg closes in demi-plié in the fifth position front. The leg may be raised à la hauteur or à la demi-hauteur according as the cabriole is grande or petite.
Cabriole fermée [ka-bree-AWL fehr-MAY]. Closed cabriole. In the cabriole fermée the working leg is closed to the fifth position.
Cabriole fouettée, grande [grahnd ka-bree-AWL fweh-TAY]. Big cabriole whipped. This is a cabriole devant in effacé finishing en arabesque.
Cabriole italienne [ka-bree-AWL ee-ta-LYEN]. Italian cabriole. This is a variation of the cabriole fouettée in which the beat occurs after the body has turned into the arabesque position.
Cabriole ouverte [ka-bree-AWL oo-VEHRT]. Open cabriole. If the cabriole is ouverte, the working leg is held in the air in the desired pose, such as arabesque, effacé devant, croisé devant and so on.
Cadre [KA-druh]. Framework or division. A term of the French School. Refers to the divisions in the Paris Opéra ballet. See Défilé.
Cambré [kahn-BRAY]. Arched. The body is bent from the waist, backward or sideways, the head following the movement of the body.
Cambré renversé [kahn-BRAY rahn-vehr-SAY]. Renversé arched or tilted. A term of the French School. Same as pas de bourrée renversé.
Carré, en [ahn ka-RAY]. See Quarré, en.
Cavalier. The male partner of the ballerina.
Cecchetti, Enrico [en-REE-koh cheh-KET-tee]. This Italian dancer and ballet master (1850–1928) was born in Rome, son of Cesare Cecchetti and Serafina Casagli. He studied with Giovanni Lepri, who was a pupil of the great Carlo Blasis, and made his debut at La Scala, Milan, in 1870. He toured Europe as a premier danseur and made his debut at the Maryinski Theatre, St. Petersburg, in 1887. He accepted the position of second ballet master at the Maryinski Theatre in 1890 and two years later became instructor at the Imperial School. His pupils included Pavlova, Nijinsky, Karsavina, Fokine, Preobrajenska, Kchessinska and Egorova. In 1902 he left for Warsaw, where he became director of the Imperial School, and in 1905 returned to Italy. Returning to Russia, he opened a private school and later became the private tutor of Anna Pavlova, touring the world with her. From 1909 to 1918 he was the official instructor to the Diaghilev Ballet Company. From 1918 until 1923 he had a private school in London. He then returned to Italy and became ballet master at La Scala in 1925. He devoted the rest of his life to teaching and perfecting his teaching methods.
Cecchetti method. Enrico Cecchetti, one of the world’s outstanding teachers of ballet, established a system of passing on the tradition of ballet to future generations of dancers. This system, the Cecchetti method, was codified and recorded by Cyril Beaumont, Stanislas Idzikowski, Margaret Craske and Derra de Moroda. The method has a definite program of strict routine and includes a table of principal set daily exercises for each day of the week. The Cecchetti Society was formed in London in 1922 to perpetuate his method of teaching. In 1924 the Society was incorporated into the Imperial Society of Teachers of Dancing. Entrance to the Society is by examination and students must pass through a carefully graded system which has done much to raise the standard of dancing and teaching throughout the British Empire.
Centre practice. Centre practice, or exercices au milieu, is the name given to a group of exercises similar to those à la barre but performed in the centre of the room without the support of the bar. These exercises are usually performed with alternate feet and are invaluable for obtaining good balance and control.
Chaînés [sheh-NAY]. Chains, links. This is an abbreviation of the term “tours chaînés déboulés”: a series of rapid turns on the points or demi-pointes done in a straight line or in a circle. See Déboulés; Tour, petit.
Chaînés papillon [sheh-NAY pa-pee-YAWN]. Chaînés like a butterfly. This is a series of chaînés with the arms held out to the side in the second position. As the R foot steps forward, the R arm is lowered and the L raised; then, as the second half of the turn is done on the L foot, the L arm is lowered and the R raised.
Changé, changée [shahn-ZHAY]. Changed. If the term changé is added to the name of a step, the feet have changed places during the step and the foot originally in front will have finished in the back or vice versa. See Changer, sans.
Changement battu [shahnzh-MAHN ba-TEW]. Changement beaten. Same as royale.
Changement de pieds [shahnzh-MAHN duh pyay]. Change of feet. The term is usually abbreviated to changement. Changements are springing steps in the fifth position, the dancer changing feet in the air and alighting in the fifth position with the opposite foot in the front. They are done petit and grand.
Changement de pieds, grand [grahn shahnzh-MAHN duh pyay]. Large change of feet. This changement requires a deeper demi-plié and a much stronger push from the floor in order to rise higher. The dancer should aim at remaining the shortest length of time on the ground and as long as possible in the air. In the Cecchetti method and