DOCSLIB.ORG

Nutcracker Teacher's Guide 2014

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Nutcracker Teacher's Guide 2014 Beauty and the Beast 2021 TEACHER’S GUIDE Discover Dance Performance March 19, 2021 Mobile Civic Center Theater Note to Teachers We are grateful for your support of Discover Dance, Mobile Ballet’s education outreach program offering the excitement of live, fully-staged performances of classic ballets to K-12 students throughout the Gulf Coast region. For many students, these productions are their first exposure to the visual and musical arts that comprise ballet. The love of dance is born and nurtured. Our youngest audiences hold the next generation of dancers, choreographers, musicians, costumers, set designers, lighting and sound engineers, and balletomanes. The following will help you prepare your students to see Beauty and the Beast. It includes information on the history of ballet, as well as ideas to incorporate into lesson plans across the curriculum. If you have additional questions, contact Mobile Ballet at 251-342-2241 or [email protected]. PERFORMANCE NOTES: You will notice the dancers in this performance are wearing special clear masks on stage. This performance was possible due to the dancers’ and audience’s adherence to special coronavirus health and safety measures, including wearing masks at all times. Dancers wear regular cloth masks backstage, and wear the clear masks while onstage so their facial expressions can be seen by the audience. You may also notice a moment during this performance when dancers kept going despite a prop malfunction; and even creatively incorporated it into the following scene. A great example of “the show must go on”! The majority of dancers in this performance are local students, from elementary through high school. Mobile Ballet students train at our studios in Mobile and Daphne. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Language Arts/History: Read a version of the Beauty and the Beast story to your students (be sure to choose a source suitable for young audiences). Because children are often more familiar with the version of the story presented in the Disney film, you may want to share both versions with the class in order to compare different versions of the fairy tale and establish a conversation about adaptations. Discuss some of the differences between reading a story, attending a live performance at the theater, or viewing a movie at the cinema. Visual Arts: Ask your students to explore how color is used in the props, sets, costumes, makeup, and lighting to help create different moods. Ask students to notice the different colors they see and how those colors make them feel. Music: Listen to excerpts from Alexander Glazunov’s The Seasons, which is used in this production. Listen not only for different instruments which create different moods but for patterns in the music which influence the choreography. Also notice how the dancers’ movements correspond to the count of the time signature in the music. Mathematics: Many shapes and patterns are used in ballet choreography. Patterns include diagonal lines, parallel lines, perpendicular lines, grid formation, and staggered formation. Shape formations include circles, triangles, pentagons and hexagons. Formations sometimes resemble objects like flowers, bicycle wheels, or snowflakes. Encourage students to look for patterns during the ballet. The History of Beauty and the Beast The original printed version of Beauty and the Beast (French: La Belle et la Bête) is credited to French novelist Gabrielle-Suzanne Barbot de Villeneuve and was first published in 1740. She claimed that a chambermaid told it to a young lady, while on board a ship to America. This lengthy version was abridged, rewritten, and published by Jeanne-Marie Leprince de Beaumont in 1756 to produce the adaptation most Gabrielle-Suzanne commonly retold. de Villeneuve Beaumont greatly pared down the cast of (by Louis Carrogis characters and pruned the tale to an almost Carmontelle-1759) archetypal simplicity, and she is credited with the plot line of the story we accept today. In her version, Beauty comes to appreciate the Beast by her own initiative rather than in the Villeneuve version, where she is repeatedly reassured by a Good Fairy and magical dreams that loving the Beast is a good idea. Anthropologists believe the story may actually be over 4,000 years old, and versions of the story over the ages were influenced by Ancient Greek stories such as Cupid and Psyche written by Lucius Apuleius Madaurensis in the 2nd century AD, and The Pig King, an Italian fairytale published by Giovanni Francesco Jeanne-Marie Leprince de Beaumont Straparola around 1550. Beauty and the Beast is a classic fairy tale, well known along with others such as Cinderella and Sleeping Beauty. Yet unlike those two stories, where the female protagonist instantly falls in love with her prince, in this tale the woman gets to know the male character first and develops a relationship with him before she falls in love. Another distinguishing characteristic