Glossary & Vocabulary

à la seconde [a la (su)-GOD] (Fr. to the second) Phrase used to describe the position of the working leg extended to the side of the body.

à terre [a ter] (Fr. on the ground) Phrase used to describe a position in which the working foot is in contact with the floor. Term which may be used to modify positions or movements that would otherwise be performed en l' air, i.e., with the working foot off the floor, as arabesque.

allongé [a-lo-ZHAY] (Fr. pp of v allonger, to lengthen or extend; adj stretched out) Term used to describe a lengthened line taken in arabesque either à terre or en l' air in which the back is released slightly forward and the eye line is either along the front arm or lowered.

arabesque [a-ra-BESK] (Arabian < It. arabesc Arab and esco, -ish; Fr. nf an ornament or style made of an intricate pattern of interlaced lines; a dance pose.) A balanced pose on one leg with the other leg extended en l' air derrière. A curved position of the body from the head, through the spine to the tips of the toes of the raised leg. The arms are placed in an extended position with the palms facing downwards, creating an elongated line. In all arabesques, there is an unbroken line through the arm and hand with no tension in the elbows. There are three basic arabesques: 1st, 2nd and 3rd.

arabesque, 1st [a-ra-BESK] A basic arabesque taken facing 2 (stage right) or 4 (stage left): when taken at 90 degrees, the dancer stands on the upstage leg, and the downstage is raised fully stretched behind and in line with the hip; the upstage arm is placed in an extended line in front of the shoulder at eye level; the head is slightly lifted and placed so that the eye line is directed over and beyond the middle finger; and the downstage arm is placed slightly behind and below the shoulder. Also taken in other alignments.

arabesque, 2nd [a-ra-BESK] A basic arabesque in which the position of the legs is the same as for 1st arabesque, taken with the front arm placed in opposition to the supporting leg just above shoulder level, and with the eye line over and beyond the center finger; the back arm is placed very slightly behind and below the shoulder. In the Cecchetti school, 2nd arabesque en fondu is know as 4th arabesque.

arabesque, 3rd [a-ra-BESK] A basic arabesque in which the position is as for 1st arabesque, but with the arm corresponding to the raised leg placed in front of the body at 2nd arabesque height (slightly below shoulder height). With a projection upwards and outwards, the eye line is over and beyond the center finger of the higher arm. In the Cecchetti school, 3rd arabesque en fondu is known as 5th arabesque.

assemblé [a-sah-BLAY] (Fr. pp of v assembler, to gather; adj gathered; nm in dance, a jump in which one lands on two feet) A jumping action where the working foot slides to glissé height and the legs are assembled fully stretched in 5th position in the air before landing on two feet. In a basic assemblé, the arms are carried to demi-seconde with the outward movement of the leg and return to bras bas on alighting. There is a use of épaulement which commences with the jump and finishes with the same shoulder forward as the foot which finishes devant. Taken devant, derrière, dessus, en avant, de côté or porté, en arrière, en tournant, battu, and piqué. Variations: assemblé soutenu, grand assemblé, petit assemblé.

assemblé en arrière [a-sah-BLAY ah-nar-YER] (Fr. gathered step; backward) An assemblé in which the back foot slides out to 4th derrière and finishes derrière. This step travels backward.

assemblé en avant [a-sah-BLAY ah-na-VAH] (Fr. gathered step;forward) An assemblé in which the front foot slides out to 4th devant and finishes devant. This step travels forward.

assemblé en tournant [a-sah-BLAY ah-toor-NAH] (Fr. gathered step; turning) An assemblé dessus in which the dancer turns while in the air toward the leg which pushed off. Ususally preceded by a prepartatory movement such as a running pas de bourrée, and ended facing downstage.

assemblé pique [a-sah-BLAY pee-KAY] (Fr. gathered step; pricked) An action beginning in 5th position on demi-plie, in which the dancer extends the working foot to 2nd en fondu just off the floor, and performs a relevé action closing the working foot 5th position with a change of feet en pointes. May be performed dessus or dessous.

assemblé soutenu a terre [a-sah-BLAY soot-NU a ter] (Fr. gathered step; sustained; on the ground) A circling action of the working leg performed with the tip of the foot sliding along the floor before the leg closes 5th position. May be performed en dehors or en dedans tracing either a 90-degree arc, i.e., demi-, or a 180-degree arc, i.e., grand.

