A Ballet Term
A Ballet Term
Abstract ballet. A ballet without a plot. A composition of pure dance movement expressed for its own sake.
Adage, Adagio [French: a-DAHZH]. Adage is a French word derived from the Italian ad agio, meaning at ease or leisure. English ballet teachers use “adage,” the French adaptation, while Americans prefer the original Italian. In dancing it has two meanings: (l) A series of exercises following the centre practice, consisting of a succession of slow and graceful movements which may be simple or of the most complex character, performed with fluidity and apparent ease. These exercises develop a sustaining power, sense of line, balance and the beautiful poise which enables the dancer to perform with majesty and grace. The principal steps of adagio are plies, developpes, grand fouette en tournant, degages, grand rond de jambe, rond de jambe en Fair, coupes, battements tendus, attitudes, arabesques, preparations for pirouettes and all types of pirouettes. (2) The opening section of the classical pas de deux, in which the ballerina, assisted by her male partner, performs the slow movements and enlevements in which the danseur lifts, supports or carries the danseuse. The danseuse thus supported exhibits her grace, line and perfect balance while executing developpes, pirouettes, arabesques and so on, and achieves combinations of steps and poses which would be impossible without the aid of her partner.
Ailes de pigeon [el duh pee-ZHAWJSf]. Pigeon’s wings. The dancer performs a cabriole devant, then the legs change and beat again, then change once more before the dancer lands on the leg he or she jumped from, leaving the other leg extended in the air. Also known as “pistolet.”
Air, en l’ [ ahn lehr]. In the air. Indicates: 1: a movement is to be made in the air 2: the working leg, after being opened to the second position or fourth position a terre, is to be raised to a horizontal position with the toe on the level of the hip.
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Allegro [ a-lay-GROH ; Italian: al-LAY-groh]. Brisk. A ballet term applied to all bright and brisk movements. Steps of elevation such as the entrechat, cabriole, assemble, jete are example of allegro. Qualities to aim at in allegro are lightness, smoothness and ballon.
Allonge [a-lawn-ZHAY], Extended, outstretched. Dancer outstretched.
Aplomb [ a-PLAWN ]. Assurance, poise. This term applied to the dancer means that he or she has full control of body and limbs with the weight correctly centered during a movement.
Arabesque [ a-ra-BESK ]. One of the basic poses in ballet, arabesque takes its name from a form of Moorish ornament. In ballet it is a position of the body, in profile, supported on one leg, which can be straight or demi-plie, 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 from the fingertips to the toes. The shoulders must be held square to the line of direction. The forms of arabesque are varied to infinity. The Cecchetti method uses five principal arabesques; the Russian School (Vaganova), four; and the French School, two. Arabesques are generally used to conclude a phrase of steps, both in the slow movements of adagio and the brisk, gay movements of allegro.
THE CECCHETTI ARABESQUES
First arabesque: The body is held upright from the waist and is supported on a straight leg with the other leg extended and at right angles to the supporting leg. The shoulders are held square to the line of direction with the arms extended, palms down, so that the extended fingertips of the forward arm (which is the one on the same side as the supporting leg) are in a line with the centre of the space between the eyes, and the extended back arm slightly lowered so that the arms are in one straight line. The forward hand should be slightly turned outward.
Second arabesque: The arms are reversed so that the forward arm is the opposite to the supporting leg. The head is slightly inclined and turned toward the audience.
Third arabesque: Both arms are extended forward to the side of the supporting leg. The fingertips of the arm farther from the audience are in a line with the centre of the space between the eyes while the arm nearer the audience is in a line with the shoulder.
Fourth arabesque: The supporting leg is nearer the audience and is in demi-plie. The arms and head are held as in the first arabesque with the arm on the side of the raised leg being forward.
Fifth arabesque: The arms and head are held as in the third arabesque with the arm farther from the audience being the higher. The supporting leg is the leg nearer the audience and is in demi-plie.
The fourth and fifth arabesques are usually taken facing the right front corner of the room or stage if the supporting leg is the left, or facing the left front corner if the supporting leg is the right. In the illustrations the position is shown sideways for the sake of clearness.
THE FRENCH ARABESQUES (See illustrations, p. 127)
Arabesque ouverte: The body is supported on a straight leg with the other extended and at right angles to the supporting leg, the extended leg being nearer the audience. The body leans forward with the arm on the side of the supporting leg held in front and the other taken well back and held parallel to the extended leg.
Arabesque croisee: The position is the same as the above but the supporting leg is the leg nearer to the audience, the arm on the side of the supporting leg held forward.
THE RUSSIAN ARABESQUES (VAGANOVA) (See illustrations, p. 128)
First arabesque: The body is supported on one leg with the other lifted at a right or greater angle to the supporting leg. The body is inclined forward from the waist with a strongly arched back. The arm on the side of the supporting leg is extended forward and the other taken out to the side a little behind the second position.
Second arabesque: The body and legs are the same as in the first arabesque but the arms are reversed. That is, the arm on the side of the supporting leg is taken back far enough to be seen behind the body while the other arm is extended forward. The head is turned toward the audience.
Third arabesque: This arabesque faces diagonally toward the audience. The supporting leg is nearer the audience with the other raised in croise derriere at right angles to the supporting leg. The body is inclined forward with the arm opposite the supporting leg extended forward on a level with the shoulder and the other arm extended to the side. The head is turned toward the forward arm.
Fourth arabesque: The legs are in the same position as in the third arabesque but the arms are reversed and held at shoulder level. The arm on the side of the supporting leg is brought forward and the other arm taken back far enough to be seen behind the back. The body is half turned away from the audience by the strong arching of the back, with the head turned toward the audience.
Arabesque, en [ah na-ra-BESK ]. In arabesque, that is, in an arabesque position. As, for example, in pirouette en arabesque.
Arabesque a deux bras [ a-ra-BESK a duh brah ]. Arabesque with two arms. This arabesque is taken in profile with the extended leg nearest the audience. Both arms are extended forward with the arm on the side of the supporting leg held slightly higher. The head may be held in profile or turned to the audience.
Arabesque a la demi-hauteur [ a-ra-BESK a lah duh-MEE-oh-TUHR ]. Arabesque at half-height. A term of the French School. In this arabesque the foot is raised to a position halfway between the position a terre and a horizontal position in the air.
Arabesque a la hauteur [ a-ra-BESK a lah oh-TUHR ]. Arabesque at the height. A term of the French School. An arabesque in which the working leg is raised at right angles to the hip. Also termed arabesque allongee.
Arabesque a la lyre [ a-ra-BESK a lah leer]. Arabesque with the lyre. This position resembles the arabesque a deux bras (third arabesque Cecchetti) but both palms are held up and the elbows are slightly curved as if the dancer were holding a lyre.
