Posture of the body, position of the legs and arms. Methods of teaching classical dance

Classical dance

The term"classical dance" everyone uses ballet world, denoting a certain type of choreographic plasticity.

Classical dance is the basis of choreography. This lesson will teach you the intricacies of ballet art. This is a great harmony of combination of movements with classical music.

Essential conditions of classical dance: turnout of the legs, large dance step, flexibility, stability, rotation, light high jump, free and flexible use of hands, clear coordination of movements, endurance and strength.

The main principle of classical dance is turnout, on the basis of which the concept of closed (ferme) and open (ouvert), crossed (croise) and uncrossed (efface) positions and poses, as well as outward (en deors) and inward (en) movements was developed dedans). The division into elements, systematization and selection of movements served as the basis for the school of classical dance. She studies groups of movements united by common characteristics for each group: a group of rotations (pirouette, tour, fouette), a group of squats (plie), a group of body positions (attitude, arabesgue) and others.

Why is classical dance needed?

In the current variety of styles and directions of choreography, it is not always easy to decide which of them will become your most direct language of feelings. As a rule, we want to express the most hidden movements of the soul in different lexical interpretations, the basic skills of “dancing” and control of one’s body, even with a good teacher rich in dance vocabulary, are not enough, and we dance what we get.

It would seem that we are teaching new “modern” things, why should we teach what came before us, but all innovations are essentially, at the same time deeply and subtly connected with traditions. It must be remembered that all new trends are nothing more than a synthesis of the choreographic heritage of different times and peoples of the past. Everything new is, of course, great, but you shouldn’t lose what is called “the power of the Soviet choreographic school,” but you should know it like the ABCs, without which the art of choreography is impossible. You should insure yourself against inevitable losses and losses, which become more and more significant over the years. People abroad pay colossal amounts of money to study at a Russian classical school. They don’t waste time, don’t miss a single opportunity, and film everything they can see: lessons, rehearsals, performances, but we often act wastefully, frivolously, and don’t value the values ​​we have. I'm not saying that every plot, every theme should be expressed exclusively in classical dance forms. The movement of the thinker is not as an abstract sign “suited” to a given dance-semantic context, but as a unique and only justified figurative and plastic way of expressing this content.

“I am very upset by some kind of indifference, sometimes even disdainful attitude of young people towards the classics, underestimation of it as a colossal factor in the formation of a dancer’s personality, in the growth of his professional skills. The most important thing for them is tricks, but style is made up of small connecting movements “They make the dance a dance, they give it a unique, special aesthetic flavor.” Alesya Prusskaya.

"When some specific action

a person affects the least number of movements - then this is grace"

Anton Chekhov.

About classical dance.

This system of movements, designed to make the body disciplined, mobile and beautiful, turns it into a sensitive instrument, obedient to the will of the choreographer and the performer himself. It has been developed since ballet became an equal genre of musical theater, that is, since the 17th century. However, the term “classical” itself, which distinguishes this type of theatrical dance from others - folk-characteristic, everyday, etc., arose relatively recently, and there is reason to believe that it arose in Russia.

To establish this, a brief excursion into history is necessary. While ballet as an art had not yet defined itself, dance in the image was an important integral part synthetic spectacle. Like many contemporary arts, it appeared during the Renaissance. Even then, dance played a significant role in performances folk theater and in religious mysteries, in square processions and ceremonial departures of mythological characters at princely feasts. At that time, even before its terminological consolidation, the concept of ballet appeared, from the Latin ballo - I dance. As part of the musical and dramatic court performance, the ballet penetrated into 16th century France and took a prominent place in the court genre of the English “masque”. In the 17th century, when the Royal Academy of Dance was founded in Paris (1661), ballet left the palace halls on the professional stage and there it finally separated from opera and became an independent theatrical genre.

Around the same time, the type of dance that is now called classical began to crystallize. This the new kind was complex, because, on the one hand, the dance was cleared of the contaminating influences of court ballroom dance, on the other hand, this professional dance gradually began to be saturated with elements of the virtuoso technique of dancers and acrobats of the folk theater. The selection and synthesis of such elements was carried out by abstraction; the goal was dance, which, like music, could embody the most diverse states, thoughts, feelings of a person and his relationship with the outside world.

At first, such a dance could only be performed by depicting “noble” characters - gods, heroes, kings. In the 19th century was called “noble”, “high”, “serious”, in contrast to “demi-character” (that is, a serious dance, but allowing a certain touch of character), “pastoral” (that is, ennobled peasant) and “comic” (usually grotesque and sometimes quite free).

The era of romanticism was a turning point in the fate of classical dance. But even then, practitioners and theorists had not yet attached the term “classical” to it.

Thus, it can be assumed that it was precisely the need to protect the nobility of content and academicism of the forms of Russian ballet art from the influences of the cancan imported from the West that gave rise to the term “classical dance” and gave it universal recognition. At the same time, it was, as it were, a safe conduct for Russian ballet, which in the second half of the 19th century became the citadel of world choreography. The guardian of its canons was M. I. Petipa at the theater, and H. P. Ioganson at the school.

On the Russian stage and in the Russian school, the abstracted system of plastic expressiveness, behind which the name of classical dance was firmly entrenched, also found its most complete aesthetic expression.
Petipa's ballets completed the long process of forming classical dance as a system expressive means. They collected, ordered and elevated into a high artistic rule all the 19th century searches in the field of this dance. At the same time, the French terminology of classical dance, which is accepted to this day, was finally established. It was created by eliminating unnecessary temporary elements and selecting permanent ones that determine the very nature of classical dance. This terminology, despite its conventions, almost always allows one to discover the roots and establish the genetic origins of a particular movement, posture or position.
Most names determine the nature of the movements they designate associated with muscle work. These are the various batmans that represent a significant part of the classical dance lesson and, like many other exercises, are present in modified form in stage dance forms.

CLASSICAL DANCE - this is the basis of all types of dances, the main system of expressive means of choreographic art.

Classical ballet can be called the foundation of all stage dances. In addition to the very establishment of dance as a high art and an independent type of theatrical performance, capable of developing a plot without the help of singing or recitation, ballet developed dance terminology and a system for training dancers, which, with minor modifications, is used in other styles. Therefore, dancers are advised to start with classical dance lessons, even if they later specialize in modern dance, show ballet or jazz dance.

The fundamentals of classical dance are so universal that even experienced dancers of other dance styles do not stop practicing classical dance.

Classics classes are very useful for children. From an early age, correct posture is established, and various cases of spinal curvature are gradually corrected. In a classical dance lesson, children develop responsibility for the work they are doing, as well as respect for art.
Classical dance training includes: studying the basic positions of the arms, legs and body positioning, familiarization with professional terminology, the history of the development of ballet, staging small classical forms: etudes, adagios, variations, etc.