assemblé soutenu en tournant [a-sah-BLAY soot-NU ah-toor-NAH] (Fr. gathered step; sustained; turning) A sustained gathering movement leading into a turning action on two feet. Incorporates the action of an assemblé soutenu a terre en dedans or en dehors, and a détourné turn. May be preceded by a pose and executed with either a demi- or a grand assemblé soutenu action.

attitude [a-tee-TUD] (Fr. nf a pose or way of holding oneself) A contained position based on curves. a blanced pose on one leg with the other leg held in a curved position at 90 degrees. The arms in 4th position together with the line through the upper back and chest and the placing of the raised leg create a strongly poised position. Adapted from Giambologna's bronze statue known as the flying Mercury (1580) and codified in the early 19th century by the Italian ballet master Carlo Blasis. The three basic attitudes are attitude derrière en croise, attitude devant en croise, and attitude derrière en ouvert, although many vatiations are possible. When performed a terre, the working leg is stretched with the tip of the foot contacting the floor. The arms may be placed in 4th position (one overhead, the other side) or 5th position (both overhead), in which case the position is called attitude a deux bras. When the same arm as the working leg is placed overhead in 4th, the position is called attitude or attitude ordinaire. When the arm opposite to the working leg is placed overhead in 4th, the position is called attitude in opposition or attitude opposition. May be performed derrière, devant, a terre or en l' air. Variations: attitude a dos, attitude grecque.

attitude à dos [a-tee-TUD a doh] (Fr. pose; with the back) An attitude taken en croise with a strong épaulement so that the back is visible to the audience.

attitude grecque [a-tee-TUD grek] (Fr. pose; greek) An attitude in which the arms are 4th crossed and the leg corresponding to the lower arm is cou-de-pied derrière fully stretched, the head is turned toward the working leg and the eye line is slightly lowered. May be performed en fondu.

balancé [ba-lah-SAY] (Fr. pp of v balancer, to rock, swing, sway to and fro, find counterbance or equilibrium; adj rocked, balanced; nm in dance, a balanced step) A lyrical terre à terre movement set on a waltz rhythm where the accent is on the first step comprised of three transferences of weight, often done in a series from side to side or forward and backward. May be performed en avant, en arrière, de côté, or en tournant. Also referred to as pas balancé.

balancé de côté [ba-lah-SAY d(u) koh-TAY] (Fr. balanced step; to the side) A balancé from side to side. 1. Performed by girls. From classical pose, the movement commences with a fondu on the supporting leg, extending the working leg with a light sliding movement towards 2nd; the weight is then transferred sideways onto that foot en fondu. This action allows the other foot to be released, bringing it momentarily to the cou-de-pied derrière before transferring the weight first onto the half-pointe of that foot and then again onto the initial working foot en fondu. There is a slight sideways bend of the body over the front leg, wth the arms flowing form 3rd to 3rd position or from 4th to 4th position with the initial step, and the head and eyes following the line of the movement. 2. Performed by boys. As for girls, but with a broader movement and deeper use of fondu. The incoming foot in cou-de-pied has a relaxed ankle. The hand corresponding to the initial supporting leg may be held on the hip with fingers forward. The other arm may begin in 1st position, and open to a wide demi-bras on the initial step. When taken in series, the arm may return to 1st on the initial step of the second balancé with the opposite shoulder forward to the front toot (i.e., in opposition), and so on.

ballonné [ba-lo-NAY] (Fr. pp of v ballonner, to blow up like a balloon; adj inflated; nm a light jump on one leg) A travelling jump from one leg landing on the same leg, combined with an outward extension and inward bending action of the working leg. At the height of the jump both legs are fully stretched, with the push-off leg maintaining its line beneath the body. Executed sur place with the working leg extending devant, a la seconde or derrière, or travelled in the direction of the extednded working leg, en avant, de cote, or en arrière. Also called balloné simple. Variation: ballonné composé.

ballonné composé [ba-lo-NAY ko-po- ZAY] (Fr. light jump on one foot; compound) Composite step consisting of a ballonné, a quick extension leading into a step, and a close. May be performed en avant, en arriere, or de côté. Usually performed to one bar of 3/4 music, such as a polonaise or a mazurka.

ballotté [ba-lo-TAY] (Fr. pp of v balloter, to toss about; nm a tossed step) A rocking movement in which the weight is is transferred from one foot to another. May be performed with an adage quality, sauté with an allegro quality, or en pointe. In the adage version, the initial leg may begin à terre, then pass through 5th position en demi-pointe; or en l' air, then pass through retiré, after which the released leg unfolds. In the allegro version, the intial leg may begin à terre or en l' air with the knees bending and the ankles crossing at the height of the jump, after which the released leg unfolds. Often performed in series dessous and dessus. Variation: petit ballotté.

