Blog 1
Plie- Demi/Grand:
A bending of the knee or knees. This is an exercise to render the joints and
muscles soft and pliable and the tendons flexible and elastic, and to develop a
sense of balance. The gran plié or full bending of the knees (the knees should
be bent until the thighs are horizontal) and demi plié is the half-bending of
the knees. Plies are done at the bar and in the centre in all five positions of
their feet. When the gran plié is executed, in either the first, third or
fourth position croise (feet in the fifth position but separated by the space
of one foot) or the fifth position, the heels always rise off the ground and
are lowered again as the knees straighten. The bending movement should be
gradual and free from jerks, and the knees should be at least half-bent before
the heels are allowed to rise. The body should rise at the same speed at which
it descended, pressing the heels into the floor. In the gran plié in the second
position or the fourth position ouverte the heels do not rise off the ground.
All demi-plies are done without lifting the heels from the ground. In all plies
the legs must be well turned out form the hips, the knees open and well over
the toes, and the weight of the body evenly distributed on both feet, with the
whole foot grasping the floor.
Battement tendu: The
commencing portion and ending portion of a gran battement and is an exercise to
force the insteps well outward. The working foot slides from the first of fifth
position to the second or the fourth position without lifting the toe from the
ground. Both knees must be kept straight. When the foot reaches the position
pointe tendue, it then returns to the first or fifth position. These can also
be done with a demi-plie in the first or fifth position. They should be practice
in croix.
Battement degage:
Disengaged battement a term of the ceheti method. It is similar to the
battement tendu but it is done four inches with a well-pointed toe, then slides
back into the first or fifth position. Battements degages strengthening toes,
develop an instep and improve the flexibility of the ankle joint. Same as
battement tendu jete (Russian) and battlement glisse.
Ron de Jambe a`terre-
endehors: Large round de jame in the air, outward. This is a large movement
of the entire leg from hip, done in a semicircle from front to back. It is
usually preceded by a develope a la quatieme devant, from where the leg is
carried with a sweeping movement through the second position en l’air to the
fourth position back en l’air. This exercise is used a the bar and centre and
is useful with gaining balance and control.
Ron de Jambe a`terre-
endehans: Ronde de jame in the air inwar; raised. Fifth position R foot
back. Demi-plie and spring onto the point or demi-pointe of the l foot, opening
the R leg to the second position en l’air, a la hauter o a la demi-hauter.
Execute a rond de jame an l’air en dedas. With a slight spring, lower both
heels to the ground in demi-plie in the fifth potion R foot front. A double ron
de jambe en l’air may be execsed instead of a single rond de jambe en l’air.
Fondu: A term
used to describe a lowering of the body made by bending the knee of the
supporting leg. Saint-Leon wrote, “Fondu is on one leg what a plié is on two.”
It is used to describe the ending of a step when the working leg is placed on
the ground with a soft and gradual movement.
Grand battement: Large
battement. An exercise in which the working leg is raised from the hip into the
air and brought down again, the accent being on the downward movement, both
knees straight. This must be done with apparent ease, the rest of the body
remaining quiet. The function of grands battements is to loosen the hip joints
and turn out the legs from the hips. Grands battements can be taken devant,
derriere and a la second. To execute a grant battement a la quantrime devant
start in the fifth porition R foot front. In one sweeping movement, slide the
right foot to the fourth position front, pointe tendue, raise the foot to the
fourth position front en l’air, lower the foot to the fourth position pointe
tendue and slide the foot back to fifth position front. Battements a la second
and a la quatrieme derriere are done in the same manner. In the execution of
grands battements a la seconde the working leg closes alternately in the fifth
position front and back.
Croise: One of
the directions of epaulement. The crossing of the legs with the body placed at
an oblique angle to the audience. The disengaged leg may be crossed in front or
in the back.
Efface: One of
the directions of epaulement, 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. Efface is also
used to qualify a pose in which the legs are open (not crossed). This pose may
be taken devant or derriere, either a` terre or l’air.
Ecarte devant: The
dancer faces either one of the two front corners of the room with the leg that
is closer to the audience pointed in the second position a terre or raised to
the second position en l’air. When this position is taken with the R leg
extended, the dancer stands at an oblique angle to the audience, facing corner
8 with the R leg in the second position pointe tendue a terre or raised to the
second position en l’air pointing toward corner 2. The arms are held with the R
arm curved over the head in the line of vision and the L arm held in
demi-seconde position. The body leans to the left with the head turned to the
right and the eyes looking leans to the left with the head turned to the right
and the eyes looking up at the R hand.
Derriere: The
dancer faces either one of the two front corners of the room with the leg that
is closer to the audience pointed in the second position a terre or raised to
the second position en l’air. When this position is taken with the L leg
extended, the dancer stands at an oblique angle to the audience, facing corner
8 with the R leg in the second position pointe tendue a terre or raised to the
second position en l’air pointing toward corner 6. The arms are held with the L
arm curved over the head in the line of vision and the R arm held in
demi-seconde position. The body leans to the right with the head turned to the
right and the eyes looking down at the extended R arm.
Enface: 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.
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.
Encroix: In the shape
of a cross. The required movement is done to the front, then the side, then
back and then again to the side (a cross shape) closing in either first or
fifth position.