Arabesque allongee [ a-ra-BESK a-laum-ZHAY\. Extended or outstretched arabesque. The line required for this arabesque is a horizontal one. See Arabesque a la hauteur.
Arabesque allongee a terre [ a-ra-BESK a-lawn-ZHAY a tehr]. Arabesque extended on the ground. In this arabesque the body is supported on one leg which is completely bent in plie while the other leg is extended in the back with the foot well turned out and on the ground. The arms may be held en attitude, en couronne and so on. This lunge position may be taken en face, croise or ouvert.
Arabesque a terre [ a-ra-BESK a tehr]. Arabesque on the ground. The arms and body are in arabesque but the leg, usually raised, is extended in the fourth position back, pointe tendue.
Arabesque croisee [ a-ra-BESK krwah-ZAY]. Arabesque crossed. This arabesque presents a three-quarter view of the body and faces a front corner of the stage. The supporting leg is the leg nearer the audience. The arms may be held in a variety of positions. See illustration, p. 127.
Arabesque de face [ a-ra-BESK duhfahss]. Arabesque facing. An arabesque facing the audience. The arms may be held in a variety of positions. (De face = en face.)
Arabesque effacee [a-ra-BESK eh-fa-SAY]. Arabesque shaded. This is the first arabesque (all schools) taken in an efface direction.
Arabesque en promenade [ a-ra-BESK ahn prawm-NAD]. Arabesque, walking. An arabesque is said to be en promenade when a slow turn is made either en dedans or en dehors in an arabesque position. This is a temps d’adage. See Promenade, tour de; Tour lent.
Arabesque en tournant [ a-ra-BESK ahn toor-NAHN]. Arabesque, turning. An arabesque is said to be en tournant when a pivot is made on the supporting foot.
Arabesque epaulee [ a-ra-BESK ay-poh-LAY]. Arabesque shouldered. This is an arabesque in which the dancer stands at an oblique angle to the audience. The raised leg and forward arm are nearest the audience and the shoulders are turned so that the dancer’s back is visible. See Epaule.
Arabesque etiree [a-ra-BESK ay -tee-RAY]. Arabesque stretched or drawn out. A term of the French School. This is a neoclassical arabesque in which the ballerina, on point and supported by her partner, shifts her axis backward so that her supporting leg is oblique and her free leg held very high (as in a split).
Arabesque fondue [a-ra-BES’Kfaum-DEW]. Arabesque, sinking down. An arabesque in which the knee of the supporting leg is bent. Also called “arabesque pliee.”
Arabesque inclinee [ a-ra-BESK en-klee-NAY\. Arabesque inclined. A term of the French School. A neoclassical arabesque in which the ballerina, on point and supported by her partner, shifts her axis forward so that her supporting leg is oblique. Because of the slant of the supporting leg the free leg will be held at an angle of less than 90 degrees. Also called “arabesque poussee.”
Arabesque ouverte [ a-ra-BESK oo-VEHRT ]. Open arabesque. A term of the French School. This arabesque is taken in profile to the audience. The leg nearer the audience is raised and the arm on the side of the supporting leg extended forward. The head is in profile. See section on “The French arabesques” under Arabesque.
Arabesque penchee [a-ra-BESK pahn-SHAY]. Arabesque, leaning. An arabesque in which the body leans well forward in an oblique line, the forward arm and the head being low and the foot of the raised leg the highest point.
Arabesque pliee [a-ra-BESK plee-AY]. Arabesque with a bent knee. Same as arabesque fondue.
Arabesque poussee [a-ra-BESK poo-SAY]. Arabesque pushed. A term of the French School. Same as arabesque inclinee.
Arabesque voyagee [a-ra-BESK vwah-yah-ZHAY]. Arabesque, traveling. This is a series of small hops in an arabesque position. The supporting knee is bent and the instep of the supporting foot does not stretch. The arabesque may be traveled forward or backward. SeeVoyage.
Arque [ar-KAY]. Arched (bowlegged). Very few people have perfectly straight legs and nearly every dancer conforms to one of the two types arque and jarrete (q.v.). When the arque, or bowlegged, dancer stands in the first position there is a space between the knee joints. This type of dancer is usually strongly built but stiff. Their extensions are never high but they have great power and ballon and sharp brilliant beats.
Arriere, en [ah na-RYEHR ]. Backward. Used to indicate that a step is executed moving away from the audience. As, for example, in glissade en arriere. See floor plan illustration, p. 125.
Arrondi, arrondie [a-rawn-DEE]. Rounded, curved. As, for example, in battement arrondi.
Assemble [ a-sahn-BLAY ]. 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. Both legs come to the ground simultaneously in the
ifth position. If an assemble is porte it requires a preparatory step such as a glissade to precede it. If an assemble is en tournant it must be preceded by a preparatory step. Assembles are done petit or grand according to the height of the battement and are executed dessus, dessous, devant, derriere, en avant, en arriere and en tournant. They may be done en face, croise, efface or ecarte. Assemble may also be done with a beat for greater brilliance. In the Cecchetti assemble both knees are bent and drawn up after the battement so that the flat of the toes of both feet meet while the body is in the air.
Assemble, double [ doob la-sahn-BLAY ]. Double assemble. A term of the Russian School. This step consists of two assembles to the second position at 45 degrees; the first assemble is done without changing the position of the legs and the second with a change.
Assemble, grand [ grahn ta-sahn-BLAY ]. Big assemble. The jump is higher and the working leg is swept into the air into a horizontal position or a la hauteur. The legs join in the fifth position in the air before coming to the ground.
Assemble, petit [ puh-TEE ta-sahn-BLAY ]. Little assemble. The working leg is swept into the air with a battement to a point midway between a position of the foot a terre and its equivalent en l’air. This position is called demiposition in the Cecchetti method or demi-hauteur in the French School.
Assemble battu [ a-sahn-BLAY ba-TEW]. Assemble beaten. Assembles dessus, dessous and en tournant may be done with beats.
Assemble dessus battu: Fifth position R foot back. Demi-plie, brush the R leg to the side and push off the floor with the L foot. On the return to fifth position the R leg beats the L in the back, opens slightly and comes to the ground simultaneously with the L leg in the fifth position R foot front. The beat is made with the calves.
Assemble dessous battu: The working leg beats in the front and closes in the back.
Assemble battu en tournant: This assemble is done dessus. The working leg beats in the back, and finishes in the fifth position front.She Assemble en tournant, grand.
