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Ballet Vocabulary Chandler High School Mrs Ballet Vocabulary Chandler High School Mrs. Buren and Mrs. South FEET POSITIONS 1. Feet parallel first: Description: The feet are under the hip sockets and the toes are “pointing” straight ahead. The entire foot is in contact with the floor but the majority of the body weight is the balls of the feet. Cautions: There are several movements that can occur while in the first parallel position. Always think about where the weight in the foot is, even when rolling over or doing a demi plie upside down. 2. Feet turned out first: Description: The feet are under the hip sockets and the toes are “pointing” out to the “corners”. The entire foot is in contact with the floor but the majority of the body weight is in the balls of the feet. Cautions: Maintain turnout by activating the bottom and rotating the hip sockets outward. The goal of every dancer is to increase the amount of turnout. This should be achieved gradually as the dancer increases strength and flexibility. Work within your limits and do not try to turnout more than your body can do correctly. A common mistake is to turn the hip sockets 180 degrees while the knees are not aligned which results in pain and injury. 3. Feet second turned out: Description: This is the only position of the feet where the feet are not directly under the hip sockets. The feet are fairly far apart (slightly wider than hip width) and the toes are “pointing” to the “corners.” The entire foot is in the contact with the floor but the majority of the body weight is in the balls of the feet. Cautions: Maintain turnout by activating the bottom and rotating the hip sockets outward. In the second position many dancers tend to stand too narrow or too wide. The feet are fairly far apart but you should still feel control over your center. When the position is too narrow it looks like first position turned out with the feet about three inches apart. 4. Feet third turned out: Description: The feet are under the hip sockets. The heel of the front foot is half way between the toes and the heel of the back foot. Wrap the thighs around each other but do not lock the knees. Cautions: When closing into the third turned out position of the feet, remember to maintain turn out, slightly shift weight over both feet, and close into the correct placement of the feet each time. 1 5. 4th turned out ! 4th Position !4th Position !4th Position lining up the feet lining up the feet lining up the feet like 5th position like 3rd position like 1st position (crossed 4th) (crossed 4th) (open 4th) Description: 4th position is similar to that in 3rd position: The heel of the front foot is lined up with the arch of the back foot. The feet are separated about one foot length. This type of 4th is called quatrième position croisée (crossed fourth position) and is more commonly performed today lined up like a 5th position instead of 3rd. There is also quatrième position ouverte (open fourth position) where the feet are lined up like first position. Weight should be evenly distributed between both legs. 6. 5th turned out Description: The feet are under the sockets. The heel of the front foot is lined up with the big toe of the back foot, and vice versa. This position is very similar to 3rd except the legs are crossed further. ARM POSITIONS FOR ALL ARM POSITIONS: The arms should curve gently from shoulder to fingertip, eliminating the pointed look of the elbows. The hands should be held simply, the wrists neither stiff nor floppy, the fingers curved and only slightly separated, with the thumb and middle finger brought towards each other. In the positions to the front or side, the arms should have a gradual slope downward from the shoulders to the elbows, then to the wrists, and finally to the fingers. The arms should move freely from the shoulder sockets (not from the elbows), but the shoulders must remain in place. (Push shoulders down by pulling the scapula down and to the center of the back.) To keep the sense of curve when raising the arms, lead with the upper arm, not the hands; when lowering the arms, let the fingers lead, not the fingers lead, not the wrists or elbows. When a hand is over the head, it should be just within the line of vision of the performer when he looks straight forward. 7. Arms en bas (on bah) OR bras bas (brah bah): Description: The arms form a circle (while the scapula and shoulders pull downward) and the hands curve slightly and are in front of the thighs. This is the dancer’s “attention.” Cautions: When in the en bas position, remember to keep the arms slightly curved with the elbows reaching away from the body. 8. En Haut (on oh): To the high position OR Fifth position arms Description: The arms form a circle above and slightly in front of the top of the head, with the hands only a few inches apart and the palms face each other. Cautions: When in the en haut position, remember to pull the shoulders down through the back, keep arms curved, and slightly in front of the ears. 2 9. En Avant (on uh vahnt): To the front OR First position arms Description: The arms form a circle across from a sternum, with hands only a few inches apart and the palms face each other. Cautions: When in the en avant position, remember to pull the shoulders down through the back, keep arms curved with hands slightly lower than the shoulders. 10. Arms in second Description: In second position of the arms, the elbows are lower than the shoulders, the wrists are lower than the elbows, and the hands are lower than the wrists. The arm is curved slightly to that it is forward of the body to maintain proper alignment. Cautions: Remember to pull down through the scapula and shoulders so there is tension, which allows the arms to move with more strength. Keep the arms curved and slightly in front of the body, not straight out to the sides with arm level. AT THE BARRE 11. Demi Plie (deh-mee-plee-AY): Half bend (Movement of the knees) Purpose: Almost every step in ballet-certainly every jumping movement involves a demi plie. It’s correct execution gives a springy quality to jumps and lightness to all dance movements. The demi plie increases the circulation of the blood in the legs and they have great warm up value. The demi plie requires even distribution of the weight of the body on both feet, thus making it easier to center the body and to master the turnout (outward rotation of the hip sockets) of the legs. Knowing how and when to demi plie is the cornerstone of ballet technique. Description: Demi plies are done in all positions of the feet. During the demi plie the heels never leave the floor. The movements begin in the high, inner side of the thighs; the knees open in a direct line over the toes until the depth of the demi plie is reached (determined by the length of the achilles tendon connecting the calf muscle and the heel). Then the legs return to their original straight position. !This picture shows a correct demi plie in first position turned out. Cautions: Do not allow the feet to roll either inward or outward but rather maintain most of the body weight over the balls of the feet or the center of the foot. During a demi plie the knees are the only body part that moves (arms may move through positions). Alignment should remain vertical and the back remains straight and the torso remains over the pelvis. 12. Grand Plie (grahn plee-AY): Full bend Description: Your knees should bend until your thighs are horizontal. Keep pressing your knees back and out so you feel the stretch in your hips. Watch carefully that your toes remain on the floor even when your heels lift. As you lower your body, keep your body upright and push your heels into the floor even as they are forced off (unless in second position where your heels do NOT ever leave the floor). Your movement should be gradual and free from jerks. You should rise at the same speed you descended, again, pushing the heels into the floor. 3 Cautions: Do not let your seat stick out, sit into the hips or drop the ribs. Don’t try to improve your turn-out by pushing your heels further as you bend; keep your feet in exactly the same position you had when you started. * Knees rolling forward * Body lowered * Feet rolling inward * Bottom/back not too far down * Knees forward in alignment * Knees forward * Bottom out of * Back bent alignment ! Grand plies in 1st position. The heels come off the floor similarly in 3rd, 4th and 5th position. ! Grand plies in 2nd position. This is the only position where the heels never leave the floor. 13. Eleve (el-eh-VAY): To rise without demi plie Purpose: Strength, suppleness, and control of the feet are developed by doing eleves. Then the thighs pull up in the eleve, the knee and the muscles of the legs are strengthened also. The eleve builds a strong, secure demi-point position, which is so important for balance, turns, and many steps of ballet. Description: Eleves are done in all positions of the feet.
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