DOCSLIB.ORG

Beginning Ballet Vocabulary ​Once Upon a Ballet™

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Beginning Ballet Vocabulary ​Once Upon a Ballet™ Beginning Ballet Vocabulary ​Once Upon A Ballet™ While it is up to the school and/or teacher as to how well their students know the French terms of the ballet steps they practice during class, at Once Upon A Ballet, we want to encourage as much use of the correct French terms as possible during class--particularly beginning in Ballet 1. This resource is a guide to the ballet steps learned in Ballet 1 (according to the Once Upon A Ballet Curriculum). Translations and descriptions are provided for each step for teachers. Activity sheets are provided at the end of this guide for students. Several excellent (and free) online ballet dictionaries include: ● American Ballet Theatre’s Ballet Dictionary: ​http://www.abt.org/education/dictionary/ ● Royal Opera House Ballet Glossary: ​http://www.roh.org.uk/learning/learning-platform/unit/ballet-glossary/ ● Royal Opera House Ballet Glossary Video Playlist: ​https://www.youtube.com/playlist?list=PL7E40E6E2DAB561B5 ● BalletHub’s Ballet Term Dictionary: ​https://ballethub.com/ballet-terms-dictionary/ TERMS, TRANSLATIONS + TEACHER GUIDANCE Demi Plié Translation: To bend; a half-bend of the knees Students should be able to do a simple demi plié in 1st, 2nd, and 5th positions while keeping their heels on the floor and backs straight Battement Tendu Translation: To stretch Students should be able to tendu to the front, side and back from 1st position. Tendus should be introduced in a slow tempo with emphasis placed on rolling through the demi pointe. Later in the year, students should also be introduced to tendu front, side and back from 5th position. Battement Soutenu Translation: Sustained From 1st position, students should be able to slide their working leg to tendu while bending their standing leg en fondu, then straightening their standing leg as they close the working leg into 1st position. Soutenu should first be learned to the side. Once students are able to execute soutenu to the side while correctly holding the turnout of their standing leg, soutenu may be introduced to the front. Soutenu is not introduced to the back for this age group. Later in the year, students may also perform soutenu to the front and side from 5th position. Battement Dégagé Translation: Disengaged Degagé should be introduced from 1st position as tendu-lift-tendu-close. Soon after, it should progress to brush (into the degagé position), hold, point to tendu, close. After that, degagémay be done as brush-hold-close. The brushing action should be sharp. Including the hold when introducing degagé allows students to focus on the sharp action during the brush. Degagés should be done to the front, side and back from 1st position. Later in the year, students may also perform degagé to the front, side and back from 5th position. Battement Piqué Translation: To prick Once battement degagé has been introduced, battement piqué may be added. Battement piqué should be a quick, sharp motion, as if the toes are “pricking” the floor. Rond de Jambe à Terre Translation: Circular movement of the leg Rond de jambe à terre should first be introduced as a quarter rond de jambe: front-side-close, side-back-close, back-side-close, and side-front-close. Ronde de jambe should be introduced as half circles after quarter rond de jambes are introduced. Once Upon A Ballet™ 1 Sur le Cou-de-Pied Translation: On the “neck” of the foot Sur le cou-de-pied refers to the position of the foot pointed or wrapped at the ankle. Students should be able to perform sur le cou de pied, from standing in 1st position, through the demi pointe, and into sur le cou de pied, back through the demi pointe, and finish standing in 1st position. Students should be introduced to sur le cou de pied front, wrapped, and back. Retiré Translation: Withdrawn, to retire In order to better facilitate proper hip alignment and turnout, we often have students tendu front from 1st position, bring the leg to retire front, return to tendu front, then close in 1st. Once students can execute retire from a tendu, they may be introduced to retire from sur le cou de pied. Retiré is only be done in the front so that the toes of the working foot are at the front of the standing knee in this level. Grand Battement Translation: Large battement For this age group, grand battement should be done as tendu-kick-tendu-close. In addition to the legs and feet, special attention should be paid to the student’s upper body to ensure students retain correct ballet posture while executing grand battement. Adagio Translation: Refers to a slow movement Développé is not introduced at this level. However, adagio, performed as slow and fluid