Assemble coupe [ a-sahn-BLAY koo-PAY ]. Cut assemble. This is a term of the Cecchetti method for an assemble started from one foot. The working leg may be sur le cou-de-pied or pointe tendue or raised en Fair. The working leg closes into the fifth position without a brush.
Assemble coupe derriere [ a-sahn-BLAY koo-PAY deh-RYEHR ]. Assemble cut behind. A term of the Cecchetti method. Stand on the R foot with the L foot sur le cou-de-pied derriere or pointed in the fourth position derriere a terre or en Fair. Demi-plie and spring off the R foot. Come to the ground in demi-plie in the fifth position L foot back.
Assemble coupe devant [ a-sahn-BLAY koo-PAY duh-VAHN]. Assemble cut in front. A term of the Cecchetti method. Stand on the R foot with the L foot sur le cou-de-pied devant or pointed in the fourth position devant a terre or en l’air. Demi-plie and spring off the R foot. Come to the ground in demi-plie in the fifth position L foot front.
Assemble derriere [ a-sahn-BLAY deh-RYEHR ]. Assemble in back. Fifth position R foot back. The R foot slides out to the second position en Fair and at the completion of the assemble closes in the fifth position back.
Assemble dessous [ a-sahn-BLAY duh-SOO ]. Assemble under. Fifth position R foot front. The R foot slides out to the second position en Fair and at the completion of the assemble is closed in the fifth position back. Also called “assemble en remontant” or “assemble en reculant.”
Assemble dessus [ a-sahn-BLAY duh-SEW\. Assemble over. Fifth position R foot back. Demi-plie and slide the R foot to the second position en Fair. Push from the ground with the L foot, extending the toes. Both feet return to the ground simultaneously, landing in the fifth position R foot front, with a soft demi-plie. The tips of the toes reach the ground first, then the heels. Also called “assemble en descendant.”
Assemble de suite [ a-sahn-BLAY duh sweet]. Continuous assemble. A term from the Cecchetti method used when assembles are executed in a series without straightening the knees at the conclusion of each assemble.
Assemble devant [ a-sahn-BLAY duh-VAHN]. Assemble in front. Fifth position R foot front. The R foot slides out to the second position en Fair and at the completion of the assemble is closed in the fifth position front.
Assemble elance [ a-sahn-BLAY ay-lahn-SAY]. Assemble, darting. An assemble dessus traveled to the side. See Assemble porte.
Assemble en arriere [ a-sahn-BLAY ah na-RYEHR]. Assemble backward. Fifth position R foot back. The R foot slides backward to the fourth position en Fair and at the completion of the assemble closes in the fifth position back. This assemble may be done in place or traveling backward.
Assemble en avant [ a-sahn-BLAY ah na-VAHN]. Assemble forward. Fifth position R foot front. The R foot slides forward to the fourth position en Fair and at the completion of the assemble closes in the fifth position front. This assemble may be done in place or traveling forward.
Assemble en descendant [ a-sahn-BLAY ahn day-sahn-DAHN]. Assemble coming down or moving downstage. A term of the French School. Same as assemble dessus.
Assemble en remontant or en reculant [ a-sahn-BLAY ahn ruhmawn-TAHN (or) ahn ruh-kew-LAHN]. Assemble going up or drawing back (moving upstage). A term of the French School. Same as assemble dessous.
Assemble en tournant, grand [ grahn ta-sahn-BLAY ahn toorNAHN]. Big assemble, turning. This assemble is done in the same manner as grand assemble. It is taken only dessus or derriere. It is traveled directly to the side, on a diagonal traveling upstage, in a circle, etc. It is usually preceded by a pas couru or a chasse. The battement at 90 degrees to the second position is taken facing upstage, then the dancer completes the turn en dedans and finishes the assemble facing the audience.
Assemble porte [a-sahn-BLAY pawr-TAY\. Assemble carried. This assemble requires a preparatory step to precede it and during the actual assemble the body is carried in the air from one spot to another in the desired direction. Assembles devant, derriere, dessus and dessous may be porte.
Assemble porte et battu [a-sahn-BLAY pawr-TAY ay ba-TEW ]. This assemble is traveled and done with a beat.
Assemble soutenu (Cecchetti method) [ a-sahn-BLAY soot-NEW]. Assemble sustained. In the Cecchetti method an assemble is said to be soutenu when the knees are straightened and another demi-plie is made before executing the next assemble.
Assemble soutenu de face [ a-sahn-BLAY soot-NEW duhfahss ]. Assemble sustained and facing the audience. This assemble is not a jumping step. It is done on the pointes or demi-pointes and may be performed dessus, dessous, derriere, devant, en avant and en arriere. For assemble soutenu dessus, stand in the fifth position R foot back. Demi-plie, sliding the R foot to the second position pointe tendue a terre; draw the R leg into the fifth position front, springing on the pointes or demi-pointes, then lower the heels in demiplie in the fifth position. Also called “assemble soutenu sur les pointes.”
Assemble soutenu en tournant (demi-tours) [ a-sahn-BLAY sootNEW ahn toor-NAHN (duh-mee-TOOR)]. Assemble sustained in turning (half-turns).
En dedans: Fifth position R foot back. Fondu on the L leg and at the same time slide the R foot to the second position a terre, pointe tendue (degage). Draw the R foot into the fifth position front, rising on the demi-pointes. Pivot a half-turn to the left (demi-detourne) to face the back of the room, finishing with the L foot front. Lower the heels in demi-plie.
En dehors: Still facing the back of the room with the L foot front, fondu on the R leg and at the same time slide the L foot to the second position a terre, pointe tendue (degage). Draw the L foot into the fifth position back, rising on the demi-pointes. Pivot a half-turn to the left (demi-detourne) to face the front of the room, finishing with the L foot front. Lower the heels in demi-plie.
Assemble soutenu en tournant en dedans [ a-sahn-BLAY soot-NEW ahn toor-NAHN ahn duh-DAHN ]. Assemble sustained and turning inward. Fifth position R foot back. Fondu on the L leg and at the same time slide the R foot to the second position a terre, pointe tendue. Draw the R foot into the fifth position front, rising on the demi-pointes and turning en dedans (to the left) to face the back of the room with the feet in the fifth position, R foot front. Pivot a half-turn to the left (demi-detourne) to face front, finishing with the L foot front. Lower the heels in demi-plie. This is the method of the Russian School. The French School begins the step with a demi-rond de jambe a terre en dedans instead of drawing the working foot straight in to the fifth position from the second position.
