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73 Cards in this Set

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barres
long railings made of wood or metal pipes either attached to the walls or supported by the floor
tempo
varies from slow (adagio) to fast allegro
alignment
good posture
placement
well aligned body that is shifted slightly forward from the ankle over the ball of the foot
turnout
the legs are rotated outward from hip joint
first position
the legs turned out fromm the hips the heels and knees touching the feet forming straight line
2nd position
the legs turned out from the hips as in first position but the heels separated and directly under shoulders
3rd position
the legs turned out from the hips one foot directly in front of the other with the heel of each foot touching the middle of the other foot
fourth position
the legs turned out from the hips, one foot directl forward of the other and one foot length apart (for crossed fourth position) or forward the same distance from first position (open fourth)
fifth position
the legs turned out from the hips one foot directly in front of the other with the heel of the front foot at the joint or at the tip of the toe of the back foot
first arms prepatory
arms down and to the side of the body
demi seconde
arms out down but open
second
arms almost horizontal still facing down
bras bas (fifth en bas)
arms low only a few inches apart
bras avant (fifth en avant
arms forward
bras hauts (fifth en haut)
arms high oval
balancing on one leg
expected to be centered the weight of body evenly on both feet
plie
a bending movement of the legs beginning at the top of the thighs through the knees and into the ankles
plie
half bend
grand plie
deep bend
eleve
an elelve is a rise from straight legs to the balls of the feet the demi points from a demi plie its called a releve
sous-sus
in fifth to releve with a plie
echappe releve
fifth to releve in second
battement tendu
the gesturee foot starting from a closed position is extended along the floor until it is fully archced and the toes pointed (the stretching movement) then it is moved to a closed postition at the supporting leg (th ebeating movement)
battement degage
battement disengaged from the floor
battement glisse
glided
battement tendu jete
thrown
grand battement
large beating action of the leg; a continuation of the basic battement degage
battement frappe
strong brush outward from a raised position at the ankle of the supporting leg; frappe (struck)
petit battement sur le cou-de-pied
small beat on the neck o the foot
rond de jambe a terre
circle or round of the leg semicircle on the ground
en dehors
outward
en dedan
inward
battement retire
withdrawing of the gesture foot from the floor until it touces the front side or back of the supporting kneww passes is used when the withdrawing foot passes from fifth to back
developpe
slowly developed by being drawn up to retire position then extended to an open position at 45 degrees of higher
battement fondu
compounded exercise consiting of a bending of the supporting leg and tehn a streigtening of that leg as the gesture leg unfolds from a coudepied to pointe tendu
port de bras au corps cambre
carriage of the arms with an arched body the bending of the body backward or sideward from the waist
port de bras 1
face downstage left in 3rd/5th position (right foot front) the arms en bas and the head in clined to the left and slightly lowered.
raise arms en avant, ath the same time lean the torso slightly forward from the waist.
open the palms and fingers slightly and carry to selcond while head is to the right.
with breath lower the arms and return the hands to the starting pose as the head simultaneously returns to its original position
port de bras 2
start same as 2.
raise arms en avant, torso inclines slightly forward aand the head remains inclined o the left. continue to raise the arms en haut while the torso straigtens and the head lifts and then inclines to the right. open both arms to 2nd postions lower arms to orginal pose
en face
directly front or toward the audience
a la quatrieme devant
the extended leg is in fourth position front; the arms are in second position; the head, hips and shoulders face directly front
a la quatrieme derriere
the extended leg is in fourth position back; the arms are in 2nd potion; head hips and shoulders are directly forward
a la seconde
the extended leg is in second position; the arms are in second position; the head hips and shoulders face directly front
croise
crossed
ecarte
separated or thrown wide
epaule
shouldered
croise devant
the dancer faces either downstage corner; the leg nearer the audience (downstage leg) extends to fourth position front. the arm opposite that extended leg is en haut,and the arm is demiseconde. the torso and head incline slightly toward the low arm
croise derriere
the dancer faces either downstage corner; the lef farther from the audeience (upstage) extends t fourth positon back. the arm opposite the extended leg is en haut and the other is demi second. the head and torso incline very slightly toward the low arm so that the dancer appears to be looking at the audience from under the arm
efface devant
the dancer faces either downstage corner; the leg farther from the audience (upstage) extends to fourth postion front. the arm opposite the extended leg is en haut and the other arm is demi second. the body lens very slightly back from the waist and the head inclines toward the high arm
efface derriere
the dancer faces either downstage corner; the leg nearer the audience (downstage) extends to fourth position back. the arm on the same side as the extended leg is en haut and the other arm is demi seconde. the body leans slightly forward over the supporting foot. the head turns and rises slightly toward the hand that is high
ecarte devant
the dancer faces either downstage coener; the leg nearer the audience (dwnstage extends to second postion the arm on the same side as the extended leg is en haut. and the other arm is demi second the torso is erect the head turn and rises slightly toward the hand that is high
ecarte derriere
the dancer faces either downstage corner the leg father from the audience (upstage) extends to 2nd position the arm on the same side as the extended leg is en haut and the other arm is demi seconde the torso and head incline slightly toward the hand that is low.
epaule derriere
this postition is exactly the same as epaule devant except that the dancer faces either of the upstage corners
attitude
pose on one leg the other leg lifted well turned out and bent at the knewe with the lower leg and foot opened away from the body
attitude derriere
when the leg is lifted to the back
attitude devant
when the leg is lifted to the front well turned out the kneww bent and the foot raised as high as possible
arabesque
the body is balanced over one foot with the other leg fully extended palms down creating a long symmetrical line from fingertips to toetips.
first arabesque
the dancer stands in profile to the audience; the leg nearer the audience extends to the back; the forward arm corresponds to the supporting leg, the other arm is taken slighthly back of second position but without strain to the shoulder; the eyes focus over the forward hand
second arabesque
the dancer stands as in first arabesque except the arms are reversed so that the forward arm is in opposition to the supporting leg; the head may incline toward the audience
third arabesque
the dancer stnads as in first arabesque, but with both arms extended forward; the arm farther from the audience is slightly higher; the focus is between the two hands
glisse
glided from demi plie in fifth forward to fourth then transfer weight completely
tombe
any movement whihc the dancer having extended the gesture leg falls forward sideward or backward into a fondu on gesture leg
pique
a sharp step in any direction taken directly onto the demi pointe of a straight gesture leg. pricked/pose
pas de bourree
3 shifts of weight
pas de bourre dessous
from fifth position left foot front or back demi plie and degage a la seconde with the left foot (this is a preparatory movement). draw the left foot to 5th position in back of the right foot as both feet rise to the demi pointes immediately opent th eright fot to a small second position and step onto demi pointe close the left foot front in fifth position demiplie
pas de bourree dessus
after prep, degage step in front and then to the side and close the first foot in back
pas de bourree derriere
after prep degage step in back and then to the side and close in back
pas de bourree devant
after degage step in front and then to side and close in front
pas de bourree en arriere
from pointe tendue in fourth position right foot front bring the right foot to fifth position front stepping onto demipointe immediately open the left foot, and take a small step backward onto demipointe close the right foot front in fondu as the left foot extends to pointe tendue in fourth position back
pas de bourree en avant
begin from fourth position back bring the foot to fifth position step forward and close back as the other foot extends to the font
pas marche
walking step executed in an elegant dignified manner
en tournant
turning
soutenu en tournant
sustained turining executed inwards