movements should be introduced. Adagio is typically done as a slow, fluid version of grand battement to the front and side from 1st position. Relevés Translation: Raised Relevés should be done in 1st, 2nd and 5th (as sousus) at the end of barre as a preparation for and to build strength for jumps. At this level, sautés (in 1st and 2nd), échappés, soubresauts, and changements should be done at the end of barre with relevés.. Attention should be given to the plié done before and after each jump--that the heels are down and proper turnout is used (the knees are kept out over the toes). Jumps should be introduced as plié-jump-plié-stretch, etc. in order to ensure proper technique is used. Port de Bras Translation: Movement of the Arms Students should be able to do the following arm positions: en bas, 1st, 2nd, and 5th. Students should be able to do a simple port de bras from en bas through 1st, then 2nd and back to en bas, as well as port de bras moving from en bas, through 1st, then 5th, 2nd, and back to en bas. For additional port de bras practice (for quality of the arms and hands), students may lift the arms to the side, bend the arms slightly, then push both arms out long to the sides. In addition, tissues or scarves may be held between the thumb and middle finger of each hand during port de bras exercises to aid in proper finger and hand placement and movement quality during port de bras. Balancé Translation: To rock or swing Students should be introduced to balancé at this level. Balancé should first be introduced as a down-up-down step. This can be done with little marches in parallel (stepping down on the right foot, up on the left, down on the right, then down on the left, up on the right, down on the left--in a kind of step-ball-change manner). Once the rhythm has been established, the step can move from side to side in parallel. Then turnout can be added from sided to side. Finally, paying attention to stretching the leg and pointing the toes on the steps out to the side should be added. Sautés Translation: To jump Students should be able to do a simple sauté in parallel, keeping the legs together while in the air. They should also be able to do a simple sauté in 1st and 2nd position. At this level, regardless of the position, sautés should be most often be done as plié-jump-plié-stretch, plié-jump-plié-stretch, etc. This helps the students better develop proper turnout and posture. Échappés Translation: To escape Once students have been introduced to sautés, they may also be introduced to échappés from 1st position. When teaching students to échappé, we recommend doing so similar to sautés: plié / jump / land in 2nd position plié / stretch / plié / jump / land in 1st position plié / stretch. Once Upon A Ballet™ TERMS + TRANSLATIONS Demi Plié Translation: To bend; a half-bend of the knees Battement Tendu Translation: To stretch Battement Soutenu Translation: Sustained Battement Dégagé Translation: Disengaged Battement Piqué Translation: To prick Rond de Jambe à Terre Translation: Circular movement of the leg Sur le Cou-de-Pied Translation: On the “neck” of the foot Retiré Translation: Withdrawn, to retire Grand Battement Translation: Large battement Adagio Translation: Refers to a slow movement Relevés Translation: Raised Port de Bras Translation: Movement of the Arms Balancé Translation: To rock or swing Sautés Translation: To jump Échappés Translation: To escape Once Upon A Ballet™ Word Scramble IOEPRTTEU ÉBCALNA ERBQAASEU AÉTSU CPAHPÉÉ SAHSÉC Can you unscramble each of the ballet terms above? Hint: These are ballet steps most often performed during centre. TM Once Upon A Ballet Word Search 1 A O R N J F S A U T E A A U T E A H D B E A R H A D Z R W A G N Y E D E G A G E O F D A Q E C H A P P E A U Y U G A A A W I A A A P T A A A A Q Q A A L A R E L E V E U A I A A R E T I R E E E A A A PLIE RELEVE TENDU RETIRE DEGAGE SAUTE PIQUE ECHAPPE TM Once Upon A Ballet Word Search 1 A O R N J F S A U T E A A U T E A H D B E A R H A D Z R W A G N Y E D E G A G E O F D A Q E C H A P P E A U Y U G A A A W I A A A P T A A A A Q Q A A L A R E L E V E U A I A A R E T I R E E E A A A PLIE RELEVE TENDU RETIRE DEGAGE SAUTE PIQUE ECHAPPE TM Once Upon A Ballet Word Search 2 A O R N D F S Y U H E A D U T E E H D B E A R H A D Z R G A A N B E D A G A I A A L D A Q E C T I P P E G U L U G A W A O Y A N E A P O R T D E B R A S N S O U T E N U A E A C R O N D D E J A M B E PORT DE BRAS DEGAGE BALANCE SOUTENU ADAGIO ROND DE JAMBE TM Once Upon A Ballet Word Search 2 A O R N D F S Y U H E A D U T E E H D B E A R H A D Z R G A A N B E D A G A I A A L D A Q E C T I P P E G U L U G A W A O Y A N E A P O R T D E B R A S N S O U T E N U A E A C R O N D D E J A M B E PORT DE BRAS DEGAGE BALANCE SOUTENU ADAGIO ROND DE JAMBE TM Once Upon A Ballet.