Assemble soutenu en tournant en dehors [ a-sahn-BLAY soot-NEW ahn toor-NAHN ahn duh-AWR]. Assemble sustained and turning outward. Fifth position R foot front. Fondu on the L leg and at the same time slide the R foot to the second position a terre, pointe tendue. Draw the R foot into the fifth position back, rising on the demi-pointes and turning en dehors (to the right) to face the back of the room with the feet in the fifth position, R foot back. Pivot a half-turn to the right (demi-detourne) to face front, finishing with the R foot front. Lower the heels in demi-plie. This is the method of the Russian School. The French School begins the step with a demi-rond de jambe a terre en dehors instead of drawing the working foot straight in to the fifth position from the second position.
Assemble soutenu sur les pointes [ a-sahn-BLAY soot-NEW sewr lay pwent]. Assemble sustained on the points. Same as assemble soutenu de face.
Attitude [a-tee-TEWD]. A particular pose in dancing derived by Carlo Blasis from the statue of Mercury by Giovanni da Bologna. It is a position on one leg with the other lifted in back, the knee bent at an angle of 90 degrees and well turned out so that the knee is higher than the foot. The supporting foot may be a terre, sur la pointe or sur la demi-pointe. The arm on the side of the raised leg is held over the head in a curved position while the other arm is extended to the side. There are a number of attitudes according to the position of the body in relation to the audience: for example, attitude croisee, attitude effacee, attitude de face. See illustrations, p. 129.
Attitude, demi- [ duh-MEE-a-tee-TEWD ]. Half attitude. A term of the French School. An attitude with the raised leg a la demi-hauteur. The arms are held in the same position as in attitude.
Attitude, en [ah na-tee-TEWD]. In attitude, that is, in an attitude position. As, for example, in pirouette en attitude.
Attitude a deux bras [a-tee-TEWD a duh brah ]. Attitude with two arms. The same position as the Blasis attitude but with both arms en couronne (raised above the head).
Attitude a terre [a-tee-TEWD a tehr ]. Attitude on the ground. The arms are in attitude and the foot which is usually raised is extended with the toe pointed on the ground in the fourth position back.
Attitude croisee derriere [a-tee-TEWD krwah-ZAY deh-RYEHR]. Attitude crossed in back. The dancer stands facing a front corner of the stage (croise direction; See floor plan, p. 125) with the supporting leg nearest the audience. The raised leg is held at 90 degrees and crossed behind the body with the knee bent at a right angle and the foot held parallel or slightly below the raised knee. The body presents a three-quarter view to the audience.
Attitude croisee derriere (Cecchetti method) [a-tee-TEWD krwahZAY deh-RYEHR ]. In this method, the body is held upright with a straight back, shoulders aligned and well pressed down. The head is turned with the eyes looking up into the palm of the raised hand. See illustration, p. 129.
Attitude croisee derriere (French School) [ a-tee-TEWD krwahZAY deh-RYEHR]. The body is bent toward the supporting leg with the shoulder of the raised arm lifted slightly higher than the other shoulder. The head is turned toward the front shoulder.
Attitude croisee derriere (Russian School) [ a-tee-TEWD krwahZAY deh-RYEHR]. The body inclines forward with a well-arched back. The shoulders are aligned and pressed down with the head turned toward the front shoulder. The Russian School also uses a high croise position in which the foot is raised higher than the knee. See illustration, p. 129.
Attitude croisee devant [ a-tee-TEWD krwah-ZAY duh-VAHN]. Attitude crossed in front. This is the position croise devant, but the raised leg is bent with the knee pressed outward and the foot raised as high as possible. The arms are held en attitude with the high arm on the same side as the supporting leg and the head slightly inclined toward the low arm. See illustration, p. 129.
Attitude de face [ a-tee-TEWD duhfahss]. Attitude facing. A term of the French School for an attitude facing the audience.
Attitude effacee derriere [ a-tee-TEWD eh-fa-SAY deh-RYEHR]. Attitude shaded in back. The dancer stands facing a front corner of the stage (efface direction; See floor plan, p. 125). The raised arm and leg are nearer the audience with the leg in a half-bent position so that the audience sees the arched line of the entire leg from hip to toe. The body presents a three-quarter, almost profile view to the audience. The French School terms this the “attitude ouverte” (q.v.).
Attitude effacee derriere (Cecchetti method) [a-tee-TEWD eh-faSAY deh-RYEHR]. In this method, the body is held upright with a straight back and the dancer leans slightly back toward the raised leg. The head is turned toward the audience and inclined toward the raised arm.
Attitude efface derriere (Russian School) [a-tee-TEWD eh-fa-SAY deh-RYEHR]. The torso is tilted forward toward the supporting leg with the back held upright and both shoulders level. The head is turned toward the audience. The Russian School also uses a high efface position in which the thigh is raised so that the foot is held higher than the knee at approximately 135 degrees.
Attitude en promenade [a-tee-TEWD ahn prawm-NAD]. Attitude, walking. When a slow turn is made en dedans or en dehors in an attitudeposition, the attitude is said to be en promenade. This is a temps d’adage. See Promenade, tour de; Tour lent.
Attitude en tournant [a-tee-TEWD ahn toor-NAHN]. Attitude, turning. An attitude is said to be en tournant when a pivot is made on the supporting leg. See Pirouette en attitude.
Attitude epaulee [ a-tee-TEWD ay-poh-LAY ]. Attitude “shouldered.” This attitude is executed in the same manner as the Cecchetti attitude croisee but is taken facing either one of the upper corners of the room (corners 3 or 4; see illustration, p. 138) and presents a three-quarter rear view to the audience. If the pose is taken on the L foot, the dancer faces corner 3. See illustration, p. 129.
Attitude grecque [a-tee-TEWD grek ]. Greek attitude. In this attitude the heel of the working foot touches the ankle or knee of the supporting leg. The toe is pointed and the thigh opened to the second position. One arm is curved opposite the waistline and the arm on the side of the supporting leg is curved over the head. The head is turned in profile and the body leans toward the raised leg. This attitude may be taken en face, croisee or effacee. Pirouettes may also be done in this position but in this case the head does not “spot.”
Attitude ouverte [ a-tee-TEWD oo-VEHRT ]. Open attitude. This is the French School’s term for the attitude effacee derriere. The body leans slightly forward toward the supporting leg with the shoulder of the raised arm held slightly higher than the other shoulder and the head turned toward the audience.
Attitude penchee [a-tee-TEWD pahn-SHAY]. Attitude, leaning. In this attitude the body leans forward with a well-arched back and the raised foot held high.
Autour de la salle [oh-TOOR duh lah sal]. A term of the Cecchetti method. See Salle, autour de la.
Avant, en [ah na-VAHN]. Forward. A direction for the execution of a step. Used to indicate that a given step is executed moving forward, toward the audience. As, for example, in sissonne fermee en avant.