All classical dance movements are based on turnout. In the theory of classical dance, a doctrine has been developed about closed (ferme) and open (ouvert), crossed (croisee) and uncrossed (efface) positions and poses, as well as movements inward (en dehors) and outward (en dedans).

Turnout - a term denoting one of the most important professional qualities ballet dancer Turnout is necessary for a dancer when performing any stage dance (especially classical). In addition, eversion contributes to the purity of the plastic lines of leg movements, makes invisible the angles formed by the heels when raising the legs, etc.

In classical dance, there are five leg positions, performed in such a way that the legs seem to be turned outward (hence the term “turnout”). It's about It’s not about turning just your feet with your toes in different directions, the whole leg should be turned, starting from the hip joint. Since this is only possible with sufficient flexibility, the dancer must practice daily and for a long time in order to learn to assume the required position without effort.

Back - this is not only stability during the dance, but also all the beauty of vertical lines. Without a strong back, it is impossible to make turns.

Ballet - the art is quite young, it is a little over four hundred years old. Ballet was born in Northern Italy during the Renaissance. Italian princes loved lavish palace festivities, in which dance occupied an important place. The robes and halls of the court ladies and gentlemen were not suitable for rural dances; did not allow unorganized movement. Therefore, special teachers - dance masters - tried to restore order in court dances. Gradually the dance became more and more theatrical.

The term “ballet” appeared at the end of the 16th century (from the Italian balletto - to dance). But then it did not mean a performance, but only a dance episode conveying a certain mood. Such “ballets” usually consisted of slightly interconnected “exit” characters - most often heroes Greek myths. After such “exits” the general dance began - the “grand ballet”.

The first ballet performance was the Queen's Comedy Ballet, staged in 1581 in France by the Italian choreographer Baltazarini di Belgioioso. It was in France that the further development of ballet took place. At first these were masquerade ballets, and then pompous melodramatic ballets with chivalric and fantastic plots, where dance episodes were replaced by vocal arias and recitation of poetry.
During the reign of Louis XIV, court ballet performances reached special splendor. Louis himself loved to participate in ballets, and received his famous nickname “The Sun King” after performing the role of the Sun in “Ballet of the Night.”

In 1661, in order to preserve and develop dance traditions, he created the Royal Academy of Music and Dance. The director of the academy was the royal dance teacher Pierre Beauchamp.

Soon the Paris Opera was opened. At first, her troupe consisted of only men. Women appeared on the stage of the Paris Opera only in 1681.

The theater staged operas and ballets by composer Lully and comedies and ballets by playwright Moliere. At first, courtiers took part in them, and the performances were almost no different from palace performances. The already mentioned slow minuets, gavottes and pavanes were danced. Masks, heavy dresses and high heels prevented women from performing complex movements. That's why men's dancing They were distinguished then by greater grace and elegance.

Moliere as Caesar in P. Corneille's play "The Death of Pompey"

TO mid-18th century century, ballet gained great popularity in Europe. All the aristocratic courts of Europe sought to imitate the luxury of the French royal court.

Soon influenced by women's fashion ballet costume became much lighter and freer, the lines of the body could be seen underneath. The dancers abandoned high-heeled shoes, replacing them with light heelless shoes. Became less cumbersome men's suit. Each innovation made dancing more meaningful and dance technique higher. Gradually, ballet separated from opera and became an independent art.

IN late XVIII century, a new direction in art was born - romanticism, which had a strong influence on ballet. In a romantic ballet, the dancer stood on pointe shoes. Maria Taglioni was the first to do this, completely changing previous ideas about ballet. In the ballet La Sylphide, she appeared as a fragile creature from the other world. The success was stunning.

At this time, many wonderful ballets appeared, but, unfortunately, romantic ballet became last period heyday dance art in the West. From the second half of the 19th century, ballet, having lost its former significance, turned into an appendage to opera. Only in the 30s of the 20th century, under the influence of Russian ballet, the revival of this art form in Europe began.

In Russia, the first ballet performance - “The Ballet of Orpheus and Eurydice” - was staged on February 8, 1673 at the court of Tsar Alexei Mikhailovich. Ceremonial and slow dances consisted of a change of graceful poses, bows and moves, alternating with singing and speech. He did not play any significant role in the development of stage dance. It was just another royal “fun” that attracted people with its unusualness and novelty.

Only a quarter of a century later, thanks to the reforms of Peter I, music and dance entered the everyday life of Russian society. Compulsory dance training was introduced into noble educational institutions. Musicians, opera artists and ballet troupes imported from abroad began to perform at the court.

In 1738, the first ballet school in Russia was opened, and children from the palace servants became the first professional dancers in Russia. IN early XIX century Russian ballet art has reached creative maturity. Russian dancers brought expressiveness and spirituality to the dance. This invariably attracted the largest choreographers of Europe to Moscow and St. Petersburg. Nowhere in the world could they meet such a large, talented and well-trained troupe as in Russia.

New stage in the history of Russian ballet began when P. Tchaikovsky first composed music for ballet. It was " Swan Lake" Before this, ballet music was not taken seriously. Thanks to Tchaikovsky, ballet music became a serious art along with opera and symphonic music. Previously music was completely dependent on the dance, now the dance had to obey the music.

Classical dance today is the foundation of any dance direction. Its elements have been formed over many years and by the best teachers ballet schools peace. All beginners who find themselves in the wonderful world of dance start from this direction.

Classical dance is, first of all, entertainment, beauty and the correct basis for any dance movement. It doesn’t matter in which direction the dancer will develop, he should start lessons with it.

Classical dance is movements that have been combined into one single system. But for this system to work, it needs to be revived. It’s one thing when a dance exists just like that, it’s another when it helps to reveal feelings and a small story, such as “Swan Lake”.

History of development in Russia

Such a direction as classical dance appeared in Russia thanks to Peter I. The decree on meetings of 1718 included the mandatory holding of dances. A little later, dancing was present in masquerades and performances. And in 1773, the first ballet school in Russia opened in Moscow.

From that time until today, these schools have given the world dancers who glorify their Motherland with their talent.

The art of classical dance has the most high shape in a choreography called ballet. This is a story that was born thanks to music, but was revealed in choreography. It is divided into 2 parts: characteristic and classical dance. It is also divided into the following genres:

Comedy;

Symphony;

Tragedy.

Terms

Every dancer must know the terms of classical dance. There are a large number of them, but only the main ones are given below.

