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Ballet I Course at a Glance 2020-2021 Unit Introduction To

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Ballet I Course at a Glance 2020-2021 Unit Introduction To Ballet I Course at a Glance 2020-2021 Unit Introduction to Dancer Wellness Foundational Skills: History: Then & Foundational Skills: Critical Analysis Ballet I Part I Now Part II Duration 8 lessons 8 lessons 20 lessons 8 lessons 20 lessons 4 lessons Technique/ -Classroom -Movement Actions of the -Correct use of arms in all -Role of Dance -Positions of the head at -Composition Vocabulary etiquette Joints port de bras -Dance from the courts barre and center – eyes -Analysis -Correct use of -Identifications are not -Classical position of hand to the theater follow the hand -Theme turn-out in all limited to those listed -Directions of studio/stage -King Louis XIV -Begin work on facial -Variation positions and below: -Arm in motion -Renaissance expressions Cohesion common errors Anterior Front -Correct transfer of weight -Baroque -Épaulement -Evaluation -Correct classical from two legs to one-weight -Development of -Directions of the body – Á -Interpretation Posterior Back stance and distribution Ballet la quatrième devant and -Criteria Medial alignment -Positions of the arms and -Dance Mania derrière, croisé, and éffacé -Critique Lateral rd th -Correct way to common errors – 3 , 4 , and -Introductory “breath” -Critic Proximal th hold the barre 5 en haut and en bas movement -Evidence -Use of the foot Distal -Correct use of arms in all -Concept of en dehors and -Synthesis -Use of the hand Superior port de bras en dedans -Paraphrase -Pointing of the Interior -Balancing on the ball of the -Tendu batterie foot Flexion Extension foot -Dégagé piqué -Alignment Adduction Movement -Cambré forward and back -Dégagé en cloche -Positions of the Abduction Movement -Correct stretching with leg -Pas de cheval feet Circumduction Pronation on the barre -Positions sur le cou-de- -Positions of the Supination -Clean line in low extensions pied and coupé arms – first and Skeletal Identifications (arabesque and attitude 45 and (wrapped/conditional) second 70 degrees) Human skeleton consists -Élevé -Reverance -Cambré forward and back of 206 bones -Fondu coupé -Stage Directions -Correct stretching with leg -Attitude devant Identifications are not on the barre -Arabesque derrière - low -Clean line in low extensions limited to those listed -Linking steps and (arabesque and attitude 45 and below: connecting movements 70 degrees) Axial skeleton -Pas de bourrée de coté, en -Opening and closing the foot avant, piqué, tombé Appendicular skeleton th from 5 position -Temps lié, chassé, glissade Cranium/skull orbit -Correct placement of leg/foot -Simple piqué pose in Mandible in tendu devant, à la seconde coupé, passé, arabesque 45 Clavicle and derrière degrees Vertebrae -Relevé - Triplets Scapula -Grand Battement -Polonaise Acromion -Frappé -Mazurka Humerus -Rond de Jambe à terre Allegro Radius -Retiré -Sissonne fermé at 45 -Passé Ulna degrees -Piqués from corner-no turn Femur Baltimore County Public Schools Office of Music and Dance Education 1 8/10/2020 Unit Introduction to Dancer Wellness Foundational Skills: History: Then & Foundational Skills: Critical Analysis Ballet I Part I Now Part II Tibia -Standard ballet run Échappé to 4th petite and Fibula -Balancé from corner grand Ischium -Sauté – first and second Grand jetés - Coccyx -Gallops Petite assemblé side Sacrum -Skips -Sauté arabesque -Emboîté Ilium -Standard ballet walk Patella -Walk on high demi pointe -Grand jeté Tarsals Allégro -Grand saut de chat -Temps levé 1st, 2nd, 5th Metatarsals -Changement de pied Phalanges -Échappé sauté à la seconde Carpals -Petite jeté Metacarpals -Soubresaut Pubis -Pas de chat Ribs Sternum Xiphoid process Talus Cuboid calcaneus Navicular History -Role of Dance -Dance from the courts to the theater -King Louis XIV -Renaissance -Baroque -Development of Ballet -Dance Mania Critical Analysis Students will Students will assess where Students complete a self- Discuss issues The characteristics of a Aesthetics complete a postural they need to improve their reflection to analyze the concerning various 'good' performance include The characteristics of a analysis taking practice with respect to following: stereotypes related to but are not limited to: 'good' dancer should proper ballet Cross Training, Injury -Ability to make correction dance i.e. ethnicity, -Smooth running include: placement into Prevention, and Nutrition. -Ability to focus, concentrate gender, social and -No sudden stops, starts, or -Ability to apply correction consideration. They will set a goal (or -Strength economic class, age, technical difficulties. -Ability to focus/concentrate two) and journal/document -Flexibility and physical condition -Polished performance - no -Strength the steps they take to -Endurance obvious errors in memory, -Flexibility improve upon their -Grace or Coordination Identify and describe accuracy, execution, etc.