The toe of the working foot describes an oval, the extreme ends of which are the second position en l’air and the supporting leg. This is performed in the same manner as battemen fondu simple(q.v). 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. The placing of the shoulders. Échappés may also be done en croix.Shaded. Glissades are done with or without change of feet, and all begin and end with a demi-plié. This step consists of coupé dessous and coupé dessus performed in a series with a rocking, swinging movement. Also used in the singular, “sur la demi-pointe.”Behind, back. This may refer to positions (the second and fourth positions of the feet are positions ouvertes), limbs, directions, or certain exercises or steps. Épaulement gives the finishing artistic touch to every movement and is a characteristic feature of the modern classical style compared to the old French style. In steps and exercises the term en dedans indicates that the leg, in a position à terre or en l’air, moves in a circular direction, counterclockwise from back to front. Please try a different letter. The working foot slides from the first or fifth position to the second or fourth position without lifting the … The head is raised slightly and turned toward the raised arm so that the eyes look into the palm of the hand.Escaping or slipping movement. Battement stretched. Also termed “changement battu.” Fifth position R foot front. In the French School and the Cecchetti method, ballotté is performed on one spot.Beating. The landing is then made on the underneath leg. There is a great variety of fouettés: petit fouetté, which may be devant, à la seconde or derrire and executed à terre, sur la demi-pointe or sauté; and grand fouetté, which may be sauté, relevé and en tournant.Large fouetté, turning. Same as battement tendu jeté (Russian School), battement glissé (French School).Large battement like a bell. Grand Battement Jeté is a classical ballet term meaning a “large battement thrown.”Grand battement jeté is often used in the russian school to better describe how a grand battement is “thrown.” Its the idea that the working leg quickly gets to the top of the position as opposed to slowly. The passage of the arms from one position to another constitutes a port de bras. Both jeté dessus and jeté dessous may be beaten.Large jeté forward. In this brisé the dancer finishes on one foot after the beat, the other leg crossed either front or back. Fundamentally a brisé is an assemblé beaten and traveled. A term of the Russian School. The grandes sissonnes are sissonne ouverte at 90 degrees, sissonne renversée and sissonne soubresaut.Closed sissonne. With a little spring return to the fifth position in demi-plié. Balancé may also be done en avant or en arrire facing croisé or effacé and en tournant.Bounce. The raising of the body on the tips of the toes.
A term applied to a whipping movement. As the foot goes into the air the dancer pushes off the floor with the supporting leg, extending the toes. Fondu on the L leg, at the same time opening the R leg to the second position en l’air. Indicates that the body is to turn while executing a given step. The battement dégagé is similar to the battement tendu but is done at twice the speed and the working foot rises about four inches from the floor with a well-pointed toe, then slides back into the first or fifth position.
Demi-plié in preparation for a small spring into the air, opening both legs slightly. The direction of the body is effacé with the body inclining backward or forward with each change of weight. 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. This assemblé is done in the same manner as grand assemblé.