Adagio means "slow" in Italian. This exercise includes poses, bends, rotations and twists, which are performed at a slow pace. The main task of the adagio is to teach dancers to smoothly transition from one movement to another, listen to the music and develop stability.

Allegro - translated from Italian as “joyful”. These are small jumps that are performed at the end of the warm-up.

Entrechat - from French it means “crossed”. This is an exercise in which, during a jump, the dancer's legs spread and cross several times at a fast pace. This technique shows how virtuoso the performer is.

Pas de bure - movement consists of small steps.

Grand - translated from French means “big”. For example, there is such a movement as the Grand Batman Jeté, in which the leg is thrown to the maximum height for the dancer.

Par terr - "on the ground." Movements with such names mean that they are performed only on the floor.

Preparation - translated from French as “cooking”. Any movement, jump or spin begins with preparation.

The corps de ballet are artists who dance mass numbers.

Fondue is a smooth movement in which the legs bend and unbend.

Basic poses

Any pose of classical dance carries with it a task. But they are united by one goal - the development of coordination of movements. The most basic poses that dancers learn in their first year of training are:

• Epalman croisé forward. The hands are raised to the first position, while the head is slightly tilted towards the left ear, and the gaze is towards the right hand. Then the right leg is slowly moved forward with the toe extended. The arms also work simultaneously with the leg: the left one is moved to position III, the right one to position II. We look at the right hand.
• Epalman croisé back. The principle of movement is the same as in the first option, only here the left leg is slowly moved back, while the left hand smoothly moves from position I to position III, and the right hand to position II. The head follows the movement of the right hand.
• Effase forward. Without lifting it from the floor, we move our right leg forward. The left hand smoothly moves from position I to position III, and the right hand changes position to position II. When the hands are in the first position, the head should look straight and the gaze should be directed to the hands.
• Effase back. The left leg is moved back with a smooth movement. At the same time, the hands perform all the movements as in the forward version.

There is also a classical dance pose called arabesque. But since it is more difficult, beginners perform it after they have thoroughly studied the previously shown poses.

Folk dance

Folk classical dances are a cheerful, vibrant and festive art form. Such a dance was created not thanks to the best choreographers, as is the case with ballet, but from everything that surrounds us.

Being an ancient art, classical folk dance allows a dancer to transform from a passionate Spanish macho into a freedom-loving gypsy in a few minutes. By studying folk dances, a person comprehends the culture of each nationality, and also distinguishes between the broad Russian soul and the ease of movements of the peoples of Ireland, the excitement of the Ukrainian hopak and the wisdom of Japan.

Folk dance gives the dancer an excellent opportunity to visit any country without leaving the walls of the dance hall.

The most popular types of classical folk dance:

Gopak (Ukraine);

Sirtaki (Greece);

Hava Nagila (Israel);

Kalinka (Russia);

Csardas (Hungary).

Leg positions

A dancer's main weapon is his legs. Any position of classical dance exists for turning out the legs. The point is not to point your toes nicely in different directions, but to ensure that the entire leg, from the hip to the toes, is turned correctly. And to achieve this, you need to practice daily.

There are 5 positions:

1. Heels together and toes turned out so that the feet form a straight line on the floor.

2. Same as 1, only the distance between the heels should be approximately 30 cm.

3. The heel of one foot should touch the middle of the foot of the other foot. This position in dance world used and rarely seen.

4. Feet turned out and parallel to each other. Thus, the dancer's weight is exactly in the center, that is, it does not rest on one of the legs.

5. This position is similar to 4, only here the feet should be pressed tightly together.

Hand positions

1 position. The arms are slightly rounded and at the level of the diaphragm. Palms face inward, shoulders down. Hands and elbows should form an oval.

2nd position. Arms open to the sides should be at a level slightly below the shoulder. The elbows are slightly bent, the fingers are tucked, and the palms and head are facing forward.

3rd position. The arms are slightly rounded and raised above the head. The brushes should be close, but not touching each other. The palms look down and the head looks straight.

Modern dance directions

Modern classical dance, like any other genre in this field, has many types and directions. It is considered the largest section in choreography. Each direction of modern dance has its own characteristics and manners. This makes it even more interesting and alluring.

Jazz is a dance style that appeared in the 19th century. It has its own branches, which have their own mannerisms and movements. Tap, freestyle, afro-jazz, classic jazz, funk, Broadway jazz, soul - this is just a small part of total number species. Soul is considered the most virtuosic form. It is very similar to ballroom dancing and includes a huge number of complex movements and tricks.

Modern - completely abandoned the canons of classical dance and has its own philosophical approach to each movement. What is important here is the dancer's relationship with rhythm and music.

Ballroom dancing

This direction deserves special attention. This is not just a set of movements to music - it is sport, history, love and passion, combined together.

Partners communicate with each other using movements, touches and glances. The ballroom program includes 10 dances, which, in turn, are divided into 2 groups: European and Latin American.

The waltz is the noblest of all dances and the only one that did not undergo changes during the dance revolution.

Tango is a sensual dance where the main role is played by the partner. A dance full of passion and harmoniously combining fast, sharp and smooth movements.

Rumba is a dance as exciting as tango, but at the same time very gentle and calm.

Cha-cha-cha is an amazing dance that is based on the movement of the hips and legs. Its rhythm cannot be confused with any other (1,2, cha-cha-cha).

I am gradually beginning to understand that dancing is becoming a big and important part of my life, along with music and vocals. Of course, work is to blame for this. And also the movie "Step Up". It's so great to be able to dance, combine ballet and street dance. So far I have not been given either one or the other, but I am already beginning to understand the classic machine. Thanks to “Rhythms” - Yulia Vladimirovna explains everything very clearly to the guys, and I also listen and remember.

When throwing a leg forward or backward, the head looks to the side (center of the class), and when throwing a leg to the side, the head looks straight.
With battement tendu, the leg is brought forward with the heel. In general, where the heel is pointed is very important. Because if you direct it in the wrong direction, there will be no sense in the movement. I tried it myself last night.
When jumping, it is important to jump as high as possible and stay in the air for as long as possible. Only then can you have time to change position in the air from 5 to 2, from 5 to 5, etc.
Preparation for jumping (plie) must be very active so that the fragile, heavy and loose body is pushed upward.
According to the rules of classical graphics, you need to end the movement in the same position in which you started. With rare exceptions, which must be specified.
Demi plie(demi plie)- half squats (Fig. 8). It is important to achieve maximum bending of the legs in knee joints without separating the heels from the floor. The weight of the body is evenly distributed on both feet without “blocking” on thumb. The knees and feet remain in an inverted position at all times, without violating the correct positions. The back is kept straight. The exercise is performed in I, II, III positions, less often and only at the support - in V, IV positions.