of the story is that the male character, portrayed as hideously ugly (a "beast") proves to be gentle and kind, thus disproving the notion that first impressions are trustworthy. The Beauty and the Beast story is well known to folklorists and is one of the most popular in oral tradition, and elements of Beauty and the Beast appear in tales from many different cultures. The tale has been notably adapted for screen, stage, prose, and television over many years. The Story of Mobile Ballet’s Beauty and the Beast Based on Jeanne-Marie Leprince de Beaumont’s 18th century fairytale adaptation of French novelist Gabrielle-Suzanne Barbot de Villeneuve’s story La Belle et la Bête A sorceress disguised as a beggar arrives at a castle and offers a cruel and selfish prince a rose in return for shelter. When he refuses, she reveals her identity. The beautiful sorceress tells the prince that his bad manners do not match his beautiful appearance so to teach him a lesson she casts a spell upon him, transforming him into a wild beast and his servants into household objects. This spell will only be broken if he learns to love another and earn her love in return or else he will remain a beast forever. In a village nearby lives the widower merchant, Maurice, and three daughters. The older two girls are selfish and spoiled, while the third – Beauty – is lovely within and without. The conceited hunter Gaston plots to marry her in vain. One day, Maurice leaves on a trip and is caught in a storm. Lost and seeking shelter, he comes upon the Beast’s castle. Maurice sneaks into the garden and plucks a rose as a gift for Beauty, only to enrage the Beast for whom the roses are a prized possession. Beauty searches for her father and finds him locked in the castle dungeon. Asking to take her father’s place, the Beast agrees to let Beauty stay. She quickly befriends the castle’s servants, who invite her to a spectacular dinner. Angry to find the servants (turned by the spell to teapots, plates and candelabra) treating her like a guest, he’s reminded the beautiful kind girl may be their only hope. A friendship forms between the Beast and Beauty, turning to something more in a romantic dance one night. A magic mirror tells Beauty her father is in trouble. She leaves to save Maurice with the mirror in hand to remember the Beast. Arriving home to the village, she uses the mirror to reveal the Beast and recover her father’s sanity. Realizing Beauty loves another, jealous Gaston locks her with her father in a basement and rallies the villagers to the castle to slay the Beast. Beauty and her father escape and rush back to the castle. Finding the Beast near death, she realizes how much she loves him. The sorceress appears and breaks the spell, revealing the handsome prince along with the true appearance of the castle and its inhabitants. Love overcomes all obstacles and stigmas of appearance – with a “happily ever after” for all. The music used in Mobile Ballet’s production of Beauty and the Beast includes Russian composer Alexander Glazunov’s The Seasons and other compositions. The costumes were designed and constructed for this production by Mexico City costume designer Brisa Alonso. The History and Technique of Ballet Ballet is a theatrical form of dance that originated with the Renaissance festivities and masquerades of the 16th century Italian courts. Early ballets were performed by the nobility and presented in large banquet halls with accompaniment of music and spoken text. This early form of ballet, known as ballet du cour (court dances), became very popular in the courts of Louis XIV in Paris, France. Later in the 17th century, when the five positions of the feet were codified, spoken text gave way to the use of mime and the traditional story ballet, or ballet d’action, was born. All ballet movements begin and end in one of five basic positions which were defined in France more than 300 years ago. These positions form the alphabet of ballet steps. A choreographer arranges steps to make a dance in the same way a writer puts words together to form a story. Many ballets performed today are story ballets that use body, arm and facial expressions to communicate the plot, as well as elaborate scenery and costumes to establish the setting and make the story come to life. These include The Nutcracker, Swan Lake, and Coppelia. Some ballets do not have a story or costumes or scenery. These ballets focus only on the dancing and the music. All ballets must have dancers, a choreographer, a score, a stage and lighting for the stage, and of course an audience. Ballet Technique Ballet dancers everywhere begin every lesson and every rehearsal at the barre, a wooden or metal hand-rail placed around the walls of the ballet studio.
Load more

Recommended publications
  • 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]
  • 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]
  • 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]
  • 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]
  • 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.
