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Relevé
[ruhl-VAY]
Raised. A raising of the body on the points or demi-pointes, point or
demi-pointe. There are two ways to relevé. In the French School,
relevé is done with a smooth, continuous rise while the Cecchetti
method and the Russian School use a little spring. Relevé may
be done in the first, second, fourth or fifth position, en attitude,
en arabesque, devant, derrière, en tournant, passé en avant,
passé en arrière and so on.
Retiré
[ruh-tee-RAY]
Withdrawn. A position in which the thigh is raised to the second position
en l'air with the knee bent so that the pointed toe rests in front of,
behind or to the side of the supporting knee.
Rise
This is a smooth relevé from a position à terre through
all the levels of the foot (quarter-point, half-point and three-quarter
point). The toes do not move from the spot at which the rise began.
Rolling
Dancers who do not have a good turn-out should not force their legs to
turn out too much at first, as this usually results in rolling ankles.
If the weight is on the inside of the feet. dancers call this rolling
in; if the weight is on the outside of the feet, it is called rolling
out. The toes and heels should be flat on the floor and the turnout must
come from the hip joints.
Rond de jambe à terre
[rawn duh zhahnb a tehr]
An exercise at the bar or in the centre in which one leg is made to describe
a series of circular movements on the ground. The toe of the working
foot does not rise off the ground and does not pass beyond the fourth
position front (fourth position ouvert) or the fourth position back.
Rond de jambe en l'air
[rawn duh zhahnb ahn lehr]
The toe of the working foot describes an oval, the extreme ends of which
are the second position en l’air and the supporting leg. The thigh
must be kept motionless and the hips well turned out
Romantic ballet
A style of ballet produced during the early nineteenth century in which
the accent was on the conveyance of a mood to a story. Example of romantic
ballets are La Sylphide and Giselle.
Royale
[ruah-YAL]
Royal. A changement in which the calves are beaten together before the
feet change position. Also termed "changement battu."
Russian School
The Russian School was founded in St. Petersburg in 1738 by the French
dancer Jean-Baptiste Landé. The French influence continued under
such great teachers as Charles Le Picq, Charles Didelot, Christian Johanssen,
Jules Perrot, Arthur Saint-Léon and Marius Petipa.
In 1885 Virginia Zucchi, a famous Italian ballerina, appeared in St.
Petersburg and created a sensation with her forceful and brilliant Italian
technique which differed from the soft, graceful elegance of the French
technique prevalent in Russia until then. Other Italian dancers such
as Enrico Cecchetti arrived in Russia and continued to astound the Russians
with their amazing dexterity, brilliant pirouettes, tours and fouettés.
The Russian dancers rapidly absorbed everything the Italians had to teach
and incorporated it into the Russian system. Thus, the Russian School
of Ballet is a development of the French and Italian Schools.
During the 1 920s the Russian ballerina and teacher Agrippina Vaganova
developed a planned instructional system which later became known to
the whole world as the Vaganova system. This svstem has become the basic
method of the entire Soviet choreographic school. |