Grand plie. When performing the exercise (Fig. 9), you should keep your heels on the floor for as long as possible - the movement is performed through a demi plie. When straightening your legs, you need to place your heels on the floor as early as possible. You must rise onto your toes and place your heels on the floor with both legs at the same time. Throughout the entire exercise, maximum eversion of the hips and feet is maintained. The weight of the body is evenly distributed on both legs, without “sagging” on the big toes.

Batman(battement)- abduction of the working leg in any direction and returning it to the supporting leg. Each type of batman has its own shape and independent name.

Batman tandue sample(battement tendu simple) - placing the leg forward, to the side, back on the toe. The exercise promotes the development of leg lifting and strengthening of the ankle joint, and is preparatory for mastering a number of subsequent movements of this classification group. When performing batman tandu, the eversion leg is moved with a sliding movement from positions I, III, V forward, to the side, back on the toe and returns to i. n. The movement should be performed in a straight line from the heel of the supporting leg to the toe of the abducted leg and back (Fig. 10). Sliding the leg is performed first with the entire foot with a gradual lifting of the heel from the floor to the position of the toe being pulled out to the limit without resting on the toe in the final position. With a similar sliding movement, the leg returns to i. n. The support is straightened at the knee. The center of gravity is on the supporting leg. The working leg maintains an everted position.

Batman tandu demi plie(battement tendu demi plie) - a combination of abduction of the leg followed by adduction and a half-squat on two legs (Fig. 11). When performing the exercise, it is necessary to achieve complete fusion of the two movements. To do this, bending the legs at the knees begins a little earlier than the working leg returns to position 1 or 3. The torso is held straight, the weight of the body during demi plie is evenly distributed on both feet.

Batman tandu pimp(battement tendu soutenu) - is an exercise of combining simultaneously performed abductions and adductions of the leg with a half squat on the supporting leg. In this case, the torso deviates slightly in the direction opposite to the working leg. After performing the exercise with your face, sideways to the support, the form of this movement becomes more complicated: i. p. - right in front on the toe (IV position) through I position to the right position back on the toe. In the future, it is possible to complicate the exercise with various hand movements, lifting onto half-toes, and changing the direction of movement.

Batman tandu zhete(battement tendu jete) - this exercise is profiling for all swing movements. Unlike Batman, tandu is performed with the toe lifted off the floor when abducted from i. n. In fact, it is a swing to a height of about 25° (Fig. 12). The movement should be clear, united, and energetic. The legs maintain an everted position, the center of gravity is on the supporting leg. Hands in 2nd position.

Batman tandu jete pointe (battement tendu jete pointe). In principle, this movement is no different from batman tandyu zhete, however, after abduction, the leg does not close into position, but is placed with the toe on the floor. The exercise can be performed 2-3 times in a row, then the leg is closed in position III (Fig. 13). As the movement becomes more complex, the leg is moved in a low arc from the right (left) position in front, behind on the toe (IV position) to the side on the toe and back, or in a “cross”.

Double Batman tandu(double battement tendu) is a variety of batman tandyu. Performed with the heel lowered to the floor in position II: with one, two, or three or more lowerings (Fig. 14). When the heel is lowered to the floor, the center of gravity remains on the supporting leg. The emphasis of the movement coincides with lowering the heel to the floor.

Batman frappe(battement frappe)- flexion and extension of the lower leg at an angle of 45° (Fig. 15). Before starting to study the movement, the position of the leg is mastered. sur le cou de pied(sur le coup-de-pied) (Fig. 16) . In gymnastics, the position in front (conditional) is used - the leg is bent at the knee, the toe is in front of the ankle of the supporting leg, the thigh is turned backward - the toe is pressed behind the ankle of the supporting leg. Batman frappe consists of quickly bending the shin from and. n. right (left) to the side in the position sur le cou de pie in front or behind with a slight blow to the supporting leg, followed by extension forward, to the side, back. The exercise is performed with a sharp, strong movement. At the same time, the hip and knee maintain an everted position. Since the exercise begins from i.p. leg to the side, then before starting, the leg from positions I, III through the batman tandu opens to the side, while the hand rises from the preparatory position through position I to II.

There is a more complicated version Batman double frappe(battement double frappe) , characterized by a double “kick” of the working leg at the supporting ankle.

Batman fondue(battement fondu)- a combination of a half-squat on the supporting leg with simultaneous bending of the free leg on the sur le cou de pied in front (behind), followed by extension of the working leg and straightening of the supporting leg (Fig. 17).

It is performed forward, to the side, backward, with the toe on the floor, with the leg raised to 45, 90°. When bending the leg into the sur le cou de pie position, the thigh should not be lowered immediately; the knee is first bent, and the thigh is held motionless at a height of 45°, then gradually lowered together with the lower leg to the final position. When batman frappe is performed at 90°, the leg first lowers to 45°, then bends as described above. Musical time signature is 2/4 or 4/4.

Double Batman fondue(double battement fondu) . The movement begins with a demi-plie on the supporting leg, then a half-toe lift is performed, but the free leg does not open in the given direction, but lingers in a position bent at the ankle; then the half-squat on the supporting leg is repeated again with simultaneous straightening of the free leg by 45 or 90°; at the moment of final straightening of the free leg, straightening of the supporting leg is also performed, ending with lifting onto the half-toes.

Grand Batman Jete(grand battement jete) - swing your legs forward, to the side, back (Fig. 18). The movement is performed through the batman tandu until the toe touches the floor, then the leg rises to the maximum height and through the batman tandu returns to the I.P. (I or III position).

Grand Batman Jete Balance(grand battement jete balance) - swings forward and backward by 90° and higher through the first position (Fig. 19). The movement can be performed to the side: in i.p. facing the support or in the middle of the hall, alternately with one and the other leg. A combination with torso bending, half-toe lifting, and half-squats is possible.

Grand Batman Jete Pointe(grand battement jete pointe) performed like a Grand Batman Jete, but before the toe touches the floor (Fig. 20).

Grand Batman Jete Passe(grand battement jete passe) performed according to the rules of Grand Batman Jete, but with the transfer of the leg from one direction to another using a technique passe(Fig. 21): leg bent, hip turned out, knee to the side, toe at the supporting knee, without touching it. Performed forward and backward. Musical size 2/4.

Batman Devloppe(battement developpe) performed forward, to the side, back 90° and higher (Fig. 22). From the third position, the working leg, bending and sliding with an extended toe, rises to the knee of the supporting leg, after which it straightens in any direction and lowers into the standing position. Throughout the entire movement, the thigh maintains maximum eversion; when straightening the leg, the knee does not drop. When performing movements forward and to the side, the torso remains straight, when moving backwards, it bends slightly forward. Musical time signature: 2/4, 4/4.