battement [bat-MAH] ( Fr. nm a beat or beating action.) A beating action of the working leg, usually involving a movement away from and toward the body. May be performed devant, to 2nd, derrière, sur le cou-de-pied, en rond. Variations: single, double, serrés.

battement fondu [bat-MAH fo-DU] (Fr. beating; melted) A smoothly coordinated bending and stretching of both the supporting leg and the working leg. An essential exercise for developing strength and control for jumps. From 5th position or dégagé, the working foot is placed sur le cou-de-pied while the supporting leg bends to the depth of a demi-plié. The working leg then opens through a small attitude to extend to 45 degrees, as the supporting leg simultaneously straightens. May be executed with the working leg extending devant, to 2nd, or derrière. Often practiced en croix. May be taken with the supporting foot remaining flat or rising as the legs straighten. Variation: battement fondu å terre, double fondu.

battement fouetté [bat-MAH fwe-TAY] (Fr. beating; whipped) A whipping action of the working leg en l' air 45 degrees between 2nd and 4th position. May be performed to 4th devant or 4th derrière, and with a fondu in 4th. Variation: grand battement fouetté.

battement frappé [bat-MAH fra-PAY] (Fr. beating; hit) A striking action of the foot directed towards the floor using a strong extension of the leg. An excercise to develop speed and precision in the use of the foot and ankle. The flexed working ankle begins with the heel placed sur le coup de pied, then the metatarsals strike the floor and the leg and foot finish in a fully stretched position at glissé height. When the supporting leg is en demi-pointe, the ball of the working foot does not brush along the floor but extends directly outward. Taken with the extension to 2nd, to 4th devant, or to 4th derrière. often performed in series, and practiced en croix. Also called single battement frappé, or battement frappé sur le cou-de-pied. Variations: double battement frappé, battement frappé fouetté.

battement frappé fouetté [bat-MAH fra-PAY fwe-TAY] (Fr. beating; hit; whipped) An inward whipping action of the lower leg. Commencing with the leg extended to 2nd at 45 degrees, the working knee bends so that the foot is brought sharply into contact with the supporting leg either devant or derrière. The working foot is fully pointed throughout. May be performed devant or derrière.

battement glissé [bat-mAH glee-SAY] (Fr. beating;sliding) An opening and closing of the fully stretched working leg with a quick gliding action of the foot which causes the toes to be released just off the floor. Practiced to develop speed of footwork. May commence from 1st or 5th position. Taken devant, to 2nd, or derrière, usually with the arms held in bras bas or 2nd position. Variations: battement glissé en cloche, battement glissé sur la pointe.

battement glissé relevé [bat-MAH glee-SAY r(u)l-VAY] (Fr. beating; sliding; pulled up) A battement glissé performed with a relevé en pointe. Commencing 5th position en demi-plié, the working foot slides outward along the floor en fondu firmly and with speed, extending to glissé height, and the supporting leg performs a relevé action. The leg may close to 5th position either en pointes or end demi-plié. May be performed devant, to 2nd, or derrière.

battement jeté [bat-MAH zh(u)-TAY] (Fr. beating; thrown) A sharply thrown action of the working leg opening to 45 degrees and returning strongly to a closed position. Used for developing strength and turnout, and is important in the preparation of allegro steps. The foot slides along the floor as in battement tendu and the leg is thrown out in the required derection to a fully stretched position at 45 degrees. The leg returns firmly with strong use of the foot along the floor to a closed position. May be executed beginning from 1st or 5th position and opening devant, to 2nd, or derrière. Variation: battement jeté en cloche.

battement piqué [bat-MAH pee-Kay] (Fr. beating; pricked) A battment glissé action in which the working foot opens to glissé height, lowers à terre remaining fully stretched, and rebounds quickly and lightliy to the previous height. May be performed devant, to 2nd, or derrière. Variations: battement piqué en rond, double battment piqué, grand battement piqué.

battement tendu [bat-MAH tah-DU] (Fr. beating; outstretched) The opening and closing of a stretched working leg à terre. Practiced to strengthen the use of the foot and to bring all the foot and leg muscles into play on both the outward and inward movements. From 1st or 5th position, the working leg is released with an outward sliding action of the foot, continuing through the metatarsals, until the ankle, instep, and toes are fully stretched and well aligned. To close, the working leg is drawn inward, reversing the sliding action of the foot which ends in 1st or 5th position. Taken devant, to 2nd, or derrière; en fondu on the opening action and en demi-plié or en demi-pointes on the closing action; and in series en avant or en arrière.

