My Progress

          Despite the fact that there is no chance of me becoming a Prima Ballerina, I have definitely noticed progress in my skills now compared to last semester, or even from the beginning of this semester until now. 

          

          For starters, I am definitely becoming more comfortable with the language (movement) of ballet as well as the jargon. I am now able to feel comfortable with moving my body to achieve the goal of the move. For example, I am a lot more comfortable with balancing in a sou sous or a relevé then I was last semester. Also, because I am improving with the technique, I can now add more of my individualistic style. I definitely see the improvement on my timeline of ballet at UT and I am looking forward to keep on improving.

Therapeutic Bar

Samantha Milano

Therapeutic Bar

Part I

1. Left side of the bar. Flat back and roll up twice for four counts.
2. Two cambre facing bar for four counts.
3. On the left side of the bar, so a side stretch while stretching foot in front for four counts
4. Then do the same thing but using your back foot.
5. Turn to the bar and stretch forward for four counts
6. Repeat only for two counts.
7. Put hands together in a knot almost. Do port de bra away from the bar first going midway, then going all the way down.
8. Repeat on the other side.
9. Flex and point feet twice on with each foot facing bar alternative each foot.
10. Stretch foot by pointing it on each side while facing the bar bar twice each while bending knees.
11. Stretch feet heel-to-toe on each side.
12. Tendu and roll ankles outward on each foot.
13. Tendu and roll ankles inward on each foot.
14. Lunge on each leg while facing the bar and holding onto the bar.
15. Flat back push ups utilizing the bar.
16. Bend over and holding arms to stretch lower back.

Part II

1. Facing away from the bar, arm stretches that include stretching out then bringing them back into the body four times. Then put arms up to make an uppercase V and alternative with bringing them in and straight up. Then alternate with the latter arm stretch.
2. Then hold right arm behind your back and pull with your left and then stretch head away from it.
3. Repeat with other arm.
4. Slowly roll head in each direction.
5. Hold foot behind back to stretch quads.
6. Then hold your leg with opposite hand and leg out when lifting.
7. Repeat but pulling your leg further behind you.
8.       While facing the bar, brush leg forward and back while bending the knee and tow pointed.
9. Repeat with other leg.
10. Turn to the left of the bar and brush legs in figure eight to the front then to the back.
11. Repeat by turning to the other side of the bar.
12. Repeat the figure eight but lifting leg in second position, land foot down and then releve and then return to the flat-footed position.
13. Lunge to the floor facing the bar .
14.  Using the same leg cross it behind you and pointed with the arm in the same direction as the foot.
15. Repeat with other side.

Fin

Samantha Milano

Ballet II Intermediate
Reflection:

I have found that thus-far this semester's class, a lot of the moves have become much easier for me. I feel much stronger and in control of my body movements. I also find it easier to catch onto combinations and be able to apply technique. Before, it was much more difficult for me to fully apply to technique because I would be confused on the combination. This semester I feel more confident in my presence within class. I am definitely far from being perfect and there is a lot that I need to work on, however I am happy with the progress that I have made. Hopefully, with constructive criticism, I will continue to improve and to see more progress. 

Ballet II Intermediate Vocabulary

Samantha Milano

Definitions: 

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.

À la quatrième devant: is with the working leg stretched out to the front; à la quatrième derrière is with the working leg stretched to the back.
devant:  Directed in front of the body.

Five Classes of Jumps

1 Saut (é): Jump. A jump off both feet, landing with feet in in the same position.

   Temps Levé: This is a hop from one foot with the other raised in any position. The instep is fully arched when leaving the ground and the spring must come from the pointing of the toe and the extension of the leg after the demi-plié. 

3 Jeté: Throwing step. A jump from one foot to the other in which the working leg is brushed into the air and appears to have been thrown. 

4 Assemble: 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. If an assemblé is porté it requires a preparatory step such as a glissade to precede it. If an assemblé is en tournant it must be preceded by a preparatory step. 

5 Sissonne: It is a jump from both feet onto one foot with the exception of sissonne fermée, sissonne tombée and sissonne fondue, which finish on two feet. Sissonne may be performed petite or grande. The petites sissonnes are sissonne simple, sissonne fermée, sissonne ouverte at 45 degrees and sissonne tombée at 45 degrees. The grandes sissonnes are sissonne ouverte at 90 degrees, sissonne renversée and sissonne soubresaut.