Batman developpe passe (battement developpe passe). The working leg rises, then bends, the toe goes under the supporting knee without touching it (passe position), after which the leg rises again in any direction.
Batman devloppe with leg abduction 1/4 of the circle. The working leg is brought forward, then moved to the side and lowered into the i. n. The same is done in the opposite direction. Then the leg is raised to the side and moved forward or backward.
Batman devloppe with leg abduction 1/4 of the circle. The leg from the third position is raised forward by 90° and higher, the extended leg is pulled back across the side and lowered to the third position. It is performed similarly in the opposite direction.

Batman developpe passe. The leg rises forward, to the side, back, then with a short movement it lowers slightly and immediately sharply returns to its previous height. Musical time signature is 2/4 and 4/4.

Ron de jambe. This type of exercise includes moving the leg in an arc along the floor and in the air. Movement of the leg in an arc back, to the side, forward, that is, directed towards the supporting leg, is called en dedan (en dedans). Movement of the leg in an arc forward, to the side, back, that is, directed from the supporting leg, is called en deor (en dehors). Exercises in this group contribute to the development of mobility of the hip joints and eversion of the legs.

Rond de jambe par terre- movement of the extended leg in an arc, touching the floor with the toe (Fig. 23). The exercise is performed by uniformly moving the outstretched leg in an arc, separating the toes from the floor. The hip is in an everted position, the weight of the body is on the supporting leg.

Ron de jambes en lair(rond de jambe en l'air) - circular movements of the shin in the air (Fig. 24). From i.p. right (left) to the side at a height of 45°, circular movements with the shin, while simultaneously bending the knee inward (an deor), outward (an dedan) until the toe touches the calf muscle. The hip is in an everted position.

Grand Rhône de Jambes Jété (grand rond de jambe jete) - large leg swing in a 90° arc in the direction of an deor and an dedan.

Gymnastics all-around: Female species. Ed. G 48 2nd, revised Floor exercise. T.S. Lisitskaya, V.E. Zaglada / edited by Gaverdovsky Yu.K. - M.: Physical culture and sport, 1986. - 336 pp., illus.”

Pas (pa ) - step; movement or combination of movements; used as equivalent to the concept of “dance”.
Pas d'actions (pas de action ) is an effective dance.
Pas de deux (pas de deux ) - a dance of two performers, usually a dancer and a dancer.
Pas de trois (pas de trois ) - a dance of three performers, usually two dancers and one male dancer.
Pas de quatre (pas de carte ) - dance of four performers.

Adagio (adagio ) - slow, slow part of the dance.
Allegro (allegro ) - fast, jumping.
Allongee (longer ) - from Ch. lengthen, prolong, extend; a movement from the adagio, meaning an extended position of the leg and a hidden hand.
Aplomb (aplomb ) - stability.
Croisee (croisé ) - a pose in which the legs are crossed, one leg covers the other.
Degage (degazhe ) - release, take away.
Demi (demi ) - medium, small.
Ecartee (ekarte ) - retract, move apart; a pose in which the entire figure is turned diagonally.
Effect (efase ) - deployed position of the body and legs.
En dedans (en dedan ) - inside, in a circle.
En dehors (en deor ) - out, from the circle.
En face (en face ) - directly; straight position of the body, head and legs.
En tournant (en tournan ) - from Ch. "rotate"; turning the body while moving.
Grand (grandee ) - big.
Petit (petit ) - small.
Port de bras (port de bras ) - exercise for arms, body, head; tilts of the body and head.
Preparation (preparation ) - cooking, preparation.

Arabesque (arabesque ) - a pose whose name comes from the style of Arabic frescoes.
Attitude (attitude ) - posture, body position; the raised leg is half bent.
Passe (passe ) - from Ch. “to conduct, pass”; connecting movement, holding or moving the leg.
Sur le cou-de-pied (sur le cou de pied ) - the position of one leg on the ankle of the other, supporting one.
Tire bounchon (shooting range bouchon ) - “twist, curl”; the raised leg is in a half-bent forward position.

Balance (balance sheet ) - “to swing, sway”; swaying movement.
Balancoire (balance ) - “swing”, used in grand battement jete.
Battement (Batman ) - swing, beat.
Battement developpe (Batman Devloppe ) - swing, open, remove the leg 90* ​​in the desired direction.
Battement double frappe (batman double frappe ) - double strike movement.
Battement fondu (Batman fondue ) - soft, smooth, “melting” movement.
Battement frappe (batman frappe ) - movement with impact, or impact movement.
Battement soutenu (batman hundred ) - withstand, support; movement with pulling the legs in the fifth position, continuous movement.
Battement tendu (Batman tandu ) - abduction and adduction of an extended leg without lifting the toe off the floor.
Batterie (batry ) - drumming; the leg in the sur le cou-de-pied position makes a series of small striking movements.
Demi-plie (demi plie ) - small squat.
Dessus-dessous (ten-desu ) - upper-lower part, above-under, view of the ras de bourree.
Grand battement (grand batman ) - big batman.
Grand-plie (grand plie ) - big squat.
Jete (jete ) - leg throw on the spot or in a jump.
Pas coururu (I'm smoking ) - run through the sixth position.
Pas de bascue (pas de basque ) - Basque step; This movement is characterized by a count of 3/4 or 6/8 (three-beat time signature), performed forward and backward.
Pas de bourree (pas de bure ) - a chased dance step, stepping with a slight advance.
Petit battement (petit batman ) - a small batman, on the ankle of the supporting leg.
Plie (plie ) - squat.
Releve (relevé ) - from Ch. “raise, elevate”; lifting onto fingers or half fingers.
Relevelent (Relevelan ) - slow leg lift to 90*.
Soutenu (a hundred ) - from Ch. “to withstand, to support, to draw in.”

Fouette (fouetté ) - from the verb “to quilt, to flog”; type of dance turn, fast, sharp; During the turn, the open leg bends towards the supporting leg and opens again with a sharp movement.
Pirouette (pirouette ) - “spinning top, spinner”; fast rotation on the floor.
Port de bras (port de bras ) - tilts of the body, head.
Renverse (ranverse ) - from Ch. “overturn, turn over”; overturning of the body in a strong bend and in a turn.
Rond (ronde ) - “circle, round.”
Rond de jambe en l'air (Ronde de Jambes en Leur ) - circle your foot in the air.
Rond de jambe par terre (Ronde de jambes par terre ) - circular movement of the leg on the floor, circle with the toe on the floor.
Tour (tour ) - turn.
Tour chain (tour chenet ) - “linked, connected”; quick turns following one after another.
Tour en l`air (tour en ler ) - tour in the air.