Load more

Recommended publications
  • Class Descriptions
    The Academy of Dance Arts 1524 Centre Circle Downers Grove, Illinois 60515 (630) 495-4940 Email: [email protected] Web Site: www.theacademyofdanceartshome.com DESCRIPTION OF CLASSES All Class Days and Times can be found on the Academy Class Schedule ______________________________________________________________________________________________________________________________________________________________________________________________________________________________ BALLET PROGRAM AND TECHNIQUE CLASSES Ballet is the oldest formal and structured form of dance given the reverence of being the foundation of ALL The Dance Arts. Dancers build proper technical skills, core strength and aplomb, correct posture and usage of arms, head and foremost understand the basics in technique. Students studying Ballet progress in technique for body alignment, pirouettes, jumps, co-ordination skills, and core strength. Weekly classes are held at each level with recommendations for proper advancement and development of skills for each level. Pre-Ballet Beginning at age 5 to 6 years. Students begin the rudiments of basic Ballet Barre work. Focus is on the positions of the feet, basic Port de bras (carriage of the arms), body alignment, and simple basic steps to develop coordination skills and musicality. All this is accomplished in a fun and nurturing environment. Level A Beginning at age 6 to 8 years. Slowly the demanding and regimented nature of true classical Ballet is introduced at this level with ballet barre exercises and age/skill level appropriate center work per Academy Syllabus. When Students are ready to advance to the next level, another Level-A Ballet or B-Ballet class will be recommended per instructor. Level B Two weekly classes are required as the technical skills increase and further steps at the Barre and Center Work and introduced.
    [Show full text]
  • Muscle Imbalance Explained (4Pp).Qxp Layout 1 19/08/2014 10:46 Page 1
    DUK Info Sheet 13 - Muscle Imbalance Explained (4pp).qxp_Layout 1 19/08/2014 10:46 Page 1 13 Muscular Imbalance Explained By Kim Hutt, 2014 Muscles are responsible for maintaining Muscle imbalances in themselves are not BOX 1 posture, creating positions, absorbing painful. However, when they reach the shock, producing heat, protecting the point of affecting joint mechanics or 3 Common Biomechanical body’s internal organs and stabilizing altering movement patterns, they can lead Imbalances and moving joints. Muscles account for to injury and pain. It is worth noting here approximately 40-45% of an average that injuries that are not associated with 1 Turnout – holding turnout in ballet for adult’s body mass. They are comprised of muscle imbalance (for example, if you go prolonged periods without including muscle cells, which are the only human over on your ankle and sprain a ligament), training in internal or neutral rotation cells able to produce active tension. may also affect movement patterns in an can often lead to short and tight This means that muscles are able to attempt to avoid pain, and consequently external rotators in the hip and long shorten, lengthen or maintain the same lead to muscular imbalance. Therefore it and weak internal rotators. length against a resistance. For example, is important to highlight that dancing the leg works against gravity when through any pain can indirectly lead to 2 Some dancers, in an attempt to working in the air or against ground muscle imbalance. In short, muscle develop their chest musculature utilize reaction forces when controlling landings imbalance can be a symptom or a weights and overwork the chest from jumps.