![Abstract ballet. A ballet without a plot. A composition of pure dance movement expressed for its own sake. Adage, Adagio [French: a-DAHZH]. Adage is a French word derived from the Italian ad agio, meaning at ease or leisure. English ballet teachers use “adage,” the French adaptation, while Americans prefer the original Italian. In dancing it has two meanings: (l) A series of exercises following the centre practice, consisting of a succession of slow and graceful movements which may be simple or of the most complex character, performed with fluidity and apparent ease. These exercises develop a sustaining power, sense of line, balance and the beautiful poise which enables the dancer to perform with majesty and grace. The principal steps of adagio are plies, developpes, grand fouette en tournant, degages, grand rond de jambe, rond de jambe en Fair, coupes, battements tendus, attitudes, arabesques, preparations for pirouettes and all types of pirouettes. (2) The opening section of the classical pas de deux, in which the ballerina, assisted by her male partner, performs the slow movements and enlevements in which the danseur lifts, supports or carries the danseuse. The danseuse thus supported exhibits her grace, line and perfect balance while executing developpes, pirouettes, arabesques and so on, and achieves combinations of steps and poses which would be impossible without the aid of her partner. Ailes de pigeon [el duh pee-ZHAWJSf]. Pigeon’s wings. The dancer performs a cabriole devant, then the legs change and beat again, then change once more before the dancer lands on the leg he or she jumped from, leaving the other leg extended in the air. Also known as “pistolet.” Air, en l’ [ ahn lehr]. In the air. Indicates: 1: a movement is to be made in the air 2: the working leg, after being opened to the second position or fourth position a terre, is to be raised to a horizontal position with the toe on the level of the hip. . Allegro [ a-lay-GROH ; Italian: al-LAY-groh]. Brisk. A ballet term applied to all bright and brisk movements. Steps of elevation such as the entrechat, cabriole, assemble, jete are example of allegro. Qualities to aim at in allegro are lightness, smoothness and ballon. Allonge [a-lawn-ZHAY], Extended, outstretched. Dancer outstretched. Aplomb [ a-PLAWN ]. Assurance, poise. This term applied to the dancer means that he or she has full control of body and limbs with the weight correctly centered during a movement. Arabesque [ a-ra-BESK ]. One of the basic poses in ballet, arabesque takes its name from a form of Moorish ornament. In ballet it is a position of the body, in profile, supported on one leg, which can be straight or demi-plie, 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 from the fingertips to the toes. The shoulders must be held square to the line of direction. The forms of arabesque are varied to infinity. The Cecchetti method uses five principal arabesques; the Russian School (Vaganova), four; and the French School, two. Arabesques are generally used to conclude a phrase of steps, both in the slow movements of adagio and the brisk, gay movements of allegro. THE CECCHETTI ARABESQUES First arabesque: The body is held upright from the waist and is supported on a straight leg with the other leg extended and at right angles to the supporting leg. The shoulders are held square to the line of direction with the arms extended, palms down, so that the extended fingertips of the forward arm (which is the one on the same side as the supporting leg) are in a line with the centre of the space between the eyes, and the extended back arm slightly lowered so that the arms are in one straight line. The forward hand should be slightly turned outward. Second arabesque: The arms are reversed so that the forward arm is the opposite to the supporting leg. The head is slightly inclined and turned toward the audience. Third arabesque: Both arms are extended forward to the side of the supporting leg. The fingertips of the arm farther from the audience are in a line with the centre of the space between the eyes while the arm nearer the audience is in a line with the shoulder. Fourth arabesque: The supporting leg is nearer the audience and is in demi-plie. The arms and head are held as in the first arabesque with the arm on the side of the raised leg being forward. Fifth arabesque: The arms and head are held as in the third arabesque with the arm farther from the audience being the higher. The supporting leg is the leg nearer the audience and is in demi-plie. The fourth and fifth arabesques are usually taken facing the right front corner of the room or stage if the supporting leg is the left, or facing the left front corner if the supporting leg is the right. In the illustrations the position is shown sideways for the sake of clearness. THE FRENCH ARABESQUES (See illustrations, p. 127) Arabesque ouverte: The body is supported on a straight leg with the other extended and at right angles to the supporting leg, the extended leg being nearer the audience. The body leans forward with the arm on the side of the supporting leg held in front and the other taken well back and held parallel to the extended leg. Arabesque croisee: The position is the same as the above but the supporting leg is the leg nearer to the audience, the arm on the side of the supporting leg held forward. THE RUSSIAN ARABESQUES (VAGANOVA) (See illustrations, p. 128) First arabesque: The body is supported on one leg with the other lifted at a right or greater angle to the supporting leg. The body is inclined forward from the waist with a strongly arched back. The arm on the side of the supporting leg is extended forward and the other taken out to the side a little behind the second position. Second arabesque: The body and legs are the same as in the first arabesque but the arms are reversed. That is, the arm on the side of the supporting leg is taken back far enough to be seen behind the body while the other arm is extended forward. The head is turned toward the audience. Third arabesque: This arabesque faces diagonally toward the audience. The supporting leg is nearer the audience with the other raised in croise derriere at right angles to the supporting leg. The body is inclined forward with the arm opposite the supporting leg extended forward on a level with the shoulder and the other arm extended to the side. The head is turned toward the forward arm. Fourth arabesque: The legs are in the same position as in the third arabesque but the arms are reversed and held at shoulder level. The arm on the side of the supporting leg is brought forward and the other arm taken back far enough to be seen behind the back. The body is half turned away from the audience by the strong arching of the back, with the head turned toward the audience. Arabesque, en [ah na-ra-BESK ]. In arabesque, that is, in an arabesque position. As, for example, in pirouette en arabesque. Arabesque a deux bras [ a-ra-BESK a duh brah ]. Arabesque with two arms. This arabesque is taken in profile with the extended leg nearest the audience. Both arms are extended forward with the arm on the side of the supporting leg held slightly higher. The head may be held in profile or turned to the audience. Arabesque