brisé [bree-ZAY] (Fr. broken) A travelling, beaten step consisting of an outward brushing motion en fondu, a jump with the supporting leg beating agianst the working leg, and a landing en demi-plié or en fondu. The combination of the sliding movement of the working leg and the push-off from the supporting leg provides the force to spring into the air, bringing the supporting leg up to the extended leg to beat before changing to land on one foot or two. The travel occurs in the direction of the sliding movement. Usually involves a slight complementary action in the torso, head and arms. A brisé which ends on two feet is similar to a beaten assemblé, except that a brisé ususally travels whereas an assembelé does not. Variation: brisé volé, coupé brisé.

brisé 1 to 1 [bree-ZAY] (Fr. broken step) A brisé that begins and ends en fondu with the working foot placed at or slightly above coup-de-pied. The dancer starts en fondu, brushes the working foot above glissé height, jumps into the air beating the supporting leg against the working leg, and lands on the foot that pushed off en fondu. Variation: coupe brisé derrière, coupé brisé devant, brisé volé.

brisé 1 to 2 [bree-ZAY] (Fr. broken step) A brisé that begins en fondu with the working foot placed at or slightly obove cou-de-pied and ends in 5th position. The dancer starts en fondu, brushes the working foot above glissé height, jumps into the air beating the supporting leg against the working leg, and lands en demi-plié.

brisé 2 to1 [bree-ZAY] (Fr. broken step) A brisé that begins in 5th position and ends en fondu with the working foot placed at or slightly above cou-de-pied. The dancers starts en demi-plié, brushes the working foot above glissé height, jumps into the air beating the supporting leg against the wokring leg, and lands on the foot that pushed off en fondu.

brisé 2 to 2 [bree-ZAY] (Fr. broken step) A brisé that begins and ends in 5th position. The dancer starts en demi-plié, brushes the working foot above glissé height, jumps into the air beating the supporting leg agianst the working leg, and lands en demi-plié.

brisé derrière [bree-ZAY der-YER] (Fr. broken step; behind) A brisé travelling sideways in which the working leg begins 5th derrière and ends 5th devant. As the demi-plié commences, the working leg begins to slide towards 2nd position at glissé height. The combination of the sliding movement and the push-off from the supporting leg provides the force to spring into the air, bringing the supporting leg up to the exended leg to beat devant before changing to land in 5th position, with the working foot devant.

brisé dessous [bree-ZAY d(u)-SOO] (Fr. broken step; under) A brisé travelling sideways in which the working leg begins and ends 5th devant. As the demi-plié commences, the working leg begins to slide towards 2nd position at glissé height. The combination of the sliding movement of the working leg and the push-off from the supporting leg provides the force to spring into the air, bringing the supporting leg up to the extended leg to beat devant before changing to land in 5th position with the working leg devant. The arms are usually held in 3rd position witht the arm corresponding to the working leg placed forward, and with a slight épaulement bringing the same shoulder forward.

brisé dessus [bree-ZAY d(u)-SU] (Fr. broken step; over) A brisé travelling sideways in which the working leg begins and ends 5th derrière. As the demi-plié commences, the working leg begins to slide towards 2nd position at glissé height. The combination of the sliding movement of the working leg and the push-off from the supporting leg provides the force to spring into the air, bringing the supporting leg up to the extended leg to beat derrière before changing to land in 5th position with the working leg derrière. The arms are usually held in 3rd position witht the arm corresponding to the working leg placed forward, leaning slightly over the front arm, directing the eye line out and over the centre of the forearm.

brisé devant [bree-ZAY d(u)-VAH]] (Fr. broken step;front) A brisé travelling sideways in which the working leg begins 5th devant and ends 5th derrièret. As the demi-plié commences, the working leg begins to slide towards 2nd position at glissé height. The combination of the sliding movement and the push-off from the supporting leg provides the force to spring into the air, bringing the supporting leg up to the exended leg to beat derrière before changing to land in 5th position, with the working foot derrière

brisé en arrière [bree-ZAY ah-nar-YER] (Fr. broken step; backward) A brisé travelling backward in which the working leg begins 5th derrière and ends 5th devant. As the demi-plié commences, the working leg begins to slide towards derrière at glissé height. The combination of the sliding movement and the push-off from the supporting leg provides the force to spring into the air, bringing the supporting leg up to the exended leg to beat devant before changing to land in 5th position, with the working foot devant.

