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Échappé
[ay-sha-PAY]
Escaping or slipping movement. An échappé is a level opening
of both feet from a closed to an open position. There are two kinds of échappés: échappé sauté,
which is done with a spring from the fifth position and finishes in a
demi-plié in the open position, and échappé sur
les pointes, or demi-pointes, which is done with a relevé and
has straight knees when in the open position. In each case échappés
are done to the second or fourth position, both feet traveling an equal
distance from the original center of gravity.
Effacé
[eh-fa-SAY]
Shaded. One of the directions of épaulement in which the dancer
stands at an oblique angle to the audience so that a part of the body
is taken back and almost hidden from view. This direction is termed "ouvert" in
the French method. Effacé is also used to qualify a pose in which
the legs are open (not crossed). This pose may be taken devant or derrière,
either à terre or en l'air.
En arrière
[ah na-RYEHR]
Backward. Used to indicate that a step is executed moving away from the
audience. As, for example, in glissade en arrière.
En avant
[ah na-VAHN]
Forward. A direction for the execution of a step. Used to indicate that
a given step is executed moving forward, toward the audience. As, for
example, in glissade en avant.
É carté
[ay-har-TAY]
Separated, thrown wide apart. Écarté is one of the eight
directions of the body, Cecchetti method. In this position the dancer
faces either one of the two front corners of the room. The leg nearer
the audience is pointed in the second position à terre or raised
to the second position en l'air. The torso is held perpendicular. The
arms are held en attitude with the raised arm being on the same side
as the extended leg.
En croix
[ahn krwah]
In the shape of a cross. Indicates that an exercise is to be executed
to the fourth position front, to the second position and to the fourth
position back, or vice versa. As, for example, in battements tendus en
croix.
En l'air
[ahn lehr]
In the air. Indicates: (1) that a movement is to be made in the air;
for example, rond de jambe en l'air; (2) that the working leg, after
being opened to the second or fourth position à terre, is to be
raised to a horizontal position with the toe on the level of the hip.
En tournant
[ahn toor-NAHN]
Turning. Indicates that the body is to turn while executing a given step.
As, for example, in assemblé en tournant.
Entrechat
[ahn-truh-SHAH]
Interweaving or braiding. A step of beating in which the dancer jumps
into the air and rapidly crosses the legs before and behind each other.
Entrechats are counted from two to ten according to the number of crossings
required and counting each crossing as two movements, one by each leg;
that is, in an entrechat quatre each leg makes two distinct movements.
Entrechats are divided into two general classes: the even-numbered entrechats,
or those which land on two feet-- deux, quatre, six, huit and dix-- and
the odd-numbered entrechats, or those which land on one foot-- trois,
cinq, sept and neuf.
Entrechat six
[ahn-truh-SHAH seess] Six crossings. Demi-plié in the fifth position
R foot front. With a strong jump open the legs, beat the R leg behind
the L, open the legs, beat the R leg in front of the L, open the legs
and finish in demi-plié in the fifth position R foot back.
É paulement
[ay-pohl-MAHN]]
Shouldering. The placing of the shoulders. A term used to indicate a
movement of the torso from the waist upward, bringing one shoulder forward
and the other back with the head turned or inclined over the forward
shoulder. The two fundamental positions of épaulement are croisé and
effacé. When épaulement is used the position of the head
depends upon the position of the shoulders and the shoulder position
depends upon the position of the legs. Épaulement gives the finishing
artistic touch to every movement and is a characteristic feature of the
modern classical style compared to the old French style. Which has little épaulement.
En face
[ahn fahss]
Opposite (the audience); facing the audience.
En dedans
[ahn duh-DAHN]
Inward. In steps and exercises the term en dedans indicates that the
leg, in a position à terre or en l'air, moves in a circular direction,
counterclockwise from back to front. As, for example, in rond de jambe à terre
en dedans. In pirouettes the term indicates that a pirouette is made
inward toward the supporting leg.
En dehors
[ahn duh-AWR]
Outward. In steps and exercises the term en dehors indicates that the
leg, in a position à terre or en l'air, moves in a circular direction,
clockwise. As, for example, in rond de jambe à terre en dehors.
In pirouettes the term indicates that a pirouette is made outward toward
the working leg.
Entrechat
[ahn-truh-SHAH]
Interweaving or braiding. A step of beating in which the dancer jumps into the
air and rapidly crosses the legs before and behind each other. Entrechats are
counted from two to ten according to the number of crossings required and counting
each crossing as two movements, one by each leg; that is, in an entrechat quatre
each leg makes two distinct movements. Entrechats are divided into two general
classes: the even-numbered entrechats, or those which land on two feet - deux,
quatre, six, huit and dix - and the odd-numbered entrechats, or those which land
on one foot - trois, cinq, sept and neuf.
Exercices à la barre
[eg-zehr-SEESS a lah bar]
Exercises at the bar (or barre). A group of exercises performed by the dancer
while clasping a bar with one hand. This bar, generally a cylindrical piece of
wood is fastened horizontally to the walls of the practice room at a height of
about three feet six inches from the floor. Bar exercises, or side practice,
are the foundation of classical ballet and are to the dancer what scales are
to the pianist. Every ballet lesson begins with these exercises. It is at the
bar that the dancer acquires the fundamental training for the attributes he must
possess. These exercises are essential for developing the muscles correctly,
turning the legs out from the hips and gaining control and flexibility of the
joints and muscles. The exercises at the bar can be simple or varied but in general
they include the following movements:
(l) Pliés in the first, second, fourth and fifth positions.
(2) Battements tendus.
(3) Battements dégagés.
(4) Battements fondus.
(5) Ronds de jambe à terre.
(6) Battements frappés.
(7) Adagio.
(8) Petits battements sur le cou-de-pied.
(9) Ronds de jambe en l'air.
(10) Grands battements. |