---- -Endurance personal practice. -Self-discipline the significance of -Cohesive - the dances look -Grace/coordination -Ability to project energy major historical dance like they belong together or -Self-discipline -Ability to use expressive events are unified -Ability to project energy musicality Baltimore County Public Schools Office of Music and Dance Education 2 8/10/2020 Unit Introduction to Dancer Wellness Foundational Skills: History: Then & Foundational Skills: Critical Analysis Ballet I Part I Now Part II -Good carriage/aplomb Discuss and analyze -Holds the audience -Ability to use expressive -Ability to learn quickly the role of dance in interest, is varied, musicality -Ability to adapt to different relation to the social entertaining -Good carriage/aplomb styles, and genres and political climate of -The difficulty of the dance -Ability to learn quickly -Cooperative attitude various times and is suitable to the ability of -Ability to adapt to different -Ability to collaborate with places the dancers. styles, and genres others -The dancers are able to -Cooperative attitude affect the audience, making -Ability to collaborate with them feel something from others the performance. -The performance makes the audience 'think' or ponder an issue from a different perspective. Creative Students create a “healthy Students create a piece that Composition dancer” cross training plan displays the foundational technique learned throughout the course of the year. Portfolio Document goals and Document and collect video submit for archival throughout the course, purposes submit for archival purposes Enduring Establishing Skeletal Anatomy and Dancers benefit from Dance is an expression Dancers benefit from How do we use correction Understandings appropriate stance, Injury Prevention corrections and constructive and reflection of a corrections and constructive and constructive criticism in aplomb and vertical Building a dancer's criticism which a dance people’s culture, criticism which a dance dance to improve? alignment of the awareness of the body's teacher provides during class. beliefs, traditions, and teacher provides during spine is the first structures and organization values. Studying the class. Teachers use constant How does discipline differ step in training the helps them to understand Teachers use constant historical development formative assessment from self-discipline? Why body for ballet the necessity of dancing formative assessment through of ballet in the through observation in are you or aren't you able to technique. with proper alignment, observation in order to clarify Romantic period gives order to clarify objectives focus and concentrate for 90 correct use of turn-out, objectives and refine the students an and refine performance. minutes during your Learning ballet and anatomically correct performance. appreciation of the art Feedback may be directed technique class? What are technique follows a technique in order to within the context of to an individual or to the some of the distractions that slow and prevent injury and entire group. The teacher Feedback may be directed to 19th Century Europe. prevent you from doing so? methodical promote longevity in will allow time for practice an individual or to the entire How can you ensure that sequence of dance. of the skills with the new group. you are are fully prepared progression from information and repetition for every ballet class? simple and of the exercise, hopefully Nutrition for the Dancer The teacher will allow time foundational Adolescent dancers have with better performance and for practice of the skills with movements which specific and individual understanding of the skills. the new information and Baltimore County Public Schools Office of Music and Dance Education 3 8/10/2020 Unit Introduction to Dancer Wellness Foundational Skills: History: Then & Foundational Skills: Critical Analysis Ballet I Part I Now Part II build with needs in the areas of repetition of the exercise, All students should apply repetition and over nutritional and caloric hopefully with better all corrections as their own time to attain new intake, vitamins and performance and so that the entire class will skills. minerals, water understanding of the skills. benefit from this constant consumption and feedback and improve sleep. Attention to these All students should apply all performance. needs will have a direct corrections as their own so impact upon the dancer’s that the entire class will Transitional Movement strength, energy, benefit from this constant Transitions are the glue endurance and general feedback and improve which holds the technique health which manifests performance. and artistry together in itself during performance
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