brisé en avant [bree-ZAY ah-na-VAH]] (Fr. broken step;forward) A brisé travelling forward in which the working leg begins 5th devant and ends 5th derrièret. As the demi-plié commences, the working leg begins to slide towards devant at glissé height. The combination of the sliding movement and the push-off from the supporting leg provides the force to spring into the air, bringing the supporting leg up to the exended leg to beat derrière before changing to land in 5th position, with the working foot derrière

brisé volé [bree-ZAY vo-LAY] (Fr. broken step; flying) A variation of brisé 1 to 1, usually performed sur place in series, alternating brisé volé devant and brisé volé derrière. To start with a brisé volé devant, the dancer begins with the working leg dégagé derrière, brushes it through 1st position en demi-plié to devant just above glissé height, pushes off and beats the supporting leg to the working leg en fondu, with the new working leg extended devant just above glissé height. To continue withe the brisé volé derrière, s/he brushes the foot through 1st position or performs a rond de jambe action just off the floor to derrière , beats the supporting leg to the working leg, and alights on the initiating leg en fondu, with the new working leg extended derrière just above glissé height. The arms usually undersweep to 1st on the brisé volé devant and open slightly behind demi-seconde for the brisé volé derrière. A series may travel slightly, moving forward along a diagonal line across the stage.

brisé volé derrière [bree-ZAY vo-LAY der-YER] (Fr. broken step; flying; behind) A brisé volé in which the dancer begins with the working leg dégagé devant, brushes the foot through 1st position or performs a rond de jambe action just off the floor to 4th position derrière, pushes off and beats the supporting leg to the working leg, and alights sur place on the initiating leg en fondu, with the new working leg extended derrière just above glissé height. The arms usually open slightly behind demi-seconde.

brisé volé devant [bree-ZAY vo-LAY d(u)-VAH] (Fr. broken step; flying; front) A brisé volé in which the dancer begins with the working leg dégagé derrière, brushes the foot through 1st position en demi-plié to 4th position devant just above glissé height, pushes off and beats the supporting leg to the working leg, and alights sur place on the initiating leg en fondu, with the new working leg extended devant just above glissé height. The arms usually undersweep to 1st.

cabriole [ka-bree-YOL] (<It. capriola, leap of a goat; Fr. a caper or jump in which the legs beat, one against the other) A grand allegro jump in which one leg beats against the other either in front of, to the sideof, or behind the body. The working leg may be extended devant, to 2nd, or derrière between 45 degrees and 90 degrees or above for men, depending on the musical tempo and context. May be performed ouverte or fermée, de côté dessus or dessous and fouettée. When the working leg is extended no higher than 45 degrees, the jump is called petitie cabriole.

cabriole fermée [ka-bree-YOL fer-MAY] ( Fr. caper; closed) A cabriole in which the dancer begins in 5th position; s/he then brushes the working foot en l'air between 45 degrees and 90 degrees, jumps into the air beating the supporting leg against the working leg causing it to rebound, and lands on the leg that pushed off, with the extended leg closing 5th position en demi-plié just after the landing. May be performed devant, derrière, dessus, dessous, or de côté.

cabriole fermée de côté [ka-bree-YOL fer-MAY d(u) koh-TAY] ( Fr. caper; closed; to the side) A cabriole in which the dancer begins in 5th position; s/he then brushes the working foot to 2nd en l'air between 45 degrees and 90 degrees, jumps into the air beating the supporting leg against the working leg, performing the beat to the side of the body causing the working leg to rebound, and lands on the leg that pushed off, with the extended leg closing 5th position en demi-plié just after the landing. May be performed dessus or dessous.

cabriole fermée derrière [ka-bree-YOL fer-MAY der-YER] ( Fr. caper; closed; behind) A cabriole in which the dancer begins in 5th position with the working leg derrière; s/he then brushes the back leg derrière en l'air between 45 degrees and 90 degrees, pushes off and beats in front of the working leg, performing the beat behind the body; s/he then lands on the same foot and immediately closes the extended leg 5th position derrière en demi-plié.

cabriole fermée dessous [ka-bree-YOL fer-MAY d(u) SOO] ( Fr. caper; closed; under) A cabriole in which the dancer begins in 5th position with the working leg devant; s/he then brushes working foot to 2nd en l'air between 45 degrees and 90 degrees, pushes off and beats the supporting leg in front of the working leg, performing the beat to the side of the body; s/he then lands on the same foot and immediately closes the extended leg 5th position derrière en demi-plié.