Assembly (assembly ) - from Ch. connect, collect; jump with outstretched legs collected in the air; jump from two legs to two legs.
Brise (breeze ) - to break, crush; movement from the section of jumping with skids.
Cabriole (cabriole ) - jump in place with one leg kicking the other.
Changement de pieds (Shazhman de pied ) - jump with a change of legs in the air (in the V position).
Coupe (coupe ) - knocking; jerky movement, short push.
Echappe (echappé ) - a jump with the legs opening to the second position and collecting from the second to the fifth.
Entrechat (entrechat ) - jump with a skid.
Glissade (glide path ) - “sliding”; a jump performed without lifting the toes off the floor.
Jete ferme (jete ferme ) - closed jump
Jet passé (jete passe ) - passing jump.
Pas ballonne (pa balone ) - to inflate, to swell; advancement at the moment of jumping into various directions and poses, as well as legs strongly extended in the air until the moment of landing and bending one leg sur le cou-de-pied.
Pass ballot (pa balotte ) - hesitate; a movement in which the legs are extended forward and backward at the moment of the jump, passing through a central point; the body leans forward and backward, as if oscillating.
Pass chasse (on the chasse ) - a ground jump with advancement, during which one leg kicks the other.
Pas ciseaux (pa pre-trial detention center ) - scissors; a jump with legs thrown forward in turn, stretched out in the air.
Pas de chat (pas de sha ) - cat step; a sliding jump from one foot to another, when one leg passes the other in the air.
Pas emboite (in ambuate ) - from Ch. “put in, put in, put in”; a jump during which there is a change of half-bent legs in the air.
Saute (sauté ) - jump in place by position.
Sissonne (Sison ) - a type of jump, varied in shape and often used.
Sissonne fermee (Sison Farm ) - closed jump.
Sissonne ouverte (sison dodge ) - jump with leg opening.
Sissonne simple (Sison Simple ) - a simple jump from two legs to one.
Sissonne tombee (Sison Tombe ) - jump with a fall.

Added: 08/02/2013

Classical dance is a certain type of choreographic plasticity. This term is used throughout the ballet world.

This is a subtle combination of movements, great harmony with classical music and the conditions of classical dance - this is the eversion of the legs, a long step in the dance, rotation, flexibility, freedom, plasticity, endurance and strength.

Classical dance is the basis of any dance and ballet can be called the foundation of any stage dance. Performing the classics high art and an independent species theatrical action, capable of developing any plot without singing or recitation.

Ballet has its own system and terminology for training dancers. Therefore, in order to achieve results in other specialized dances, you need to start with classical dance lessons.

Its foundations are unique; even the most experienced dancer from different dance styles does not stop this multi-stage process of classical training.

Teaching it unique art includes: study of body positioning, basic positions of legs and arms, terminology, history of development and respect.

Classical dance develops posture, develops responsibility, respect for art, develops flexibility and lightness. Teaches you to express your feelings through dance, feel confident and cheeky, promotes the development of intelligence and culture.

Why don't we bypass classical dance. In our variety of trends and styles, it is difficult to decide on the most suitable one. Often you don’t immediately understand what will become your dance, which will express the most touching and reverent feelings.

Even with a very good teacher, with knowledge of basic dance skills, it is not always possible to show what is intended. It seems that you are learning something new and there is no point in learning what was before, but all dances are deeply and closely connected with traditions, and the choreographic heritage of the classics should not be lost.

Outside of Russia, a lot of effort and money are spent studying classical dance. Foreigners greedily record concerts and performances. They do not waste time, and the first place they begin to study the art of dance is classical dance.

The system of dance movements is designed to make the body obedient to the performer and choreographer, disciplined and beautiful. It was formed along with the birth of ballet itself back in the 17th century; since that time, classics have been considered the main genre of musical theater.

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slide 1, slide 2

A correctly placed body is the key to stability (aplomb).

Correct positioning of the body provides not only stability, it facilitates the development of eversion of the legs, flexibility and expressiveness of the body, necessary in classical dance.

It is the teacher-choreographer, working with groups of beginners, who will have this responsible and painstaking work of staging the body, arms and legs of the future dancer. From the competent, correct approach of the teacher primary classes depends further fate young dancers.

Let's consider the main stages of work and methodological requirements for positioning the body, arms and legs in choreography classes with children.

slide 3CASE POSITION

The positioning of the body begins first in the first half-turned position of the legs. To do this, turning to face the machine, first place the left leg in the semi-reversible 1st position, then place the hands on the machine. Putting your hands on the machine, at the same time place your right leg in the first half-reversal position. The hands lie on the surface of the stick, without grasping it, but only holding it.

The body is in an upright position, the spine is elongated, the waist is elongated. The shoulders and chest are open, the shoulder blades are slightly pulled down towards the lower back. You should keep your head straight.

The hips are pulled up, the kneecaps are pulled up accordingly, the gluteal muscles are collected. The soles of the feet are freely placed on the floor, touching it at three points: the little toe, the heel and the big toe.

After fixing the position of the body in the first half-turning position, the legs move to the first half-turning position. To do this, you need to move the left foot to the everted position, then turn the right leg into the everted position so that both feet form a straight line.

slide 4. To correctly position the body in the eversion positions of the legs in exercise, you should turn as much of the hips and lower legs as possible inside outward, while the turn should be uniform and carried out with the same force for both legs, and then the foot will easily take an everted position, while the vertical axis drawn through the common center of gravity should not go beyond the line of the boundaries of the support area.

When placing the body in a position with the legs turned 180 degrees, it is necessary to move the body slightly forward, giving it a “steep” position and stability.

Support leg- this is the leg that bears the weight of the body at the moment the movement is performed.

Working leg- a leg that is in motion.

Toe (toe) stretching – This is the work of the entire foot, when with the toes extended, the muscles of the arch of the foot are contracted and the ankle is tense.

In classical exercise, when stretching the foot, it is unacceptable to bevel the foot, “curl” it, all fingers must be grouped, all its muscles are directed towards the middle (third) toe, the arch of the foot is extended, and the ankle is tense.

slide 5 LEGS POSITIONS

The positions of the legs are nothing more than an exact proportion that determines the location of the everted legs, their distance or approach when the body is at rest or in motion. In all cases, balance must be maintained (Fig. 1).

Initially, the construction of positions is studied in the middle of the hall, without observing the turnout. The eversion of the legs is introduced along with the positioning of the body.

