Basic movements of ballet dance

Adagio [meaning][Adaruo]

Adagio. The original meaning is slowly and peacefully. The terminology used by teachers in Italy, the United States, and the Soviet Union refers to: ① Some combinations made on the handlebar or in the middle during classroom teaching - consisting of slow, elegant, and coherent movements to train the ability to control, balance, and stability, legs and feet , harmonious coordination of arms and torso, and graceful dance postures.

② The second section of the classical five-part pas de deux often has a lyrical character, in which the female partner performs slow movements with the support of the male partner, showing elegant and graceful lines and balanced and stable postures. Or complete some complex movements and dance postures that cannot be completed without the support of a male partner.

Arabesque[French][Arabesque]

One of the basic dance postures. The name comes from a Moorish leaf-like continuous pattern. The dance posture is to squat or stand upright with one leg, with the other leg straight back and at right angles to the supporting leg, and the arms in a corresponding and harmonious posture, forming a straight line as long as possible from the fingertips to the toes. It can be done on tiptoe, or it can remain unchanged during flying (jumping) or turning. It is one of the most beautiful dance postures in classical ballet.

Chekedi system:

①The first Arabesque - support one leg upright, the other leg straight back, at right angles to the supporting leg, and the upper body leans forward slightly , Bend your chest and waist back, straighten your back, and keep your shoulders and shoulders in the same straight line. Do not twist your shoulders or raise your hips, keep your upper body facing forward, and do not hunch your shoulders. One arm on the same side as the supporting leg is extended forward, and the other arm is back, slightly lower than the forearm, above the back leg, with the palms of both hands facing downwards. Look at the arm stretched forward, with the fingertips on the extension line of the midpoint between the eyes.

② The second arabesque - the same as the first arabesque, but the two arms exchange positions, one arm on the same side as the supporting leg goes back, and the other arm stretches forward; the head is slightly raised, slightly Turn to the audience.

③The third arabesque - the same as the first arabesque, but with both arms raised straight forward, the arm on the same side as the supporting leg is slightly higher, with the fingertips at the point between the eyes Extension cord.

④The fourth arabesque - the same as the first arabesque, but instead use the leg closer to the audience as a supporting leg, half-squat; straighten your back hard, and face the upper body diagonally towards the audience; and One arm on the same side as the raised leg is extended forward, the other arm is pulled back, and both arms are slightly bent.

⑤The fifth arabesque is similar to the third arabesque, but the arm farther away from the audience is raised higher than the other arm, and the supporting leg closer to the audience is used instead. , half squatting, upper body facing the audience diagonally. For the fourth and fifth arabesques, if the left leg is used as the supporting leg, the upper body faces the front right of the stage; if the right leg is used as the supporting leg, the upper body faces the front left of the stage.

French School:

① Open Arabesque Croise - the leg farther away from the audience is supported upright, the other leg is extended back at a right angle to the supporting leg, the upper body Lean forward slightly, lift one arm forward on the same side as the supporting leg, and extend the other arm parallel to the back leg. Various gestures can be added during stage performances.

②Crossed Arabesque (Arabesque Croise) - Same as above, but use the leg closer to the audience as the supporting leg. One arm on the same side as the supporting leg is raised forward and the other arm is backward. stretch.

Russian School:

① The first Arabesque - the two legs farther away from the audience are supported upright, and the other leg is straightened back, making a right angle to the supporting leg (or (larger than, right angle), lower your upper body in front of your body and straighten it with force, extend the arm on the same side of your supporting leg forward, and open the other arm to the side with your palm facing down.

② The second arabesque - the same as the first arabesque, but the arm on the same side as the supporting leg is as far back as possible, the other arm is stretched forward, the head is turned to the audience, and the back is slightly straight. Arch.

③The third Arabesque - the leg close to the audience is upright and supports the other leg and is raised back 90 degrees. Lean your upper body forward and open the two buds on the same side of your supporting leg backwards, and stretch your other arm forward.

④The fourth arabesque - the same as the third arabesque, but instead one arm on the same side as the supporting leg is stretched forward, the other arm is stretched behind the torso, and the back is pushed forward Straighten, twist your waist, and turn your upper body 25° away from the audience. , head turned toward the audience.