cabriole fermée dessus [ka-bree-YOL fer-MAY d(u) SU] ( Fr. caper; closed; over) A cabriole in which the dancer begins in 5th position with the working leg derrière; s/he then brushes the back leg to 2nd en l'air between 45 degrees and 90 degrees, pushes off and beats the supporting leg behind the working leg, performing the beat to the side of the body; s/he then lands on the same foot and immediately closes the extended leg 5th position devant en demi-plié.

cabriole fermée devant [ka-bree-YOL fer-MAY d(u)-VAH] ( Fr. caper; closed; front) A cabriole in which the dancer begins in 5th position with the working leg devant; s/he then brushes the front leg devant en l'air between 45 degrees and 90 degrees, pushes off and beats behind the working leg, performing the beat in front of the body; s/he then lands on the same foot and immediately closes the extended leg 5th position devant en demi-plié.

cabriole ouverte [ka-bree-YOL oo-VERT] ( Fr. caper; open) A cabriole performed commencing in 5th position and ending with the working leg en l'air. May be performed devant, derrière, dessous, dessus, or de côté. Variation: petite cabriole.

cabriole ouverte de côte [ka-bree-YOL oo-VERT d(u) koh-TAY] ( Fr. caper; open; to the side) A cabriole in which the dancer bgegins in 5th position; s/he then brushes the working foot to 2nd en l'air between 45 and 90 degrees, jumps into the air beating the supporting leg against the working leg, performing the beat to the side of the body, causing the working leg to rebound, and lands on the leg that pushed off, with the extended leg maintaing 2nd position en l'air.

cabriole ouverte derrière [ka-bree-YOL oo-VERT der-YER] ( Fr. caper; open; behind) A cabriole in which the dancer bgegins in 5th position with the working leg derrière; s/he then brushes the working foot derrière en l'air between 45 and 90 degrees, jumps into the air beating the supporting leg against the working leg, performing the beat behind the body, causing the working leg to rebound, and lands on the leg that pushed off, with the extended leg derrière en l'air.

cabriole ouverte dessous [ka-bree-YOL oo-VERT d(u)-SOO] ( Fr. caper; open; under) A cabriole in which the dancer bgegins in 5th position working foot devant; s/he then brushes the working foot to 2nd en l'air between 45 and 90 degrees, jumps into the air beating the supporting leg in front of the working leg, performing the beat to the side of the body, causing the working leg to rebound, and lands on the leg that pushed off, with the extended leg maintaing 2nd position en l'air.

cabriole ouverte dessus [ka-bree-YOL oo-VERT d(u)-SU] ( Fr. caper; open; over) A cabriole in which the dancer begins in 5th position working foot derrière; s/he then brushes the back foot to 2nd en l'air between 45 and 90 degrees, jumps into the air beating the supporting leg behind the working leg, performing the beat to the side of the body, causing the working leg to rebound, and lands on the leg that pushed off, with the extended leg maintaing 2nd position en l'air.

cabriole ouverte devant [ka-bree-YOL oo-VERT d(u) VAH] ( Fr. caper; open; front) A cabriole in which the dancer bgegins in 5th position with the working leg devant; s/he then brushes the working foot devant en l'air between 45 and 90 degrees, jumps into the air beating the supporting leg against the working leg, performing the beat in front of the body, causing the working leg to rebound, and lands on the leg that pushed off, with the extended leg devant en l'air.

chaînés [shen-AY] (Fr. chain steps) Type of turn often performed in series en diagonale en pointes. The dancer begins with the foot dégagé devant, steps to the side along the line of dance making a 1/2 turn, en dedans, and steps in 1st position along the line of dance, with the arms usually held in pirouette position. May be practiced with fingers on shoulders, the elbows supported and lifted to the sides. May be performed slowly, i.e., stepping on specific musical counts, or as quikly as possible through the music.

changement [shahzh-MAH] (Fr. a change or changing) A jump in which the legs begin in 5th position and change in the air at the height of the jump, separating as little as possible, to land in the opposite 5th position.

changement battu [shahzh-MAH ba-TU] (Fr. changin; beaten) A changement in which the legs beat together in the air. From 5th position, the legs open slightly sideways on leaving the ground, in order to execute the beating action of the legs without a change of feet, before landing with a change of feet. In the Cecchetti school this step is called royal or entrechat royal.