Study order: first (I), second (II), third (III), fifth (V) and fourth (IV). Position IV, as the most difficult, is passed last.

I – first	II – second	III – third
(Fig. 2)	(Fig. 3)	(Fig. 4)
The feet of the feet, touching the heels, are turned with the toes outward, forming a straight line on the floor with uniform distribution center of gravity throughout the foot (Fig. 2)	The straight line of the first position is maintained, but the heels of the inverted legs are spaced from one another by approximately one foot length with an even distribution of the center of gravity between the feet (Fig. 3)	In the same inverted position of the legs, the feet, tightly fitting, cover each other halfway (Fig. 4)
IV – fourth	V – fifth	VI – sixth
(Fig. 5)	(Fig. 6)	(Fig. 7)
The turnout of the fifth position is maintained, but the legs do not touch: one is parallel to the other at the distance of the foot (Fig. 5)	The feet, tightly fitting, completely cover each other: the heel of one foot touches the toe of the other (Fig. 6)	The feet stand parallel to each other (heels and toes are closed) (Fig. 7)

The third, fourth and fifth positions are studied alternately from the right and left legs. The third position, being easier, serves as preparation for the fifth position. Once the fifth position is mastered, the need for a third position in classical dance lessons disappears. The fourth position requires a special position of the hands and head. At first the fourth position is studied en face, later in epaulement, it is formed from the fifth position.

Note. When studying leg positions, the following are required: a toned body, freely open and lowered shoulders, extreme tension in the legs, even position of the foot on the floor; emphasis on the thumb is unacceptable. When studying the second and fourth positions, it is important to distribute the center of gravity of the body evenly on both legs and monitor the evenness of the shoulders and hips. Proper construction of the position is the key to turning out. At first, positions are built randomly. Later, when the battements tendu have been mastered in all directions, the transition from one position to another is accomplished through the battement tendu. Performing one or another position throughout an entire musical phrase is gradually consolidated as a skill and disciplines students.

slide 6 HAND POSITIONS

Hand placement is the manner of holding them in a certain shape, at a certain height in positions and other positions.

The placement of the hands begins with a preparatory position, since from the preparatory position the hands begin to move into positions and other positions. It is necessary for children to understand that the position of the hands is inseparable from the position of the body, back and head.

Straightened shoulder blades are of great importance for the correct positioning of the hands. It is necessary to achieve a back with straightened shoulder blades as soon as possible, at the beginning of training. This back, with the right feel, gives greater freedom to the arms in different positions and positions.

Hand positions are learned in the middle of the room from the very first lessons. First you should learn the position of the hand: the tip of the 1st finger touches the 2nd phalanx of the 3rd finger, the rest are freely grouped. It is necessary to ensure that the thumb is in contact with the middle finger, otherwise during difficult movements it moves away greatly and the hand looks sloppy. This is required only during the initial setting, while the student’s movements are not yet subordinated to his will and the fingers are tense. Subsequently, the hand receives a little freedom: the roundness of the fingers is maintained, but the 1st finger does not come into contact with the 3rd, but only moves towards it.

slide 7. In the classical dance of the Leningrad school, three hand positions are accepted. They are studied in the natural position of the legs: the heels are placed together, the toes are slightly apart. The body is pulled up, the shoulders are lowered and open. Head position enface (en face). Musical time signature: 4/4, 3/4.

IN preparatory position the arms are lowered down, should not touch the body, the elbows are directed to the side, bent, forming an oval, the hands are rounded, the palms are directed upward. It is necessary to ensure that students do not break the line of their hands at the wrist and elbow, there should be no angles, there should be a smooth line of both hands. Students should feel their hands, the top of the arms should not touch the body, there should be air under the arms, shoulders should be lowered (Fig. 8)	(Fig. 8)
Then they study I position . From the preparatory position, the arms, maintaining their shape, rise up to the level of the diaphragm. Feel the top of your arms (it is holding), your elbows should be at the same level as your hand; make sure the brush is supported. The arms are not clasped at the elbows. Form an oval. In this case, the shoulder blades are straightened, the shoulders are lowered and must be straightened. There can be no movement of the arms and shoulders (Fig. 9)	(Fig. 9)
Presentation, slide 8. After studying the first position, you should study III position . From position I, the arms, maintaining their shape, rise up above the head. The hands, as in the preparatory position and in the first position, are brought together, the distance between the hands is approximately two fingers. Elbows should look to the sides, palms facing down and even slightly turned towards you. It is necessary to ensure that the arm line does not break. It is very important for the third position that the hands do not go back behind the head - they should be in front of the head. The correctness of the position is easy to check. To do this, without raising your head, you need to look up. If the brushes are visible, then the position is correct. The arms, as in the first position, are supported from the shoulder to the elbow by the tension of the muscles of the upper part (Fig. 10)	(Fig. 10)
After position III has been studied, you can begin to study II positions . The arms are raised from the preparatory position to the 1st position; from the 1st position only the lower part of the arms from the elbow begins to move, the upper part of the arms remains motionless. The lower part of the arms opens towards the sides until the arms can be smooth line. Then the whole hand opens. You need to make sure that when opening, your elbows are facing back. It is very important that your hands do not go back and are slightly in front of your shoulders. It is imperative to keep your elbows, they should not be pinched, the upper part of the arm should be strong. Palms facing the viewer. Shoulders slumped. If your arms are raised to shoulder level, it will remain correct position. Hands lowered below shoulder level seem passive, without the necessary sensation (Fig. 11)	(Fig. 11)

slide 9 Transfers of hands from position to position

Exercise 1.

The hands rise from the preparatory position to the 1st position, from here, continuing the movement, they rise to the 3rd position, from the 3rd position they return to the 1st position and from the 1st position they fall to the preparatory position.

When transferring from the preparatory position to the first position, the hands, while maintaining roundness, rise to a height just below the diaphragm. During movement, they should be supported at two support points - elbows and fingers - at the same level. Further, maintaining roundness, they rise upward to position III, as if enclosing the head in an oval frame. The tendency of students to raise their shoulders and pull their arms back should be prevented.

The exercise is also performed with one hand, which moves exactly against the middle of the body, while the other hand maintains the preparatory position. The movement of the hands here and in subsequent exercises should be smooth. The arms retain their original roundness and move independently, regardless of the body. Style musical accompaniment very smooth, 4/4 and 3/4 time signature. The exercise is performed evenly over four beats. Only after positions I and III have been mastered can you begin to study position II.

Exercise 2.

