Glossary of ballet

Refers to a foot and leg position when the toes and knees are extended and elongated, rather than forming the usual soft curve.

The working leg can be held behind (derrière), in front (devant), or to the side (à la seconde) of the body.

In classical ballet, the term ballonné is a step where the leg is extended (can be front, side, or back) at 45 degrees.

A ballotté is a jumping step in classical ballet that consists of coupé dessous and small developpés performed with a rocking and swinging movement.

(French pronunciation: [baty]; meaning 'beaten') A movement with an extra beating of the feet included, as in jeté battu.

To execute a brisé en avant, the dancer demi-pliés in fifth position and brushes the back leg (through first position) to the front, then springs into the air and brings the second foot to meet it in the back before switching to the front to land, creating a beating action with the legs.

Each foot performs a half turn, with feet held in a tight first position en pointe or demi-pointe.

Croisé derrière in the Russian school alternatively has the upstage leg working to the back, but the downstage arm out to second.

Common abbreviation for battement dégagé, the foot of the working leg sharply brushes through the floor through tendu pointed in the air 45 degrees or lower.

(French pronunciation: [ɑ̃tʁe]) An autonomous scene of ballet de cour, divertissement, comédie-ballet, opéra-ballet, even tragédie lyrique, which brings together several dancers in and out of the scenario.

(This brand of action can be seen in both tour jetés and waltz turns (pas de valse en tournant).)

In the Russian school, a pointed foot at cou-de-pied extends directly out to dégagé height without brushing through the floor.

Double and triple frappés involve tapping the foot (flexed or pointed) at both cou-de-pied devant (or wrapped) and derrière before extending out.

Throughout the movement, the pelvis should be kept neutral, the back straight and aligned with the heels, the legs turned out, and the knees over the feet.

The front leg brushes straight into the air in a grand battement, as opposed to from développé (or an unfolding motion).

A suite of individual dances that serves as a showpiece for lead dancers, demi-soloists, and in some cases the corps de ballet.

Manèges is a classical ballet term meaning “circular.” It describes when a dancer does steps in a circular pattern around the stage.

For example, a coupé jeté manèges is typically done by a male dancer in a coda of a classical pas de deux.

Starting in fifth position croisé, a dancer executes a plié while brushing the downstage leg out to tendu front.

A traveling sideways jump where while mid-air the legs are successively bent, brought to retiré, feet as high up as possible, knees apart.

The Dance of the Cygnets from Swan Lake involves sixteen pas de chat performed by four dancers holding hands, arms interlaced.

Making sure to keep the pelvis in line as you go down and up so that you do not release your seat and stick your chest forward, and at the same time engaging your core(stomach) by pressing your navel towards your spine.

(French pronunciation: [ɑ̃ pwɛ̃t]) Supporting one's body weight on the tips of the toes, usually while wearing structurally reinforced pointe shoes.

To pull up, a dancer must lift the ribcage and sternum but keep the shoulders down, relaxed and centered over the hips, which requires use of the abdominal muscles.

In addition, the dancer must stabilize the pelvis, maintaining a neutral position, and keep the back straight to avoid arching and going off balance.

Term from the Russian school indicating raising the leg slowly from pointe tendue to 45 degrees or higher off the ground.

Contrasts with (battement) tendu jeté, aka dégagé, in which the leg brushes out propulsively from a high position through tendu to elevated off the ground, and (temps) développé, in which the leg passes through retiré (or petit retiré) to à la hauteur or demi-hauteur, i.e. elevated off the ground.

A relevé, or rise, into a tight fifth position, feet touching and ankles crossed, giving the appearance of one foot with two heels.

In the Cecchetti method, the specifically indicates a spring from fifth position while raising one foot to sur le cou-de-pied.

A classic ballet skirt, typically flat at the waist or hip level, made of several layers of tulle or tarlatan.