changement en pointe [shahzh-MAH ah pwet] (Fr.changing; on tip-toe) A small, low changement performed on the tips of the feet in pointe shoes.

chassé [sha-SAY] (Fr. chased, a chased step) One of the basic elements of centre practice. A linking movement with a sliding action of the foot commencing from either an open or a closed position and ending in an open position en demi-plié. Can be taken in varying alignments and direction.

chassé en arrière [sha-SAY ah-nar-YER] (Fr. chased; backward) A chassé commencing with a demi-plié in 5th derrière in which the front foot slides forward along the floor to 4th opposite 5th position en demi-plié.

chassé en avant [sha-SAY ah-na-VAH] (Fr. chased; forward) A chassé commencing with a demi-plié in 5th devant in which the back foot slides forward along the floor to 4th opposite 5th position en demi-plié.

chassé passé [sha-SAY pah-SAY] (Fr. chased; passed) A variation of a chassé in which the working foot passes to 4th position. May be performed en avant or en arrière, from either a closed or an open position.

chassé passé en arrière [sha-SAY pah-SAY ah-nar-YER] (Fr. chased; passed; backward) A chassé in which the working foot passes backward to 4th position. May be taken from a closed or an open position. 1. From a closed position, the front foot stretches with the tip of the toe contacting the side of the base of the heel of the supporting foot and the floor. It then passes through 5th derrière, commencing the demi-plié. The arms are lifted to 1st position with the sliding action. 2. From an open position, the front foot slides backward through 1st posion en demi-plié and tracks a diagonal line to finish 4th opposite 5th position en demi-plié.

chassé passé en avant [sha-SAY pah-SAY ah-na-VAH] (Fr. chased; passed; forward) A chassé in which the working foot passes forward to 4th position. May be taken from a closed or an open position. 1. From a closed position, the front foot stretches with the tip of the toe contacting the side of the base of the heel of the supporting foot and the floor. It then passes through 5th devant, commencing the demi-plié. The arms are lifted to 1st position with the sliding action. 2. From an open position, the front foot slides forward through 1st posion en demi-plié and tracks a diagonal line to finish 4th opposite 5th position en demi-plié.

chassé to 2nd (chassé à la seconde) [sha-SAY-] (Fr. chased; to 2nd) A chassé commencing with a demi-plié in 5th position, in which the working foot slides outward along the floor to 2nd position en demi-plié.

coupé fouetté raccourci [koo-PAY fwe-Tay ra-koor-SEE] (Fr. cutting step; whipped step; shortened) A composite step in which the dancer steps en pointe, cutting behind and replacing the supporting foot, strongly extends the working leg to 2nd en l'air 45 degrees, and finishes en fondu, sharply bringing the working foot to mid-calf. also referred to as coupé fouetté raccourci relevé.

coupé fouetté raccourci battu [koo-PAY fwe-Tay ra-koor-SEE ba-TU] (Fr. cutting step; whipped step; shortened; beaten) A coupé fouetté raccourci sauté in which the legs join in the air to beat in 5th position without a change of feet before the landing. May be taken en tournant.

coupé fouetté raccourci sauté [koo-PAY fwe-Tay ra-koor-SEE soh-TAY] (Fr. cutting step; whipped step; shortened; jumped) A composite action in which the dancer steps on the whole foot, cutting behind and replacing the supporting foot, jumps into the air strongly extending the working leg to 2nd en l'air 45 degrees, and lands on the foot that pushed off, sharply bringing the working foot to mid-calf.

coupés jetés en tournant en manège [koo-PAY zh(u)-TAY zah toor-NAH ah ma-NEZH] (Fr. cutting step; thrown step; turning; in a circle) A composite step performed in series along a circular path around the room, consisting of a coupé dessous en tournant, and a jeté en avant.

emboîté [ah-bwa-TAY] (Fr. fit together; in dance, a light step characterized by the passing of the feet, one in front of the other) Action performed en pointes as partof a series of precise, quick transfers of weight under the body line. The dancer begins in 5th position en pointes with the working leg behind; staying en pointes throughtout, she extends one leg to 2nd just off the floor, then closes 5th position with a change of feet; usually performed in series alternating legs; usually initiated wiht an assemblé piqué dessus and performed en avant, with each working leg beginning behind and closing in front; called déboîté when performed en arrière with each working leg beginning in front and closing behind.