a la demi-hauteur [ a-ra-BESK a lah duh-MEE-oh-TUHR ]. Arabesque at half-height. A term of the French School. In this arabesque the foot is raised to a position halfway between the position a terre and a horizontal position in the air. Arabesque a la hauteur [ a-ra-BESK a lah oh-TUHR ]. Arabesque at the height. A term of the French School. An arabesque in which the working leg is raised at right angles to the hip. Also termed arabesque allongee. Arabesque a la lyre [ a-ra-BESK a lah leer]. Arabesque with the lyre. This position resembles the arabesque a deux bras (third arabesque Cecchetti) but both palms are held up and the elbows are slightly curved as if the dancer were holding a lyre. Arabesque allongee [ a-ra-BESK a-laum-ZHAY\. Extended or outstretched arabesque. The line required for this arabesque is a horizontal one. See Arabesque a la hauteur. Arabesque allongee a terre [ a-ra-BESK a-lawn-ZHAY a tehr]. Arabesque extended on the ground. In this arabesque the body is supported on one leg which is completely bent in plie while the other leg is extended in the back with the foot well turned out and on the ground. The arms may be held en attitude, en couronne and so on. This lunge position may be taken en face, croise or ouvert. Arabesque a terre [ a-ra-BESK a tehr]. Arabesque on the ground. The arms and body are in arabesque but the leg, usually raised, is extended in the fourth position back, pointe tendue. Arabesque croisee [ a-ra-BESK krwah-ZAY]. Arabesque crossed. This arabesque presents a three-quarter view of the body and faces a front corner of the stage. The supporting leg is the leg nearer the audience. The arms may be held in a variety of positions. See illustration, p. 127. Arabesque de face [ a-ra-BESK duhfahss]. Arabesque facing. An arabesque facing the audience. The arms may be held in a variety of positions. (De face = en face.) Arabesque effacee [a-ra-BESK eh-fa-SAY]. Arabesque shaded. This is the first arabesque (all schools) taken in an efface direction. Arabesque en promenade [ a-ra-BESK ahn prawm-NAD]. Arabesque, walking. An arabesque is said to be en promenade when a slow turn is made either en dedans or en dehors in an arabesque position. This is a temps d’adage. See Promenade, tour de; Tour lent. Arabesque en tournant [ a-ra-BESK ahn toor-NAHN]. Arabesque, turning. An arabesque is said to be en tournant when a pivot is made on the supporting foot. Arabesque epaulee [ a-ra-BESK ay-poh-LAY]. Arabesque shouldered. This is an arabesque in which the dancer stands at an oblique angle to the audience. The raised leg and forward arm are nearest the audience and the shoulders are turned so that the dancer’s back is visible. See Epaule. Arabesque etiree [a-ra-BESK ay -tee-RAY]. Arabesque stretched or drawn out. A term of the French School. This is a neoclassical arabesque in which the ballerina, on point and supported by her partner, shifts her axis backward so that her supporting leg is oblique and her free leg held very high (as in a split). Arabesque fondue [a-ra-BES’Kfaum-DEW]. Arabesque, sinking down. An arabesque in which the knee of the supporting leg is bent. Also called “arabesque pliee.” Arabesque inclinee [ a-ra-BESK en-klee-NAY\. Arabesque inclined. A term of the French School. A neoclassical arabesque in which the ballerina, on point and supported by her partner, shifts her axis forward so that her supporting leg is oblique. Because of the slant of the supporting leg the free leg will be held at an angle of less than 90 degrees. Also called “arabesque poussee.” Arabesque ouverte [ a-ra-BESK oo-VEHRT ]. Open arabesque. A term of the French School. This arabesque is taken in profile to the audience. The leg nearer the audience is raised and the arm on the side of the supporting leg extended forward. The head is in profile. See section on “The French arabesques” under Arabesque. Arabesque penchee [a-ra-BESK pahn-SHAY]. Arabesque, leaning. An arabesque in which the body leans well forward in an oblique line, the forward arm and the head being low and the foot of the raised leg the highest point. Arabesque pliee [a-ra-BESK plee-AY]. Arabesque with a bent knee. Same as arabesque fondue. Arabesque poussee [a-ra-BESK poo-SAY]. Arabesque pushed. A term of the French School. Same as arabesque inclinee. Arabesque voyagee [a-ra-BESK vwah-yah-ZHAY]. Arabesque, traveling. This is a series of small hops in an arabesque position. The supporting knee is bent and the instep of the supporting foot does not stretch. The arabesque may be traveled forward or backward. SeeVoyage. Arque [ar-KAY]. Arched (bowlegged). Very few people have perfectly straight legs and nearly every dancer conforms to one of the two types arque and jarrete (q.v.). When the arque, or bowlegged, dancer stands in the first position there is a space between the knee joints. This type of dancer is usually strongly built but stiff. Their extensions are never high but they have great power and ballon and sharp brilliant beats. Arriere, en [ah na-RYEHR ]. Backward. Used to indicate that a step is executed moving away from the audience. As, for example, in glissade en arriere. See floor plan illustration, p. 125. Arrondi, arrondie [a-rawn-DEE]. Rounded, curved. As, for example, in battement arrondi. Assemble [ a-sahn-BLAY ]. 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. Both legs come to the ground simultaneously in the ifth position. If an assemble is porte it requires a preparatory step such as a glissade to precede it. If an assemble is en tournant it must be preceded by a preparatory step. Assembles are done petit or grand according to the height of the battement and are executed dessus, dessous, devant, derriere, en avant, en arriere and en tournant. They may be done en face, croise, efface or ecarte. Assemble may also be done with a beat for greater brilliance. In the Cecchetti assemble both knees are bent and drawn up after the battement so that the flat of the toes of both feet meet while the body is in the air. Assemble, double [ doob la-sahn-BLAY ]. Double assemble. A term of the Russian School. This step consists of two assembles to the second position at 45 degrees; the first assemble is done without changing the position of the legs and the second with a change. Assemble, grand [ grahn ta-sahn-BLAY ]. Big assemble. The jump is higher and the working leg is swept into the air into a horizontal position or a la hauteur. The legs join in the fifth position in the air before coming to the ground. Assemble, petit [ puh-TEE ta-sahn-BLAY ]. Little assemble. The working leg is swept into the air with a battement to a point midway between a position of the foot a terre and its equivalent en l’air. This position is called demiposition in the Cecchetti method or demi-hauteur in the French School. Assemble battu [ a-sahn-BLAY ba-TEW]. Assemble beaten. Assembles dessus, dessous and en tournant may be done with beats. Assemble dessus battu: Fifth position R foot back. Demi-plie, brush the R leg to the side and push off the floor with the L foot. On the return to fifth position the R leg beats the L in the back, opens slightly and comes to the ground simultaneously with the L leg in the fifth position R foot front. The beat is made with the calves. Assemble