    [Show full text]
  • Ballet West Student In-Theater Presentations
    Ballet West for Children Presents Ballet and The Sleeping Beauty Dancers: Soloist Katie Critchlow, First Soloist Sayaka Ohtaki, Principal Artist Emily Adams, First Soloist Katlyn Addison, Demi-Soloist Lindsay Bond Photo by Beau Pearson Music: Peter Ilyich Tchaikovsky Adapted from Original Choreography: Marius Petipa Photo: Quinn Farley Costumes: David Heuvel Dear Dance enthusiast, Ballet West is pleased that you are viewing a Ballet West for Children Presentation as a virtual learning experience. Enclosed you will find the following information concerning this performance: 1. Letter from Artistic Director, Adam Sklute. 2. Letter to the parent/guardian of the students who will be viewing. 3. Specific Information on this Performance, including information on the ballet, music, choreography, follow-up projects and other pertinent material has also been compiled for the teacher's information. 4. We report to the Utah State Board of Education each year on our educational programs, and need your help. Usually, we gather information from teachers as to how the student reacted and what they may have learned from their experience. We’d love to hear from you by filling out our short Survey Monkey listed on our virtual learning page. We don’t have a way to track who and how many people are taking advantage of this opportunity and this will help us to know how we’re doing. You can always email me directly. Thank you very much for your interest in the educational programs of Ballet West. Please call if I may provide any additional information or assistance to you and your school. I can be reached at 801-869-6911 or by email at [email protected].
    [Show full text]
  • Coppelia-Teacher-Resource-Guide.Pdf
    Teacher’s Handbook 1 Edited by: Carol Meeder – Director of Arts Education February 2006 Cover Photo: Jennifer Langenstein – Pittsburgh Ballet Theatre Principal Dancer Aaron Ingley – Pittsburgh Ballet Theatre Corps de Ballet Dancer Ric Evans – Photographer 2 Introduction Dear Educator, We have often thanked you, the academic community and educators of our children, for being partners with us in Arts Education. We have confirmed how the arts bring beauty, excitement, and insight into the experience of everyday living. Those of us who pursue the arts as the work of our lives would find the world a dark place without them. We have also seen, in a mirror image from the stage, how the arts bring light, joy, and sparkle into the eyes and the lives of children and adults in all walks of life. Pittsburgh Ballet Theatre strives not only to entertain but to demonstrate the significance and importance of presenting our art in the context of past history, present living, and vision for the future. In this quest we present traditional ballets based on classic stories revered for centuries, such as Coppelia and Cinderella; and contemporary ballets by artists who are living, working, and creating everyday, such as our jazz program Indigo In Motion and the premiers we have done to the music of Sting, Bruce Springsteen, and Paul Simon. In this way we propel our art into the future, creating new classics that subsequent generations will call traditional. It is necessary to see and experience both, past and present. It enhances our life and stirs new ideas. We have to experience where we came from in order to develop a clear vision of where we want to go.
    [Show full text]
  • Exit Skills Level 4 2014-15
    Exit Skills Level 4 2014-15 Barre Stance/Aplomb Ability to demonstrate secure verticle alignment through the back of the leg as well as proper weight distrubution (especially on one leg) 2/3 of the weight over the ball of the foot 1/3 over the front of the heel pad. The action of lengthening the lower back and front of the pelvis should be clearly visible. Turnout Student can clearly show stable and neutral pelvis (with abdominal support) while maintaining turn out of both gesture and supporting leg. The muscles of the thighs that sustain this action should be well developed and visible on flat and 3/4 pointe where required. This should be maintained throughout all barre work Plié elasticity Elasiticity in demi-plié and ability to maintain strong back in grand plié (barre and center). Port de bras Well developed sense of breath while executing all port de bras with coordinated head and eyes and appropriate inclinations. Balance Ability to find secure balance on full 3/4 pointe with fully stretched and pulled up legs (1 and 2 feet) in following positions: 1st, 5th, coup de pied and retiré, 45° in arabesque, 45° in 2nd position Fondu coordination Well established co-ordination and alignment in fondu to stretch (on flat and demi-pointe) Dynamics,tracking and isolation Ability to clearly show proper knee tracking in frappé while maintaining turnout on both supporting and gesture leg with strong use of quick twitch muscles and secure 3/4 pointe. Ability to sustain proper alignment in 2nd position en l'air at 90° with a clear understanding of the action of turnout while allowing mobility in the knee joint for both inward and outward action of the lower leg.