emboîté relevé en tournant [ah-bwa-TAY r(u)l VAY ah toor-NAH] (Fr. fit together step; pulled up; turning) A composite step performed en pointes consisting of three actions which make a full turn. The dancer begins in 5th position en demi-plié with the working foot behind, arms in 3rd position; she executes a relevé passé devant 2 to 1 travelling slightly along the line of dance, bringing the back foot to retiré devant and changing the arms to 3rd while making 1/2-turn en dedans; she then steps under the body line and lifts the other leg to retiré devant while making 1/2-turn en dehors to complete the full turn with the arms changing to 3rd position; and she finishes en demi-plié. Often performed en diagonale.

emboîté sauté en tournant [ah-bwa-TAY soh-TAY ah toor-NAH] (Fr. fit together step ;jumped; turning) A series of three jumping actions which make a full turn. The dancer begins in 5th position en demi-plié with the working foot behind, arms in 3rd position; s/he executes a sissonne ordinaire passé devant travelling sideways slightly along the line of dance, and changing the arms to 3rd while making 1/2-turn en dedans; then does a petit jeté devant sur place while making 1/2-turn en dehors to complete the full turn with the arms changing to 3rd position; and executes a petit assemblé devant to end as s/he began. Often performed en diagonale.

entrechat six [ah-tr(u)-SHA sees] A jump in which the legs change to beat, change again to beat, and land with the other leg devant. There are six interweaving actions, three with each leg.

entrechat six de volé de côte [ah-tr(u)-SHA sees d(u) vol-LAY d(u)koh-TAY] (Fr. entrechat; six; of flight; to the side) An entrechat six travelled sideways and initiated with a brush to 2nd. The dancer begins in 5th position with the working leg derrière; s/he brushes the back foot to 2nd, jumps beating the push-off leg behing the working leg, then beats twice with a change of feet on each beat to land in 5th position with the working leg devant. Often prepared with a glissade or chassé en avant, with the brush taken en écarté with the arms to open 4th.

fouetté relevé [fwe-TAY r(u)l-VAY] (Fr. whipped; pulled up) A relevé on the supporting leg with a simultaneous turn of the body away from the extended leg which strives to maintain its position en l'air in space.

fouetté rond de jambe en tournant [fwe-TAY ro d(u) zhzhb ah toor-NAH (Fr. whipped action; circle of the leg; turning) A spin initiated by the whip-like action of the working leg. The dancer begins en fondu with the working leg devant en l'air, performs a relevé while simultaneously whipping the working leg through 2nd to pirouette position, completing a full turn. When performed in 3/4 rhythm, a stronger emphasis may be placed on the relevé to 2nd position en l'air. May performed in series, prepared by a pirouette en dehors from 4th position. The arms usually begin in 3rd position, open to 2nd position with the working leg, close to 1st position as the leg reaches pirouette position, and return to 3rd position on the fondu, ready to begin the next turn. Sometimes referred to as fouetté turns.

fouetté sauté [fwe-TAY soh-TAY] (Fr. whipped; jumped) A jump on the supporting leg with a simultaneous turn of the body away from the extended leg which strives to maintain its position en l'air in space. May be embellished with a beat.

fouette saute en tournant [fwe-TAY soh-TAY ah toor-NAH] (Fr. whipped; jumped ;turning) A fouetté in which the dancer performs a grand battement action devant followed immediately by a temps levé making a 1/2 turn away from the working leg to land en arabesque. Often prepared witha running pas de bourrée.

gargouillade en dehors [gar-guwee-YAD ah d(u)-OR] (Fr. embellished step; outward) An embellished pas de chat in which the dancer begins in 5th position with the working leg devant, releases the front foot and leaps sideways performing a double rond de jambe en l'air action en dehors, and alights on the orginal working leg, closing the other through retiré in 5th position devant.

grand fouetté relevé en tournant [grah fwe-TAY r(u)l-VAY ah toor-NAH] (Fr. big; whipped; pulled up; turning) A virtuoso turn consisting of a relevé to 2nd en l'air, followed by a fouetté relevé en tournant with the same leg completing one full revolution. The dancer begins in dégagé derrière; s/he performs a grand battement to 2nd écarté devant with a simultaneous relevé action, brushes through 1st position en demi-plié making a 1/4 turn en dedans to perform a grand battement devant with a relevé action, and completes the turn with a fouetté to arabesque ending croisé. To complement the action, the arms move to 2nd position with the battement to 2nd, undersweep 1st to 5th position with the battement devant, and open to 2nd arabesque at the conclusion of the fouetté action. May be prepared by chassé en avant en croisé to degagé derrière. May be performed sauté, with a temps levé in place of the the relevé.