The arms are raised from the initial preparatory position to the first position. While maintaining their roundness, they gradually open to the sides, starting movement from the fingers themselves. At the same time, they are supported at two support points - at the elbows and at the same level. At the end of the movement, the arms are slightly in front of the body, continuing in a line of open and lowered shoulders. The tendency of students to pull their arms back should be prevented. The hands, opened to position II, are joined again in position I and lowered to the original preparatory position. The exercise is performed smoothly, without accents. Musical time signature is 4|4 and 3|4. The first beat - the arms are raised to the first position. The second measure - opens to 2nd position. Third measure - return to 1st position. Fourth beat - lower to the initial preparatory position.

When position II is mastered, the hands are lowered directly to the preparatory position. The arms, open in position II, are turned with the palms down and, slightly softening at the elbows, lowered to the initial preparatory position, restraining the movement in the fingers. Musical time signature in exercise 4|4 and 3|4. The first beat - the arms are raised to the first position. The second measure - opens to 2nd position. Third beat - maintain the accepted position of the 2nd position. Fourth beat - lower to the initial preparatory position.

Exercise 3.

The hands rise from the preparatory position to the 1st position, then continuing the movement, they rise to the 3rd position. The hands, raised to the third position, while maintaining roundness, open to the second position, starting their movement from the fingers themselves, after which they are lowered directly into the preparatory position.

Note.

When performing these exercises, your hands should be free during movement, not at all tense at the elbows. The shoulders are not involved in the movement; they are kept open. Having mastered the third position of the hands, they study what the position of the hands should be during exercise at the machine, and holding onto it with only one hand.

It is necessary to stand at the machine at a distance with your arm bent at the elbow, placing your hand on the machine, but in no case clasping it, slightly in front of your body. The hand free from the machine takes the initial preparatory position, your legs rise to the required position, and your head turns away from the machine itself. In this way, all previous exercises are performed at the machine, and now they also include head movements.

When the right hand rises to the first position, the head tilts slightly towards the left shoulder, the gaze is directed to the hand. When the hand opens to position II, the head, rising, turns to the right, the gaze is directed behind the hand. As soon as the hand lowers to the initial preparatory position, the head remains in a right-hand turn. If, through position I, the hand is raised to position III, the head, turning to the right, is slightly raised, and the gaze follows the hand. If the hand opens to the 2nd position, the head turns to the right. Head movements are very free, the neck is not tense at all. You must carefully monitor the evenness of your open and lowered shoulders. The hand that performs the exercise moves exactly against the middle of the dancer's body; the hand that lies on the machine does not change its original accepted position. The musical time signature is the same as in the previous exercises.

In the future, the same exercises are given an artistic twist. The hands begin to move behind the beat from the fingers themselves, slightly unbending at the elbow, opening slightly from the initial preparatory position to the sides. At the moment of turning, the head bends slightly, the gaze follows the dancer’s hand. Closing again into the initial preparatory position, the dancer’s hands proceed to perform the given exercise. Movement by beat is first included in the stick exercise, and once mastered, it is performed in the middle of the class.

slide 10 Other hand position options

slide 11 PORT DE BRAS (PORT DE BRAS)

(exercise for arms, body, head, body tilts, head)

A group of exercises that develop body flexibility, smoothness and softness of the hands and coordination of movements.

Here are several options for port de bras. The exercise is performed at the barre with one hand and in the middle of the hall with both from the V position in the en face position (en face) or in a half turn croisee (croisee), effacee (eface).

• Before starting I port de bras, hands are in a preparatory position (Fig. 17-21).

• before the start of II port de bras, the hands are raised to I and the right hand to III, the left hand to II positions (Fig. 22-26).

slide 12

• Before the start of the III port de bras, the hands are transferred from the preparatory position through the first to the second (Fig. 27-30).

Perform the exercises smoothly, observing the exact positions of your hands, accompanying their movements with your gaze and turning your head. The musical size is 3/4, 4/4, the tempo is slow.

Temps lie (tan lie).

This is a combination of movements with gradually increasing difficulties, generally accepted from elementary school. The simplest temps lie is completed as follows.

Become in a V croisee position, with your right foot in front. Make a demi-plie, the right leg slides with the toe forward on the floor in croise, the left remains on the plie, both hands are in the first position, look at the hands, with the head turned in the same direction, transfer the body to the right leg, having previously done passing demi-plie, extend the toes of the left foot from behind, raising the left hand up and the right hand to the side. The head is turned to the right. Pull the left leg from behind into the V position face on demi-plie, moving the left hand to the I position, and leave the right hand in the II position, head face; slide the toe of your right foot towards the 2nd position (opening your left hand to the 2nd position and accompanying it with your gaze), leaving the left hand on the plie; transfer the body to the right leg, having previously made a passing demi-plie on it, and, stretching out the fingers, pull the left leg forward into the V position. Lower your arms to the preparatory position. Repeat everything on the left leg. The same movements are made backwards. It is recommended for beginners to study temps lie in 4/4, arranging the movement in two measures: on the first quarter, make a demi-plie in V position, on the second, extend your fingers forward in croise, the passing plie occurs between the second and third quarters, on the third - pose croisee back, on the fourth - stand in the V position. Then the next beat: for the first quarter - demi-plie in V position, for the second - the leg is brought out with outstretched toes towards the II position, for the third - the toes of the left foot are extended with the body moving to the right leg, for the fourth - stand in V position ( Fig. 31).

In high school, you can do temps lie, raising your leg 90° while moving forward, backward and to the second position. From V position demi-plie on the left leg, making the right battement developpe forward on the croise; move to the right leg in an attitude croisee back, fall on the left leg in a demi-plie, bringing it to the right leg, which bends to the knee 90°; make a battement developpe with your right foot to the 2nd position and switch to the right foot, raising the left one to the 2nd position by 90°; demi-plie on the right leg, bending the left at the knee, bringing it forward, continue the movement with the other leg (Fig. 32)

In middle and high school, you can study temps lie en tournant: first do tour en dehors sur le cou-de-pied from V position, then do temps lie forward. Once again the same tour and temps lie towards the 2nd position.

Then, to perform temps lie en tournant at 90°, after the tour is done, the leg is at the knee in front. The hands are the same as when moving on the floor (Fig. 31). When performing temps lie back, tour is done en dedans. Temps lie saute consists of successive small sissonnes tombees, but it belongs to allegro.

slide 13

Musical accompaniment

• ROND DE JAMBE
• WITH 1/4 AND 1/2 CIRCLE ABDUCTION
• DEMI ROND
• PASSE
• GRAND RONDDE DE JAMBE JETTE
• AN LER
• PAR TER

“The Rondo of Venice” is played throughout the entire presentation.