dessous battu: The working leg beats in the front and closes in the back. Assemble battu en tournant: This assemble is done dessus. The working leg beats in the back, and finishes in the fifth position front.She Assemble en tournant, grand. Assemble coupe [ a-sahn-BLAY koo-PAY ]. Cut assemble. This is a term of the Cecchetti method for an assemble started from one foot. The working leg may be sur le cou-de-pied or pointe tendue or raised en Fair. The working leg closes into the fifth position without a brush. Assemble coupe derriere [ a-sahn-BLAY koo-PAY deh-RYEHR ]. Assemble cut behind. A term of the Cecchetti method. Stand on the R foot with the L foot sur le cou-de-pied derriere or pointed in the fourth position derriere a terre or en Fair. Demi-plie and spring off the R foot. Come to the ground in demi-plie in the fifth position L foot back. Assemble coupe devant [ a-sahn-BLAY koo-PAY duh-VAHN]. Assemble cut in front. A term of the Cecchetti method. Stand on the R foot with the L foot sur le cou-de-pied devant or pointed in the fourth position devant a terre or en l’air. Demi-plie and spring off the R foot. Come to the ground in demi-plie in the fifth position L foot front. Assemble derriere [ a-sahn-BLAY deh-RYEHR ]. Assemble in back. Fifth position R foot back. The R foot slides out to the second position en Fair and at the completion of the assemble closes in the fifth position back. Assemble dessous [ a-sahn-BLAY duh-SOO ]. Assemble under. Fifth position R foot front. The R foot slides out to the second position en Fair and at the completion of the assemble is closed in the fifth position back. Also called “assemble en remontant” or “assemble en reculant.” Assemble dessus [ a-sahn-BLAY duh-SEW\. Assemble over. Fifth position R foot back. Demi-plie and slide the R foot to the second position en Fair. Push from the ground with the L foot, extending the toes. Both feet return to the ground simultaneously, landing in the fifth position R foot front, with a soft demi-plie. The tips of the toes reach the ground first, then the heels. Also called “assemble en descendant.” Assemble de suite [ a-sahn-BLAY duh sweet]. Continuous assemble. A term from the Cecchetti method used when assembles are executed in a series without straightening the knees at the conclusion of each assemble. Assemble devant [ a-sahn-BLAY duh-VAHN]. Assemble in front. Fifth position R foot front. The R foot slides out to the second position en Fair and at the completion of the assemble is closed in the fifth position front. Assemble elance [ a-sahn-BLAY ay-lahn-SAY]. Assemble, darting. An assemble dessus traveled to the side. See Assemble porte. Assemble en arriere [ a-sahn-BLAY ah na-RYEHR]. Assemble backward. Fifth position R foot back. The R foot slides backward to the fourth position en Fair and at the completion of the assemble closes in the fifth position back. This assemble may be done in place or traveling backward. Assemble en avant [ a-sahn-BLAY ah na-VAHN]. Assemble forward. Fifth position R foot front. The R foot slides forward to the fourth position en Fair and at the completion of the assemble closes in the fifth position front. This assemble may be done in place or traveling forward. Assemble en descendant [ a-sahn-BLAY ahn day-sahn-DAHN]. Assemble coming down or moving downstage. A term of the French School. Same as assemble dessus. Assemble en remontant or en reculant [ a-sahn-BLAY ahn ruhmawn-TAHN (or) ahn ruh-kew-LAHN]. Assemble going up or drawing back (moving upstage). A term of the French School. Same as assemble dessous. Assemble en tournant, grand [ grahn ta-sahn-BLAY ahn toorNAHN]. Big assemble, turning. This assemble is done in the same manner as grand assemble. It is taken only dessus or derriere. It is traveled directly to the side, on a diagonal traveling upstage, in a circle, etc. It is usually preceded by a pas couru or a chasse. The battement at 90 degrees to the second position is taken facing upstage, then the dancer completes the turn en dedans and finishes the assemble facing the audience. Assemble porte [a-sahn-BLAY pawr-TAY\. Assemble carried. This assemble requires a preparatory step to precede it and during the actual assemble the body is carried in the air from one spot to another in the desired direction. Assembles devant, derriere, dessus and dessous may be porte. Assemble porte et battu [a-sahn-BLAY pawr-TAY ay ba-TEW ]. This assemble is traveled and done with a beat. Assemble soutenu (Cecchetti method) [ a-sahn-BLAY soot-NEW]. Assemble sustained. In the Cecchetti method an assemble is said to be soutenu when the knees are straightened and another demi-plie is made before executing the next assemble. Assemble soutenu de face [ a-sahn-BLAY soot-NEW duhfahss ]. Assemble sustained and facing the audience. This assemble is not a jumping step. It is done on the pointes or demi-pointes and may be performed dessus, dessous, derriere, devant, en avant and en arriere. For assemble soutenu dessus, stand in the fifth position R foot back. Demi-plie, sliding the R foot to the second position pointe tendue a terre; draw the R leg into the fifth position front, springing on the pointes or demi-pointes, then lower the heels in demiplie in the fifth position. Also called “assemble soutenu sur les pointes.” Assemble soutenu en tournant (demi-tours) [ a-sahn-BLAY sootNEW ahn toor-NAHN (duh-mee-TOOR)]. Assemble sustained in turning (half-turns). En dedans: Fifth position R foot back. Fondu on the L leg and at the same time slide the R foot to the second position a terre, pointe tendue (degage). Draw the R foot into the fifth position front, rising on the demi-pointes. Pivot a half-turn to the left (demi-detourne) to face the back of the room, finishing with the L foot front. Lower the heels in demi-plie. En dehors: Still facing the back of the room with the L foot front, fondu on the R leg and at the same time slide the L foot to the second position a terre, pointe tendue (degage). Draw the L foot into the fifth position back, rising on the demi-pointes. Pivot a half-turn to the left (demi-detourne) to face the front of the room, finishing with the L foot front. Lower the heels in demi-plie. Assemble soutenu en tournant en dedans [ a-sahn-BLAY soot-NEW ahn toor-NAHN ahn duh-DAHN ]. Assemble sustained and turning inward. Fifth position R foot back. Fondu on the L leg and at the same time slide the R foot to the second position a terre, pointe tendue. Draw the R foot into the fifth position front, rising on the demi-pointes and turning en dedans (to the left) to face the back of the room with the feet in the fifth position, R foot front. Pivot a half-turn to the left (demi-detourne) to face front, finishing with the L foot front. Lower the heels in demi-plie. This is the method of the Russian School. The French School begins the step with a demi-rond de jambe a terre en dedans instead of drawing the working foot straight in to the fifth position from the second position. Assemble soutenu en tournant en dehors [ a-sahn-BLAY soot-NEW ahn toor-NAHN ahn duh-AWR]. Assemble sustained and turning outward. Fifth position R foot front. Fondu on the L leg and at the same time slide the R foot to the second position a terre, pointe tendue. Draw the R