    [Show full text]
  • Since Ballet Terms Can Often Be Tricky to Pronounce, I Have Included the Word Translations in Brackets to Help You Say the Terms
    Since ballet terms can often be tricky to pronounce, I have included the word translations in brackets to help you say the terms. A Adage, Adagio (a-DAHZH) At ease or at leisure. Adage is incorporated into ballet classes and most classical pas de deux combinations. It is a series of slow, graceful exercises during the centre practice which is generally focused on line, balance and fluidity. It takes lots of practice to gain the stability and control whilst still having a sense of fluid movement. En L'Air (ahn lehr) In the air. This ballet term is generally associated with ballet movements that are in the air. For example, tour en l'air which is a high turning jump mainly for the male dancers. It indicates that for ballet exercises like rond de jambe and adage the leg should be lifted off the floor, such as rond de jambe en l'air. Allégro ([a-lay-GROH) Bright and brisk movements. This ballet term is associated to all jumps in ballet. So, whether it is petite allégro, or grand allégro a dancer will aim to show a sense of ballon and spring in the elevation. Arabesque (a-ra-BESK) This is one of the basic poses in ballet. The position of an arabesque shows one leg as the supporting leg and the other extended behind you. The arms can be held in various positions to show a first, second, or third arabesque. An arabesque is like a tendu derriere but lifted en l'air. The aim is to lift the leg without showing too much adjustment in the body, such as pitching forward.
    [Show full text]
  • Guide to Dance 2018-2019 Study Guide
    GUIDE TO DANCE 2018-2019 STUDY GUIDE Learn about the art of dance and go behind-the-scenes with a professional dance company. Written and compiled by Ambre Emory-Maier, Director of Education, and other contributors l ©2018 BalletMet Columbus TABLE OF CONTENTS Behind the Scenes ............................................................................................................................................. 2 Brief History of BalletMet ................................................................................................................................. 3 BalletMet Offerings ........................................................................................................................................... 4 The Five W’s and H of Dance .......................................................................................................................... 5 Brief History of Ballet ..................................................................................................................................... 6-7 Important Tutu Facts ......................................................................................................................................... 8 Important Pointe Shoe Facts .......................................................................................................................... 9 Glossary of Dance Terms ......................................................................................................................... 10-12 Ballet Terminology..........................................................................................................................................
    [Show full text]
  • Ballet Vocabulary – Intermediate Dance • Adagio
    Ballet Vocabulary – Intermediate Dance Adagio: a series of slow, controlled movement Arabesque: to fully extend the working leg while balancing on a fully extended supporting leg Assemblé: to assemble; legs come together to land at the same time Attitude: a position in which the working leg is bent at 90 degrees with the knee higher than the foot Battement: to fully extend the working leg from the hip Chainé: A traveling turn done on the balls of both feet at the same time. Legs are in first position while turning. Chalkline: the imaginary line along the floor that lines up with the midline Changement: to change the position of the legs in the air Coupé: a position in which the working foot connects at the supporting ankle Degagé: to lift the working leg approximately 6” off the floor Demi: a small movement Developpé: to unfold Echappé: a jump in which the legs open to 2nd position in the air En dedan: to move toward the supporting leg or midline En dehors: to move away from the supporting leg or midline En l’air: in the air Epaulment: placement of the neck and shoulders Fondue: to melt Glissade: a traveling step executed by gliding the working foot from 5th position in the required direction Grandé Allegro: a series of large, fast movement Grandé: a large movement Jeté: a jump (of varying sizes) in which the legs are extended Par terre: on the ground Pas de bourrée: changing on the toes; a transitional step involving three small weight shifts Pas de chat: “step of the cat”; a jump in which both legs move through passé Passé: a position of the leg in which the working foot connects above the supporting knee Petite Allegro: a series of small, fast movement Piqué: A traveling turn done on one leg.
    [Show full text]