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Adage
[ a-DAHZH]
In dancing it has two meanings: (1) A series of exercises following the
centre practice, consisting of a succession of slow and graceful movements
which may be simple or of the most complex character, performed with
fluidity and apparent ease. These exercises develop a sustaining power,
sense of line, balance and the beautiful poise, which enables the dancer
to perform with majesty and grace.
Allégro
[a-lay-GROH]
Brisk, lively. A term applied to all bright and brisk movements. All
steps of elevation such as the entrechat, cabriole, assemblé,
jeté and so on come under this classification. The most important
qualities to aim at in allégro are lightness, smoothness and ballon.
Á la seconde
[ah la suh-GAWND]
To the second. A term to imply that the foot is to be placed in the second
position, or that a movement is to be made to the second position en
l'air. As, for example, in grand battement à la seconde.
Arabesque
[a-ra-BESK]
One of the basic poses in ballet, arabesque takes its name from a form
of Moorish ornament. In ballet it is a position of the body, in profile,
supported on one leg, which can be straight or demi-plié, with
the other leg extended behind and at right angles to it, and the arms
held in various harmonious positions creating the longest possible line
from the fingertips to the toes. The shoulders must be held square to
the line of direction. The forms of arabesque are varied to infinity.
The Cecchetti method uses five principal arabesques; the Russian School
(Vaganova), four; and the French School, two. Arabesques are generally
used to conclude a phrase of steps, both in the slow movements of adagio
and the brisk, gay movements of allégro.
Assemblé
[a-sahn-BLAY]
Assembled or joined together. A step in which the working foot slides
well along the ground before being swept into the air. As the foot goes
into the air the dancer pushes off the floor with the supporting leg,
extending the toes. Both legs come to the ground simultaneously in the
fifth position.
Attitude
[a-tee-TEWD]
A particular pose in dancing derived by Carlo Blasis from the statue
of Mercury by Giovanni da Bologna. It is a position on one leg with the
other lifted in back, the knee bent at an angle of 90 degrees and well
turned out so that the knee is higher than the foot. The supporting foot
may be à terre, sur la pointe or sur la demi-pointe. The arm on
the side of the raised leg is held over the head in a curved position
while the other arm is extended to the side. There are a number of attitudes
according to the position of the body in relation to the audience.
Á terre
[a tehr]
On the ground. This term indicates: (1) that the entire base of the supporting
foot or feet touches the ground; (2) that the foot usually raised in
a pose is to remain on the ground with the toes extended.
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