    [Show full text]
  • The Psychosocial Effects of Compensated Turnout on Dancers: a Critical Look at the Leading Cause of Non-Traumatic Dance Injuries
    University of Tennessee at Chattanooga UTC Scholar Student Research, Creative Works, and Honors Theses Publications 5-2018 The psychosocial effects of compensated turnout on dancers: a critical look at the leading cause of non-traumatic dance injuries Rachel Smith University of Tennessee at Chattanooga, [email protected] Follow this and additional works at: https://scholar.utc.edu/honors-theses Part of the Medicine and Health Sciences Commons Recommended Citation Smith, Rachel, "The psychosocial effects of compensated turnout on dancers: a critical look at the leading cause of non-traumatic dance injuries" (2018). Honors Theses. This Theses is brought to you for free and open access by the Student Research, Creative Works, and Publications at UTC Scholar. It has been accepted for inclusion in Honors Theses by an authorized administrator of UTC Scholar. For more information, please contact [email protected]. The Psychosocial Effects of Compensated Turnout on Dancers 1 The Psychosocial Effects of Compensated Turnout on Dancers: A Critical Look at the Leading Cause of Non-Traumatic Dance Injuries Rachel Smith Departmental Honors Thesis University of Tennessee at Chattanooga Department of Health and Human Performance Examination Date: March 22, 2018 ________________________________ ______________________________ Shewanee Howard-Baptiste Burch Oglesby Associate Professor of Exercise Science Associate Professor of Exercise Science Thesis Director Department Examiner ________________________________ Liz Hathaway Assistant Professor of Exercise
    [Show full text]
  • The Mignon Furman Performance Awards 1000S of Dancers!
    21st AAB Year! American Academy of Ballet MIGNON FURMAN, FOUNDING DIRECTOR TEACHERS’ SEMINAR & THE MIGNON FUR MAN PERFORMANCE AWARDS CERTIFICATION August 1 – 8, 2019 Teachers attend from the USA, Brazil, Argentina, Canada Japan, South Africa, Mexico, Portugal, Israel, and Spain. at ADELPHI UNIVERSITY, GARDEN CITY, NEW YORK REASONS TO ATTEND THE SEMINAR Mignon Furman 10 AND THE PERFORMANCE AWARDS Founder of the AAB, Teacher, Choreographer, Educationist. CERTIFICATION EVERYTHING MOVES FORWARD. “ THEREFORE, I RECOMMEND: ith her talents, courage, and determination KEEP IN TOUCH WITH YOUR ART. to give definition to her vision for ballet PERFORMANCE AWARDS — AGRIPPINA VAGANOVA, ” Weducation, Mignon Furman founded the American and “Steps” programs. Most wonderful programs for “BASIC PRINCIPLES OF CLASSICAL BALLET” (1934) Academy of Ballet: It soon became the premier teachers and their dancers. (View the brochures on Summer School in the United States. our website.) he composed the Performance Awards S which are taught all over the USA, and are an CERTIFICATION : international phenomenon, praised by teachers Become a certified Performance Awards teacher. in the USA and in many other countries. The Hang your diploma in your studio. success of the Performance Awards is due to Mignon’s choreography: She was a superb choreographer. Her many compositions are FOUR DANCES : free of cliché. They have logic, harmony, style, To teach in your school. (See page 5.) and intrinsic beauty. OBSERVE : Our distinguished argot Fonteyn, a friend of Mignon, gave faculty teaching our Summer School dancers. her invaluable advice, during several You have the option of taking the classes. Mdiscussions about the technical, and artistic aspects of classical ballet.
    [Show full text]
  • Technique: Battement Tendu Once Upon a Ballet™
    Technique: Battement Tendu Once Upon A Ballet™ Tendus are done during “circle barre” or “centre barre” up through Pre-Ballet II. In Ballet 1, students begin performing tendus at the barre. RECOMMENDED PROGRESSION OF BATTEMENT TENDU: ● 2 year olds should be able to “tendu” with the help of a prop (such as a bean bag, mat or tape for them to point to with their toes). They may also need the help of a parent/caregiver. ● 3 year olds should be able to tendu to the front in parallel with correct posture. ● 4 years olds should be able to tendu to the front from a "slight V" 1st position with correct posture. ● 5 and 6 year olds should tendu front and side from a "natural" 1st position with correct posture. Students should be introduced to completing tendus at varying speeds. When done slowly, there should be emphasis placed on rolling through the demi pointe to close. ● 7 through 9 year olds should tendu to the front, side and back from 1st position. Tendus should be introduced in a slow tempo with emphasis placed on rolling through the demi pointe. Later in the year, students should also be introduced to tendu front, side and back from 5th position. AGE-APPROPRIATE IMAGES AND WORDS TO USE: ● To help students work through their feet correctly, use the word “slide” out and “slide” in for tendus. ● If telling your students to “straighten” their knees does not obtain results, try telling them to “stretch their legs long” or to “keep their knees stiff”. Sometimes using different language will click better with certain students.