foot into the fifth position back, rising on the demi-pointes and turning en dehors (to the right) to face the back of the room with the feet in the fifth position, R foot back. Pivot a half-turn to the right (demi-detourne) to face front, finishing with the R foot front. Lower the heels in demi-plie. This is the method of the Russian School. The French School begins the step with a demi-rond de jambe a terre en dehors instead of drawing the working foot straight in to the fifth position from the second position. Assemble soutenu sur les pointes [ a-sahn-BLAY soot-NEW sewr lay pwent]. Assemble sustained on the points. Same as assemble soutenu de face. Attitude [a-tee-TEWD]. A particular pose in dancing derived by Carlo Blasis from the statue of Mercury by Giovanni da Bologna. It is a position on one leg with the other lifted in back, the knee bent at an angle of 90 degrees and well turned out so that the knee is higher than the foot. The supporting foot may be a terre, sur la pointe or sur la demi-pointe. The arm on the side of the raised leg is held over the head in a curved position while the other arm is extended to the side. There are a number of attitudes according to the position of the body in relation to the audience: for example, attitude croisee, attitude effacee, attitude de face. See illustrations, p. 129. Attitude, demi- [ duh-MEE-a-tee-TEWD ]. Half attitude. A term of the French School. An attitude with the raised leg a la demi-hauteur. The arms are held in the same position as in attitude. Attitude, en [ah na-tee-TEWD]. In attitude, that is, in an attitude position. As, for example, in pirouette en attitude. Attitude a deux bras [a-tee-TEWD a duh brah ]. Attitude with two arms. The same position as the Blasis attitude but with both arms en couronne (raised above the head). Attitude a terre [a-tee-TEWD a tehr ]. Attitude on the ground. The arms are in attitude and the foot which is usually raised is extended with the toe pointed on the ground in the fourth position back. Attitude croisee derriere [a-tee-TEWD krwah-ZAY deh-RYEHR]. Attitude crossed in back. The dancer stands facing a front corner of the stage (croise direction; See floor plan, p. 125) with the supporting leg nearest the audience. The raised leg is held at 90 degrees and crossed behind the body with the knee bent at a right angle and the foot held parallel or slightly below the raised knee. The body presents a three-quarter view to the audience. Attitude croisee derriere (Cecchetti method) [a-tee-TEWD krwahZAY deh-RYEHR ]. In this method, the body is held upright with a straight back, shoulders aligned and well pressed down. The head is turned with the eyes looking up into the palm of the raised hand. See illustration, p. 129. Attitude croisee derriere (French School) [ a-tee-TEWD krwahZAY deh-RYEHR]. The body is bent toward the supporting leg with the shoulder of the raised arm lifted slightly higher than the other shoulder. The head is turned toward the front shoulder. Attitude croisee derriere (Russian School) [ a-tee-TEWD krwahZAY deh-RYEHR]. The body inclines forward with a well-arched back. The shoulders are aligned and pressed down with the head turned toward the front shoulder. The Russian School also uses a high croise position in which the foot is raised higher than the knee. See illustration, p. 129. Attitude croisee devant [ a-tee-TEWD krwah-ZAY duh-VAHN]. Attitude crossed in front. This is the position croise devant, but the raised leg is bent with the knee pressed outward and the foot raised as high as possible. The arms are held en attitude with the high arm on the same side as the supporting leg and the head slightly inclined toward the low arm. See illustration, p. 129. Attitude de face [ a-tee-TEWD duhfahss]. Attitude facing. A term of the French School for an attitude facing the audience. Attitude effacee derriere [ a-tee-TEWD eh-fa-SAY deh-RYEHR]. Attitude shaded in back. The dancer stands facing a front corner of the stage (efface direction; See floor plan, p. 125). The raised arm and leg are nearer the audience with the leg in a half-bent position so that the audience sees the arched line of the entire leg from hip to toe. The body presents a three-quarter, almost profile view to the audience. The French School terms this the “attitude ouverte” (q.v.). Attitude effacee derriere (Cecchetti method) [a-tee-TEWD eh-faSAY deh-RYEHR]. In this method, the body is held upright with a straight back and the dancer leans slightly back toward the raised leg. The head is turned toward the audience and inclined toward the raised arm. Attitude efface derriere (Russian School) [a-tee-TEWD eh-fa-SAY deh-RYEHR]. The torso is tilted forward toward the supporting leg with the back held upright and both shoulders level. The head is turned toward the audience. The Russian School also uses a high efface position in which the thigh is raised so that the foot is held higher than the knee at approximately 135 degrees. Attitude en promenade [a-tee-TEWD ahn prawm-NAD]. Attitude, walking. When a slow turn is made en dedans or en dehors in an attitudeposition, the attitude is said to be en promenade. This is a temps d’adage. See Promenade, tour de; Tour lent. Attitude en tournant [a-tee-TEWD ahn toor-NAHN]. Attitude, turning. An attitude is said to be en tournant when a pivot is made on the supporting leg. See Pirouette en attitude. Attitude epaulee [ a-tee-TEWD ay-poh-LAY ]. Attitude “shouldered.” This attitude is executed in the same manner as the Cecchetti attitude croisee but is taken facing either one of the upper corners of the room (corners 3 or 4; see illustration, p. 138) and presents a three-quarter rear view to the audience. If the pose is taken on the L foot, the dancer faces corner 3. See illustration, p. 129. Attitude grecque [a-tee-TEWD grek ]. Greek attitude. In this attitude the heel of the working foot touches the ankle or knee of the supporting leg. The toe is pointed and the thigh opened to the second position. One arm is curved opposite the waistline and the arm on the side of the supporting leg is curved over the head. The head is turned in profile and the body leans toward the raised leg. This attitude may be taken en face, croisee or effacee. Pirouettes may also be done in this position but in this case the head does not “spot.” Attitude ouverte [ a-tee-TEWD oo-VEHRT ]. Open attitude. This is the French School’s term for the attitude effacee derriere. The body leans slightly forward toward the supporting leg with the shoulder of the raised arm held slightly higher than the other shoulder and the head turned toward the audience. Attitude penchee [a-tee-TEWD pahn-SHAY]. Attitude, leaning. In this attitude the body leans forward with a well-arched back and the raised foot held high. Autour de la salle [oh-TOOR duh lah sal]. A term of the Cecchetti method. See Salle, autour de la. Avant, en [ah na-VAHN]. Forward. A direction for the execution of a step. Used to indicate that a given step is executed moving forward, toward the audience. As, for example, in sissonne fermee en avant.](https://static.wixstatic.com/media/761138_81f525a951d74ae787920607f3076f8b~mv2.png/v1/fill/w_923,h_1269,al_c,q_90,enc_auto/761138_81f525a951d74ae787920607f3076f8b~mv2.png)