Attitude [法] [Attitude]

The original meaning is posture. One of the basic dance positions of ballet. The supporting leg can be upright or squatting slightly, or standing on tiptoe or half-tiptoe, and the other leg can be bent forward or backward and lifted. It is said that the Italian dancer Carlo Brazzis designed it with reference to the work of Giovanni de Bologna, the statue of Mercury, the ancient Roman god of commerce. According to the different angles between the actor's torso and the audience, it can be divided into cross-type, straight-forward and 45-degree Atidide, etc.

Alance [French] [Balance]

Swing step. Use your fingers to alternately change the center of gravity, swinging from one foot to the other, much like a waltz. Stand in fifth position with your right foot in front. Half squat, rub your right foot to the side, and at the same time lightly jump up your left leg; land your right foot on the ground and half squat, at the same time, move your foot back sur le cou-de-pied, and tilt your head and upper body to the right. Then the left foot touches the ground on the back half of the toes, and the right leg is slightly lifted into the front sur le cou-de-pied, keeping the upper body upright.

Immediately, the right foot landed in front of the ground and squatted half way. At the same time, the left foot became sur le cou-de-pied and the upper body was tilted. Then make a symmetrical movement to the left. If you add arm movements, the left and right swinging movement will be more obvious.

Developpe[Fa][Dei Floppe]

The original meaning is to stretch. Basic action name. The action leg is sucked from the fifth position - slide the toes along the supporting leg, lift it to the knee, slowly open it forward, sideways or backward to a certain open position in the air, and control it to stop in the air. After reaching the highest point, drop down to five places. In barre exercises, it is used to train balance so that the legs can stop at any angle and maintain it for a period of time. When leaving the handle, you can assume postures such as crose, efface, arabesque, etc.; the two spans should be kept flush and at right angles to the direction the actor is facing. In the Chekidi system, when the action leg is extended and the leg is sucked in front, the toes are stretched and pointed on the inside of the knee of the supporting leg; in the Russian school, the point is placed in front or behind the knee.

Fouette[Fouette]

The original meaning is whiplash. Use your fingers to lift one leg and spin in a rapid circle in the air. You can pass in front or behind the supporting legs, or you can use your trunk as the axis to move from one direction to another. There are two types: large and small: the small Fuweite swings from forward to side and back, and can be done on the ground, standing on half toes or with a jump; the large Fuweite can be done with a jump, standing on toes (releve) or Do it in a turn. It is said that the Italian dancer Lenianni created it in the 1780s. At first, only 14 were made, and later it was expanded to 32. Australia's Rowena Jacquesson set a record of 121 in Melbourne in 1940.

Glissade [French][Glissade]

Slide. One foot starts from the fifth position and slides to the designated direction, and the other foot moves to the same direction. The heel of the sliding foot must hit the ground before the heel of the retracted foot. Often used to link other actions. In the five-position half squat, slide the action leg to the side or forward or backward to slide one step, jump up slightly, shift the center of gravity to the action leg, half-squat, and stretch the other leg straight and wipe the ground to form a five-position half squat. According to the different positions and sliding directions of the feet at the beginning and end, it can be divided into six types: forward, backward, backward, forward, forward, and backward. You can do it with or without changing feet, or you can stand on your toes. Do.

Pirouette [French] [Pirouette]

Rotate in place. Use one foot to stand on tiptoe or half tiptoe, and use it as a fulcrum to make a complete rotation. The power comes from the coordination of squats and arm movements, which require actors to have balance. During the movement, the foot of the supporting leg must be pressed close to the ground to increase the support area and help stabilize the body. The "starting method" relies on the strength of both arms, not the twitching of the body or shoulders. Lead with the open arm and connect the other arm to supplement power; fixate on a certain point during rotation. You can rotate it outward or inward several times until the heel of the supporting leg touches the ground. When turning inward, the action leg usually couples up to five positions in front of the supporting leg; when turning outward, it couples behind the supporting leg. The action leg should be lifted into sur le cou-de-pied. The French school advocates lowering the calf, while the Italian school advocates raising the leg higher than the calf. Grand -), use one leg to lift up into a grand double position and rotate outward. Every time you turn, the supporting leg squats on tiptoe. In a series of rotations, the action leg can also gradually descend from the second position to sur le cou-de-pied.

Tour en l’ air[Tour en l’air]

Tour en l’ air. Jump directly up from the half squat, turn around once or twice at the same time, exchange positions with the front and rear feet, and reach a five-position half squat. When jumping, use both arms to help jump up. When turning, the head should be fixed to look at a certain point. It can end in a variety of different positions, such as the double position or one leg on the ground, or it can also do several aerial spins in succession.