    [Show full text]
  • Getting to “The Pointe”
    Running head: GETTING TO “THE POINTE” GETTING TO “THE POINTE”: ASSESSING THE LIGHT AND DARK DIMENSIONS OF LEADERSHIP ATTRIBUTES IN BALLET CULTURE Ashley Lauren Whitely B.A., Western Kentucky University, 2003 M.A., Western Kentucky University, 2006 Submitted to the Graduate Faculty under the supervision of Gail F. Latta, Ph.D. in partial fulfillment of the requirements for the degree of Doctor of Education in Leadership Studies Xavier University Cincinnati, OH May 2017 Running head: GETTING TO “THE POINTE” Running head: GETTING TO “THE POINTE” GETTING TO “THE POINTE”: ASSESSING THE LIGHT AND DARK DIMENSIONS OF LEADESHIP ATTRIBUTES IN BALLET CULTURE Ashley Lauren Whitely Dissertation Advisor: Gail F. Latta, Ph.D. Abstract The focus of this ethnographic study is to examine the industry-wide culture of the American ballet. Two additional research questions guided the investigation: what attributes, and their light and dark dimensions, are valued among individuals selected for leadership roles within the culture, and how does the ballet industry nurture these attributes? An understanding of the culture was garnered through observations and interviews conducted in three classically-based professional ballet companies in the United States: one located in the Rocky Mountain region, one in the Midwestern region, and one in the Pacific Northwest region. Data analysis brought forth cultural and leadership themes revealing an industry consumed by “the ideal” to the point that members are willing to make sacrifices, both at the individual and organizational levels, for the pursuit of beauty. The ballet culture was found to expect its leaders to manifest the light dimensions of attributes valued by the culture, because these individuals are elevated to the extent that they “become the culture,” but they also allow these individuals to simultaneously exemplify the dark dimensions of these attributes.
    [Show full text]
  • Ballet Terms Definition
    Fundamentals of Ballet, Dance 10AB, Professor Sheree King BALLET TERMS DEFINITION A la seconde One of eight directions of the body, in which the foot is placed in second position and the arms are outstretched to second position. (ah la suh-GAWND) A Terre Literally the Earth. The leg is in contact with the floor. Arabesque One of the basic poses in ballet. It is a position of the body, in profile, supported on one leg, with the other leg extended behind and at right angles to it, and the arms held in various harmonious positions creating the longest possible line along the body. Attitude A pose on one leg with the other lifted in back, the knee bent at an angle of ninety degrees and well turned out so that the knee is higher than the foot. The arm on the side of the raised leg is held over the held in a curved position while the other arm is extended to the side (ah-tee-TEWD) Adagio A French word meaning at ease or leisure. In dancing, its main meaning is series of exercises following the center practice, consisting of a succession of slow and graceful movements. (ah-DAHZ-EO) Allegro Fast or quick. Center floor allegro variations incorporate small and large jumps. Allonge´ Extended, outstretched. As for example, in arabesque allongé. Assemble´ Assembled or joined together. A step in which the working foot slides well along the ground before being swept into the air. As the foot goes into the air the dancer pushes off the floor with the supporting leg, extending the toes.
    [Show full text]
  • Dossier De Presse
    DOSSIER DE PRESSE ÉDITO Depuis 1974, le Sporting Monte-Carlo accueille les Il y a des artistes incontournables qui sont liés à notre plus grandes stars, c’est sa marque de fabrique. Ses histoire musicale. C’est pourquoi nous nous devions soirées exceptionnelles autour d’un dîner-spectacle de recevoir JOHNNY HALLYDAY pour deux concerts. ont marqué des générations. Chaque année, il nous Cette année, nous créerons un nouveau spectacle : faut maintenir cette tradition, mais aussi la JAKE AND ELWOOD – THE BLUES BROTHERS STORY. renouveler, la faire évoluer pour rester dans l’air du C’est un bel hommage à la musique afro-américaine temps et regarder l’avenir. que nous rendrons à travers ce show spécialement imaginé pour cette saison d’été. Pour cette édition 2015, nous avons voulu présenter un plateau artistique qui nous amènera vers d’autres Programmer le Monte-Carlo Sporting Summer Festival sons, d’autres styles, d’autres tendances de la dans ce lieu mythique qu’est la Salle des Étoiles est un musique et de la performance. Une large place sera travail de longue haleine, et le travail de toute une ainsi faite aux concerts debout, qui nous permettent équipe, celle de la Direction Artistique du groupe d’accueillir un nouveau public, et de rajeunir l’image Monte-Carlo Société des Bains de Mer. Nous sommes du Festival. très fiers de pouvoir vous présenter le plus beau des festivals d’été et participer ainsi à l’animation estivale Un concert exceptionnel de TONY BENNETT & de cette belle Principauté de Monaco. LADY GAGA ouvrira cette saison le 4 juillet, une rencontre entre deux grandes voix du jazz et de la pop, un duo que nous ne pouvions imaginer tant il semble à l’opposé, et qui se retrouve sur un répertoire intemporel, symbole de l’histoire du Sporting Monte-Carlo.
    [Show full text]
  • Classical Ballet Classwork & Teaching Suggestions
    Classical Ballet 3 Classwork & Teaching Suggestions for the Ballet Teacher of Intermediate to Advanced Students Ruth H. Brinkerho, B.A. Former Director, Utah Ballet Academy Registered Teacher, Royal Academy of Dance Classical Ballet 3: Classwork and Teaching Suggestions for the Ballet Teacher of Intermediate to Advanced Students By Ruth H. Brinkerhoff, B.A. Former Director, Utah Ballet Academy Registered Teacher, Royal Academy of Dance Copyright © 2016, The Ballet Source Cover design and illustrations © 2016, Eric Hungerford. All rights reserved. No portion of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise without the prior written permission of the copyright holder. The Teacher Must Decide The Ballet Arts series of manuals provides information, activities and suggestions for the teaching of ballet to children. The materials in these books have worked well for the author, and for other teachers of her acquaintance. However, the author cannot know what approach or which physical activities will be appropriate and safe for any particular teacher, class, or student. It is the responsibility of each ballet teacher to use his or her best judgment in applying the information and teaching suggestions contained herein, and in using the activities, enchainements, dances and teaching materials contained in the Ballet Arts series from The Ballet Source. Contents Index 3 I. Improving Technique and Artistry 4 Using This Manual 5 Suggestions For Improving Technique and Artistry 10 Correct Muscle Use 17 Warming Up For Ballet 22 II. Classes 23 Sample Ballet Classes 24 To Improve Their Sense of Balance 55 For An Advanced Class 58 Classes With Pointe & Boys Work 61 III.
    [Show full text]
  • American Ballet Theatre's National Training
    AMERICAN BALLET THEATRE’S NATIONAL TRAINING CURRICULUM PRESENTS “RAISING THE BARRE: THE CUBAN METHOD,” OCTOBER 19-20, 2019 Laura Alonso, Rodolfo Castellanos Cardoso and Caridad Martinez To Serve as Guest Faculty for Two-Day Teacher Training Workshop American Ballet Theatre’s National Training Curriculum will conduct a two-day workshop focusing on the Cuban methodology of ballet training on Saturday and Sunday, October 19 and 20 from 10:00 AM–6:00 PM at ABT’s 890 Broadway studios in New York City. The workshop is open to dance teachers of all levels. Intermediate/advanced-level students (ages 13–18) are welcome to enroll with their teachers. This interactive weekend workshop will explore the roots of the Cuban methodology of ballet training and the intertwined history of the Cuban heritage with American Ballet Theatre. The unique Cuban style is a specific curriculum created on formations and progressions, which combines European, American and Afro-Cuban traditions. Hosted by Cynthia Harvey, Artistic Director of ABT’s National Training Curriculum and the ABT Jacqueline Kennedy Onassis School, the two-day workshop will feature technique and pas de deux classes for teachers and students, as well as a history lecture, film showing and panel discussions on the Cuban method. Guest faculty for the workshop include renowned teacher and coach Laura Alonso, dance historian Allison Eggers and former principal dancers of the National Ballet of Cuba, Rodolfo Castellanos Cardoso and Caridad Martinez. ABT’s National Training Curriculum is a program for the development and training of young students that embraces sound ballet principles and incorporates elements of the French, Italian and Russian schools of training.
    [Show full text]
  • Nutcracker Study Guide, 2012 Salt Creek Ballet Page 2
    STUDY GUIDE SALT CREEK BALLET’S PRODUCTION OF EXCERPTS FROM THE NUTCRACKER SPONSORED BY THE ADDISON CENTER FOR THE ARTS A GUIDE FOR TEACHERS GRADES 2-5 ALIGNED WITH THE ILLINOIS STATE STANDARDS Dear Teacher: We know that classroom time is precious, so we thank you for taking the time to use this resource and enrich your students’ experience of The Nutcracker ballet! The purpose of this packet is to both assist you in preparing your students for Salt Creek Ballet’s production of The Nutcracker ballet as well as provide you with several ways in which to integrate the dance experience into your daily academic curriculum. Although the students will only view specific portions of the ballet (the end of Act I and part of Act II), we encourage you and your students to learn more about ballet and the complete story of The Nutcracker ballet by using the pre-performance discussion activities provided below. After attending the performance, you may help the students “dive more deeply” by using any of the suggested post-performance writing or discussion activities provided. TABLE OF CONTENTS Suggested Pre-Performance Activities…….page 2 About Ballet……………………………………………page 2 About the Theater…………………………………. page 4 About the Music……………………………………..page 4 Background Information…………………………page 5 Ballet and Dance Vocabulary……………….…page 7 Creating a Ballet………………………………….…page 8 What Students can expect………………………page 8 Ideas for Curriculum Integration…………….page 9 Selected Bibliography and Resources……page 12 SUGGESTED PRE-PERFORMANCE ACTIVITIES Basic Activities: Read aloud or have the students read the story of The Nutcracker ballet. (A synopsis of SCB’s version of story is included in this packet.) Listen to excerpts from the Tchaikovsky score and notice the ways the music changes with each different scene in the story.
    [Show full text]
  • Dictionary of Classical Ballet Terminology Free
    FREE DICTIONARY OF CLASSICAL BALLET TERMINOLOGY PDF Rhonda Ryman | 100 pages | 14 Jun 2007 | Royal Academy of Dance | 9781904386872 | English | London, United Kingdom Ballet Terms A To Z - Dictionary of basic Ballet moves In ballet, there are several terms that are used. Dictionary of Classical Ballet Terminology can be easy for a beginner to feel lost with all of the terminology! These movements are typically done after warmup and closer toward the last part of class to avoid injury, and to maximize a dancers range while warmed up. Abstract ballet are ballets without a plot unlike the Nutcracker, Swan Lake, etc. Most often, contemporary ballets are considered abstract ballets. Arabesque is a position in ballet where the body is supported on a single leg, while the other leg is extended directly behind the body with a straight knee. There are several different versions of arabesque such as first, second, and third arabesque. They can also be done at different heights or with a straight leg or in plie. The basics being that the two legs join together in the air. An attitude is a position where the dancers stands on one leg with the other lifted, either in the front, or back. The leg that is in the air is usually slightly bent at the knee, creating an approximate degree angle. En avant refers to moving towards the front. En avant is not an actual step or position in ballet, but is used in conjunction with other terms, such as tendu en Dictionary of Classical Ballet Terminology. Adagio refers to slow movements in ballet.
    [Show full text]